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• W265544497 abstract "The role of the Image In experimental poetry Is examined through an exploration of poetic reference to human sensory experience. From this vantage point, True Heritage differentiates Images from visual Images in poetry. THE TWENTIETH CENTURY witnessed a renaissance in the exploration of in poetry in Europe and North America. were several aspects to this renaissance, from its early canonical manifestations in Italian futurism, dadaism, and the other historical avant-gardes through the audio-tape phase of the 1940s and i95os (poesie concrete), on into the digital age. The return of performance in both large and small settings also occurred. At the same time, one should not fail to recognize the extra-canonical manifestations - popular musical forms, advertising, street rap, skat and the like a rich brew drawn upon freely by poets. In a sense, the resurgence of interest in in poetry constitutes a kind of reaction to the rigidity of printed language and the institutional ossifications it mediates. That is, inherent in these cultural forms lies a politics, always, usually well concealed whether or not foregrounded in terms of content. When I speak of sound in poetry, I am aware of the distinction between the human voice/body as real-time originator of the art, on the one hand, and technological extensions or substitutions of the voice, on the other hand. In what follows, I present a meditation on the seen as imbued with power; hence the need for a politically sensitive understanding of what might seem somewhat removed from matters of power. However, in my approach to the subject I want to make sure to include a broader spectrum of perspectives so as to enliven debates about the role of the in experimental poetry. They used to call the the music of language. Dante says: A canzone is a composition of words set to music. (Pound, 31) Pound also says, If a nation's literature declines, the nation atrophies and decays.(32) Another way of putting this is that when there is no common idiom or medium, there is no real nation as such, and this state of affairs will be reflected in literature. Pound again: . . you still charge words with meaning mainly in three ways, called phanopoeia, melopoeia, logopoeia. You use a word to throw a visual on to the reader's imagination, or you charge it by sound, or you used groups of words to do this.(37) He goes on to develop his notion of melopoeia, relevant to our discussion, as follows: There are three kinds of melopoeia, that is, verse made to sing; to chant or intone; and to speak.(61) What I take all this to mean is that poetry in its fullness as a living art comes to us embedded in structured sound. Only this way can the imagination be fully engaged. Therefore, printed poetry becomes a kind of performance score for the specific embodiment of these potential meanings during a particular realization of them, highlighting in another way what Blake calls the minute particulars. (Of course, there remains the question of the received conventions of structured - call it music, oralized poetry - and how they themselves have undergone radical transformations throughout the twentieth century, but to explore this would lead us off in another direction.) Yet none of this attempts to say just what the is. What about the visual image? It's clear that the link between the domains of and sight (vision) lies in the overlapping of the bridge term image (same morphological construct participating in two different discourses), which leads to confusion. Among the fruitful discussions of these matters are those of Ong, Zumthor and Mitchell. For example, in discussing the historical change-over from an aurally-based to a visually-based aesthetic, Ong says: The sensorial organization specific to any given time and culture may bring us to overspecialize in certain features of actuality and to neglect others. …" @default.
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• W265544497 date "2001-01-01" @default.
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• W265544497 title "The Sound Image in Experimental Poetry" @default.
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