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The Poetics of Noise from Dada to Punk

Autor John Melillo
en Limba Engleză Hardback – 2 sep 2020
By reinterpreting 20th-century poetry as a listening to and writing through noise, The Poetics of Noise from Dada to Punk constructs a literary history of noise through poetic sound and performance. This book traces how poets figure noise in the disfiguration of poetic voice. Materializing in the threshold between the heard and the unheard, noise emerges in the differentiation and otherness of sound. It arises in the folding of an "outside" into the "inside" of poetic performance both on and off the page. Through a series of case studies ranging from verse by ear-witnesses to the First World War, Dadaist provocations, jazz modernist song and poetry, early New York City punk rock, contemporary sound poetry, and noise music, The Poetics of Noise from Dada to Punk describes productive failures of communication that theorize listening against the grain of sound's sense.
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Specificații

ISBN-13: 9781501359910
ISBN-10: 1501359916
Pagini: 208
Dimensiuni: 152 x 229 x 19 mm
Greutate: 0.45 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:New York, United States

Caracteristici

Discusses the way in which the verbal art of poetry fits into studies of sound, noise, and contemporary music.

Notă biografică

John Melillo is Associate Professor of English at the University of Arizona, USA. He researches and teaches modern and contemporary literature, poetry, and sound studies. Melillo also makes noise/music under the name Algae & Tentacles.

Cuprins

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

Recenzii

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.'
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.
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.