Description
The Sound of Poetry / The Poetry of Sound by Marjorie Perloff, ISBN-13: 978-0226657431
[PDF eBook eTextbook]
- Publisher: University of Chicago Press; Illustrated edition (November 1, 2009)
- Language: English
- 352 pages
- ISBN-10: 0226657434
- ISBN-13: 978-0226657431
Sound—one of the central elements of poetry—finds itself all but ignored in the current discourse on lyric forms. The essays collected here by Marjorie Perloff and Craig Dworkin break that critical silence to readdress some of thefundamental connections between poetry and sound—connections that go far beyond traditional metrical studies.
Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the contemporary avant-garde, the contributors to The Sound of Poetry/The Poetry of Sound explore such subjects as the translatability of lyric sound, the historical and cultural roles of rhyme,the role of sound repetition in novelistic prose, the connections between “sound poetry” and music, between the visual and the auditory, the role of the body in performance, and the impact of recording technologies on the lyric voice. Along the way, the essays take on the “ensemble discords” of Maurice Scève’s Délie, Ezra Pound’s use of “Chinese whispers,” the alchemical theology of Hugo Ball’s Dada performances, Jean Cocteau’s modernist radiophonics, and an intercultural account of the poetry reading as a kind of dubbing.
A genuinely comparatist study, The Sound of Poetry/The Poetry of Sound is designed to challenge current preconceptions about what Susan Howe has called “articulations of sound forms in time” as they have transformed the expanded poetic field of the twenty-first century.
Table of Contents:
Acknowledgments
Introduction: The Sound of Poetry / The Poetry of Sound
Marjorie Perloff and Craig Dworkin
Prelude: Poetry and Orality Jacques Roubaud
(Translated by Jean-Jacques Poucel)
PART I Translating Sound
Rhyme and Freedom Susan Stewart
In the Beginning Was TranslationLeevi Lehto
Chinese Whispers Yunte Huang
Translating the Sound in Poetry: Six Propositions
Rosmarie Waldrop
“Ensemble discords”: Translating the Music of
Maurice Scève’s Délie Richard Sieburth
The Poetry of Prose, the Unyielding of Sound
Gordana P. Crnković
Part II Performing Sound
Sound Poetry and the Musical Avant-Garde:
A Musicologist’s Perspective Nancy Perloff0
Cacophony, Abstraction, and Potentiality:
The Fate of the Dada Sound Poem Steve McCaffery0
When Cyborgs Versify Christian Bök
Hearing Voices Charles Bernstein
Impossible Reversibilities: Jackson Mac LowHélène Aji
The Stutter of Form Craig Dworkin
The Art of Being Nonsynchronous Yoko Tawada
(Translated by Susan Bernofsky)
Part III Sounding the Visual
Writing Articulation of Sound Forms in TimeSusan Howe
Jean Cocteau’s Radio Poetry Rubén Gallo
Sound as Subject: Augusto de Campos’s Poetamenos
Antonio Sergio Bessa
Not Sound Johanna Drucker
The Sound Shape of the Visual: Toward a Phenomenology
of an Interface Ming-Qian Ma
Visual Experiment and Oral Performance Brian M. Reed
Postlude: I Love Speech Kenneth Goldsmith
List of Contributors
Index
Marjorie Perloff is the Sadie Dernham Patek Professor of Humanities Emerita at Stanford University and the Florence R. Scott Professor of English Emerita at the University of Southern California. She is the author of many books, including Poetics in a New Key and Unoriginal Genius, also published by the University of Chicago Press.
Craig Dworkin is professor of English at the University of Utah. He is the author of Reading the Illegible, No Medium, and Dictionary Poetics, as well as ten books of poetry, most recently, The Pine-Woods Notebook.
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