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Die Poetik des Lärms von Dada bis Punk von John Melillo (englisch) Hardcover-Buch-
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Artikelmerkmale
- Artikelzustand
- ISBN-13
- 9781501359910
- Book Title
- The Poetics of Noise from Dada to Punk
- ISBN
- 9781501359910
- Subject Area
- Literary Criticism, Music
- Publication Name
- Poetics of Noise from Dada to Punk
- Item Length
- 9 in
- Publisher
- Bloomsbury Publishing
- Subject
- General, Poetry
- Publication Year
- 2020
- Type
- Textbook
- Format
- Hardcover
- Language
- English
- Item Height
- 0.5 in
- Item Width
- 6 in
- Item Weight
- 15.9 Oz
- Number of Pages
- 208 Pages
Über dieses Produkt
Product Information
Reinterpreting the history of 20th-century poetry as a listening to and writing through noise, The Poetics of Noise from Dada to Punk constructs a history of noise through poetry and poetic performance. It argues that poetry--conceived as a sound art practiced by writers, lyricists, performers, producers, and other sound-writers--continuously figures and refigures noise in relation to communication, meaning, and voice. In many cases, this figuration forms in the negative, as listeners cast out or ignore noise in the name of communication or poetic voice. In other cases, however, poets actively write and perform the sound of noise, and attempt to reimagine the ways of listening that structure what counts as significant or insignificant sound. Rather than suggesting that poets simply overturn the hierarchical binary between signal and noise, Melillo listens for the ways in which they implicitly and explicitly theorize listening, mediation, and responsibility through their figurations of noise.
Product Identifiers
Publisher
Bloomsbury Publishing
ISBN-10
1501359916
ISBN-13
9781501359910
eBay Product ID (ePID)
7038386697
Product Key Features
Publication Name
Poetics of Noise from Dada to Punk
Format
Hardcover
Language
English
Subject
General, Poetry
Publication Year
2020
Type
Textbook
Subject Area
Literary Criticism, Music
Number of Pages
208 Pages
Dimensions
Item Length
9 in
Item Height
0.5 in
Item Width
6 in
Item Weight
15.9 Oz
Additional Product Features
LCCN
2020-009107
Lc Classification Number
Pn1083.N65m45 2020
Reviews
"Cueing up a major new track within sound studies, John Melillo declares that noise is a crucial figure in 20th-century poetry and music--as well as an interruption to figuration. Through resonant soundings of war poetry, Dada, modernism's thunder, and later experiments, this coup of close-listening provides ear-witness to the period's disturbing 'undersound.'" -- Lesley Wheeler, Henry S. Fox Professor of English, Washington and Lee University, USA, and author of Voicing American Poetry (2008) and Poetry's Possible Worlds (2021) "In a study both wide-ranging and meticulous, John Melillo demonstrates that poetry's turn away from the communicative function does not merely embrace noise over message, but rather refigures the entire relationship between such concepts. In the process, he rearticulates the history of modern poetry and the very status of the reader; such reconfigured relationships, as he argues, are the very hallmarks of the power of noise itself. This is thus a wonderfully noisy book." -- Craig Dworkin, Professor of English, University of Utah, USA, and author of Dictionary Poetics: Toward a Radical Lexicography (2020), The book is by no means a philosophy of sound, noise or sound/noise, but rather an exegesis and hermeneutics of sound-making work (which is what Melillo considers poetry to be) and the important noise(s) thus revealed. It also contains a dose of exegesis's opposite, eisegesis, a drawing-in rather than out, of deeply subjective, if zeitgeisty, opinion from certain areas of academia ... This reviewer will think differently now of some of the sounds he and others make. The rest is/not noise., "Cueing up a major new track within sound studies, John Melillo declares that noise is a crucial figure in 20th-century poetry and music--as well as an interruption to figuration. Through resonant soundings of war poetry, Dada, modernism's thunder, and later experiments, this coup of close-listening provides ear-witness to the period's disturbing 'undersound.'" -- Lesley Wheeler, Henry S. Fox Professor of English, Washington and Lee University, USA, and author of Voicing American Poetry (2008) and Poetry's Possible Worlds (2021), Noise, in John Melillo's account, is a defining feature of radical modernist and postwar poetics. But not noise as entropy. This book explores noise as expressive of what's beyond mundane sense, the noise heard by Owen and Sassoon on the killing field of World War 1. Staged at the Cabaret Voltaire, with Tristan Tzara, Hugo Ball, Amiri Baraka, John Cage, Langston Hughes, Olson, Tracie Morris, Richard Hell and Susan Howe as guides, Melillo let's noise stay noisy., Cueing up a major new track within sound studies, John Melillo declares that noise is a crucial figure in 20th-century poetry and music--as well as an interruption to figuration. Through resonant soundings of war poetry, Dada, modernism's thunder, and later experiments, this coup of close-listening provides ear-witness to the period's disturbing 'undersound.', In a study both wide-ranging and meticulous, John Melillo demonstrates that poetry's turn away from the communicative function does not merely embrace noise over message, but rather refigures the entire relationship between such concepts. In the process, he rearticulates the history of modern poetry and the very status of the reader; such reconfigured relationships, as he argues, are the very hallmarks of the power of noise itself. This is thus a wonderfully noisy book., "The book is by no means a philosophy of sound, noise or sound/noise, but rather an exegesis and hermeneutics of sound-making work (which is what Melillo considers poetry to be) and the important noise(s) thus revealed. It also contains a dose of exegesis's opposite, eisegesis, a drawing-in rather than out, of deeply subjective, if zeitgeisty, opinion from certain areas of academia ... This reviewer will think differently now of some of the sounds he and others make. The rest is/not noise." -- Leonardo Reviews "Cueing up a major new track within sound studies, John Melillo declares that noise is a crucial figure in 20th-century poetry and music--as well as an interruption to figuration. Through resonant soundings of war poetry, Dada, modernism's thunder, and later experiments, this coup of close-listening provides ear-witness to the period's disturbing 'undersound.'" -- Lesley Wheeler, Henry S. Fox Professor of English, Washington and Lee University, USA, and author of Voicing American Poetry (2008) and Poetry's Possible Worlds (2021) "In a study both wide-ranging and meticulous, John Melillo demonstrates that poetry's turn away from the communicative function does not merely embrace noise over message, but rather refigures the entire relationship between such concepts. In the process, he rearticulates the history of modern poetry and the very status of the reader; such reconfigured relationships, as he argues, are the very hallmarks of the power of noise itself. This is thus a wonderfully noisy book." -- Craig Dworkin, Professor of English, University of Utah, USA, and author of Dictionary Poetics: Toward a Radical Lexicography (2020) "Noise, in John Melillo's account, is a defining feature of radical modernist and postwar poetics. But not noise as entropy. This book explores noise as expressive of what's beyond mundane sense, the noise heard by Owen and Sassoon on the killing field of World War 1. Staged at the Cabaret Voltaire, with Tristan Tzara, Hugo Ball, Amiri Baraka, John Cage, Langston Hughes, Olson, Tracie Morris, Richard Hell and Susan Howe as guides, Melillo let's noise stay noisy." -- Charles Bernstein, author of Near/Miss (2018) and Pitch of Poetry (2016) and recipient of 2019 Bollingen Award for lifetime achievement in poetry, "Cueing up a major new track within sound studies, John Melillo declares that noise is a crucial figure in 20th-century poetry and music--as well as an interruption to figuration. Through resonant soundings of war poetry, Dada, modernism's thunder, and later experiments, this coup of close-listening provides ear-witness to the period's disturbing 'undersound.'" -- Lesley Wheeler, Henry S. Fox Professor of English, Washington and Lee University, USA, and author of Voicing American Poetry (2008) and Poetry's Possible Worlds (2021) "In a study both wide-ranging and meticulous, John Melillo demonstrates that poetry's turn away from the communicative function does not merely embrace noise over message, but rather refigures the entire relationship between such concepts. In the process, he rearticulates the history of modern poetry and the very status of the reader; such reconfigured relationships, as he argues, are the very hallmarks of the power of noise itself. This is thus a wonderfully noisy book." -- Craig Dworkin, Professor of English, University of Utah, USA, and author of Dictionary Poetics: Toward a Radical Lexicography (2020) "Noise, in John Melillo's account, is a defining feature of radical modernist and postwar poetics. But not noise as entropy. This book explores noise as expressive of what's beyond mundane sense, the noise heard by Owen and Sassoon on the killing field of World War 1. Staged at the Cabaret Voltaire, with Tristan Tzara, Hugo Ball, Amiri Baraka, John Cage, Langston Hughes, Olson, Tracie Morris, Richard Hell and Susan Howe as guides, Melillo let's noise stay noisy." -- Charles Bernstein, author of Near/Miss (2018) and Pitch of Poetry (2016) and recipient of 2019 Bollingen Award for lifetime achievement in poetry
Table of Content
Introduction 1. (Re)Versing Noise: Ear-Witness, Metrical Form, and the Western Front 2. Dada Bruitism and the Body3. The Persistence of "That Da-Da Strain": The Modernist Travels of "Da"4. Projective Versification, Sound Recording, and Technologizing the Body5. Noise and the City: Writing and Punk Performance, 1965-19806. Noise Music, Noise History: Articulations of Sound Forms in Time Notes Bibliography
Target Audience
College Audience
Dewey Decimal
809.1
Dewey Edition
23
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