By Johanna Drucker, Charles Bernstein, Marjorie Perloff, Susan Stewart, Susan Howe
Shut Listening brings jointly seventeen strikingly unique essays, specifically written for this quantity, at the poetry analyzing, the sound of poetry, and the visible functionality of poetry. whereas the functionality of poetry is as previous as poetry itself, serious recognition to fashionable and postmodern poetry functionality has been unusually moderate. This quantity, that includes paintings by means of critics and poets comparable to Marjorie Perloff, Susan Stewart, Johanna Drucker, Dennis Tedlock, and Susan Howe, is the 1st accomplished advent to the ways that twentieth-century poetry has been practiced as a functionality paintings. From the functionality sorts of person poets and kinds of poetry to the relation of sound to which means, from ancient and social techniques to poetry readings to new imaginations of prosody, the entries accrued the following examine a compelling variety of subject matters for someone drawn to poetry. Taken jointly, those essays inspire new types of "close listenings"--not purely to the broadcast textual content of poems but in addition to tapes, performances, and different expressions of the sounded and visualized notice. The time is correct for this kind of quantity: with readings, spoken be aware occasions, and the internet gaining an expanding viewers for poetry, shut Listening opens a couple of new avenues for the severe dialogue of the sound and function of poetry.
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Extra resources for Close listening: Poetry and the Performed Word
In his discussions of the diversities among interjectional and prepositional speech features, Ernst Cassirer announces prepositional speech as distinct to people, configuring the area for us in everlasting, good kinds "with fastened and relentless traits. "49 As an interjectional poesis, the sound poem renounces this special characteristic. Breaking with Cassirer's "Prepositional Man"—at the historical second Foucault announces the dying of man—this hesitant poetics of adverse presence faltered at its lack of ability to specify the precise objective of its lively expulsion. was once the functionality of expenditure only recovered into the excellent society that Debord remoted and analyzed (in 1967) ? 50 Or can it's defined during the patinated rhetoric of the Sixties as an after-effect of Ultralettrisme, whose doubtful accomplishment was once a failed radicality of the topic? From the plethora of statements to be had i select the next for its domestication of heterology right into a neighborhood of desire: "If suggestion is admittedly to discover a foundation in lived adventure, it should be loose. tips on how to accomplish that is to imagine different by way of an analogous. As you are making your self, think one other self who will make you in the future in it flip. Such is my perception of spontaneity: the top attainable self-consciousness that is nonetheless inseparable from the self and the area" (Vaneigem, 150). the extraordinary undertaking for poetry from Artaud to the performative enactments of the Nineteen Seventies was once neither expenditure nor spontaneity in line with se yet 172 acting phrases quite the killing of speech in its capitalistic embodiments. This loss of life of speech—it could be qualified—entailed a robbery of silence inside of sound. To paraphrase a considered Valery's that captures with attractiveness and accuracy the circularity of this undertaking: a scream escapes from ache. Out of this coincidence a poem is made, with a proof around approximately it. during this context the scream acquires a task, a functionality. As used to be the case with Pascal's concept: "I had a inspiration. i've got forgotten it. as an alternative I write that i have forgotten it. "51 NOTES 1. Jeremy Ahearne, Michel de Certeau: Interpretation and Its different (Stanford: Stanford college Press, 1995), p. one hundred forty. 2. Regis Durand, "The Disposition of the Voice," in functionality in Postmodern tradition, ed. Michel Benamou and Charles Caramello (Madison: Coda Press, 1977), pp. 99-110. three. Michel de Certeau, The Writing of heritage, tr. Tom Conley (New York: Columbia college Press, 1988), p. 341. four. "The voice is heard (understood)—that certainly is what's referred to as conscience—closest to the self because the absolute effacement of the signifier: natural autoaffection that inevitably has the shape of time and which doesn't borrow from open air of itself, on this planet or in 'reality,' any accent signifier, any substance of expression international to its personal spontaneity. " Jacques Derrida, Of Grmnmatolqgy, tr. Gayatri Chakravorty Spivak (Baltimore: Johns Hopkins collage Press, 1976), p. 20. five. Roland Barthes, The excitement of the textual content, tr. Richard Miller (New York: Hill and Wang, 1975), pp.