This book examines sonic signals as something both heard internally and externally, through imagination, memory and direct response. In doing so it explores how the mind 'makes' sound through experience, as it interprets codes on the written page, and creates an internal leitmotif that then interacts with new sounds made through an aural partnership with the external world, chosen and involuntary exposure to music and sound messages, both friendly and antagonistic to the identity of the self. It creates an argument for sound as an underlying force that links us to the world we inhabit, an essential part of being in the same primal sense as the calls of birds and other inhabitants of a shared earth. Street argues that sound as a poetic force is part of who we are, linked to our visualisation and sense of the world, as idea and presence within us. This incredibly interdisciplinary book will be of great interest to scholars of radio, sound, media and literature as well as philosophy and psychology.
The essays collected here by Marjorie Perloff and Craig Dworkinbreak that critical silence to readdress some of thefundamental connections between poetry and sound—connections that go far beyond traditional metrical studies.
... as if they were news bulletins read over and over on the radio: “Word falling— Photo falling— Time falling—Break through in Grey Room” (104); “Shift linguals —Cut word lines—Vibrate tourists —Free doorways—Pinball led streets—Word ...
This book is a study of voice in poetry, beginning in the 1920s when modernism rose to the surface of poetry and other arts, and when radio expanded suddenly in the United States.
Edited by Thomas Hermann, Andy Hunt, and John G. Neuhoff. Berlin: Lagos Publishing House, 2011. Warner, Michael. Publics and Counterpublics. New York: Zone Books, 2005. Waters, Ethel, and Charles Samuels. His Eye Is on the Sparrow: An ...
... Lalula” (“The Great Lalula”)— a text to which Morgenstern himself once referred as a “phonetic rhapsody”— already veered in the direction of the more radical attempts at desemanticization that would become a Dadaist trademark roughly a ...
" As Poet Laureate, Pinsky is one of America's best spokesmen for poetry. In this fascinating book, he explains how poets use the "technology" of poetry--its sounds--to create works of art that are "performed" in us when we read them aloud.
Disregard Jonathan Harker's note-epigraph to the novel Bram (Abraham) Stoker first titled The Un-dead; the count and the money are no longer, never have been, the author's property. Supposedly crumbled to dust and passed from sight ...
Although virtually unknown in his lifetime, Gerard Manley Hopkins (1844-1889) is counted today among the great nineteenth-century poets. His poetry was collected and published posthumously by his friend Robert Bridges...
This book is a collection of studies providing a unique view on two central aspects of poetry: sounds and emotive qualities, with emphasis on their interactions.
Recognizing the seemingly universal notion of a grammatical cosmos, this volume addresses the question of how grammar and culturally encoded sounds and signs provide cognitive maps of reality in a variety of great civilizations.