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Close Listening : Poetry and the Performed Word

By: Bernstein, Charles.
Material type: TextTextSeries: eBooks on Demand.Publisher: Oxford : Oxford University Press, USA, 1998Description: 1 online resource (401 p.).ISBN: 9780195355079.Subject(s): American poetry -- History and criticism | English poetry -- History and criticism | PoeticsGenre/Form: Electronic books.Additional physical formats: Print version:: Close Listening : Poetry and the Performed WordDDC classification: 808.1 LOC classification: PN1042 .C46 1998Online resources: Click here to view this ebook.
Contents:
Contents; Contributors; Introduction; I. SOUND'S MEASURES; 1 Letter on Sound; 2 The Aural Ellipsis and the Nature of Listening in Contemporary Poetry; 3 Praxis: A Political Economy of Noise and Information; 4 After Free Verse: The New Nonlinear Poetries; 5 Ether Either; II. PERFORMING WORDS; 6 Visual Performance of the Poetic Text; 7 Voice in Extremis; 8 Toward a Poetics of Polyphony and Translatability; 9 Speech Effects: The Talk as a Genre; 10 Sound Reading; III. CLOSE HEARINGS/HISTORICAL SETTINGS; 11 Understanding the Sound of Not Understanding; 12 The Contemporary Poetry Reading
13 Neon Griot: The Functional Role of Poetry Readings in the Black Arts Movement14 Was That "Different," "Dissident" or "Dissonant"? Poetry (n) the Public Spear: Slams, Open Readings, and Dissident Traditions; 15 Local Vocals: Hawaiis Pidgin Literature, Performance, and Postcoloniality; Afterword: Who Speaks: Ventriloquism and the Self in the Poetry Reading; Audio Resources; Bibliography
Summary: Close Listening brings together seventeen strikingly original essays, especially written for this volume, on the poetry reading, the sound of poetry, and the visual performance of poetry. While the performance of poetry is as old as poetry itself, critical attention to modern and postmodern poetry performance has been surprisingly slight. This volume, featuring work by critics and poets such as Marjorie Perloff, Susan Stewart, Johanna Drucker, Dennis Tedlock, and Susan Howe, is the first comprehensive introduction to the ways in which twentieth-century poetry has been practiced as a performance art. From the performance styles of individual poets and types of poetry to the relation of sound to meaning, from historical and social approaches to poetry readings to new imaginations of prosody, the entries gathered here investigate a compelling range of topics for anyone interested in poetry. Taken together, these essays encourage new forms of "close listenings"--not only to the printed text of poems but also to tapes, performances, and other expressions of the sounded and visualized word. The time is right for such a volume: with readings, spoken word events, and the Web gaining an increasing audience for poetry, Close Listening opens a number of new avenues for the critical discussion of the sound and performance of poetry.
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PN1042 .C46 1998 (Browse shelf) http://uttyler.eblib.com/patron/FullRecord.aspx?p=728829 Available EBL728829

Contents; Contributors; Introduction; I. SOUND'S MEASURES; 1 Letter on Sound; 2 The Aural Ellipsis and the Nature of Listening in Contemporary Poetry; 3 Praxis: A Political Economy of Noise and Information; 4 After Free Verse: The New Nonlinear Poetries; 5 Ether Either; II. PERFORMING WORDS; 6 Visual Performance of the Poetic Text; 7 Voice in Extremis; 8 Toward a Poetics of Polyphony and Translatability; 9 Speech Effects: The Talk as a Genre; 10 Sound Reading; III. CLOSE HEARINGS/HISTORICAL SETTINGS; 11 Understanding the Sound of Not Understanding; 12 The Contemporary Poetry Reading

13 Neon Griot: The Functional Role of Poetry Readings in the Black Arts Movement14 Was That "Different," "Dissident" or "Dissonant"? Poetry (n) the Public Spear: Slams, Open Readings, and Dissident Traditions; 15 Local Vocals: Hawaiis Pidgin Literature, Performance, and Postcoloniality; Afterword: Who Speaks: Ventriloquism and the Self in the Poetry Reading; Audio Resources; Bibliography

Close Listening brings together seventeen strikingly original essays, especially written for this volume, on the poetry reading, the sound of poetry, and the visual performance of poetry. While the performance of poetry is as old as poetry itself, critical attention to modern and postmodern poetry performance has been surprisingly slight. This volume, featuring work by critics and poets such as Marjorie Perloff, Susan Stewart, Johanna Drucker, Dennis Tedlock, and Susan Howe, is the first comprehensive introduction to the ways in which twentieth-century poetry has been practiced as a performance art. From the performance styles of individual poets and types of poetry to the relation of sound to meaning, from historical and social approaches to poetry readings to new imaginations of prosody, the entries gathered here investigate a compelling range of topics for anyone interested in poetry. Taken together, these essays encourage new forms of "close listenings"--not only to the printed text of poems but also to tapes, performances, and other expressions of the sounded and visualized word. The time is right for such a volume: with readings, spoken word events, and the Web gaining an increasing audience for poetry, Close Listening opens a number of new avenues for the critical discussion of the sound and performance of poetry.

Description based upon print version of record.

Author notes provided by Syndetics

Charles Bernstein is David Gray Professor of Poetry and Letters at the State University of New York, Buffalo. His books of essays and poems include Content's Dream: Essays 1975-1984, A Poetics, Republics of Reality: Poems 1975-1995, Dark City, and The Sophist. He also edited The Politics of Poetic Form: Poetry and Public Policy and coedited L=A=N=G=U=A=G=E.

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