By Marjorie Perloff,Craig Dworkin
Sound—one of the imperative components of poetry—finds itself all yet overlooked within the present discourse on lyric varieties. The essays accumulated the following through Marjorie Perloff and Craig Dworkinbreak that serious silence to readdress a few of thefundamental connections among poetry and sound—connections that cross a ways past conventional metrical studies.
Ranging from medieval Latin lyrics to a cyborg opera, sixteenth-century France to twentieth-century Brazil, romantic ballads to the modern avant-garde, the members to The Sound of Poetry/The Poetry of Sound discover such matters because the translatability of lyric sound, the ancient and cultural roles of rhyme,the position of sound repetition in novelistic prose, theconnections among “sound poetry” and track, among the visible and the auditory, the function of the physique in functionality, and the influence of recording applied sciences at the lyric voice. alongside the way in which, the essaystake at 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 examining as a type of dubbing.
A really comparatist learn, The Sound of Poetry/The Poetry of Sound is designed to problem present preconceptions approximately what Susan Howe has known as “articulations of sound types in time” as they've got reworked the increased poetic box of the twenty-first century.
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