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Close Listening: Poetry and the Performed Word
Average customer rating: 5 out of 5 stars
  • Publisher's summary of contents
Close Listening: Poetry and the Performed Word

Manufacturer: Oxford University Press, USA
ProductGroup: Book
Binding: Paperback

GeneralGeneral | Classics | United States | World Literature | Literature & Fiction | Subjects | Books
GeneralGeneral | History & Criticism | United States | World Literature | Literature & Fiction | Subjects | Books
GeneralGeneral | Literature & Fiction | Subjects | Books | Classics | Comic | Contemporary | Literary
GeneralGeneral | Criticism & Theory | History & Criticism | Literature & Fiction | Subjects | Books
GeneralGeneral | Poetry | Literature & Fiction | Subjects | Books
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Logic & LanguageLogic & Language | Philosophy | Nonfiction | Subjects | Books
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ASIN: 0195109929

Book Description

Close Listening and the Performed Word brings together seventeen strikingly original essays, especially written for this volume, on the poetry reading, the sounds 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 negligible. This collection opens many new avenues for the critical discussion of the sound and performance of poetry, with special attention to innovative work. More important, the essays collected here offer brilliant and wide-ranging elucidations of how twentieth-century poetry has been practiced as a performance art. The contributors--including Marjorie Perloff, Susan Stewart, Johanna Drucker, Dennis Tedlock, and Susan Howe--cover topics that range 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 and to new imaginations of prosody. Such approaches are intended to 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 word. With readings and "spoken word" events gaining an increasing audience for poetry, Close Listening provides an indispensable critical groundwork for understanding the importance of language in--and as--performance.

Customer Reviews:

5 out of 5 stars Publisher's summary of contents.......1998-06-07

*

From the publisher:

Close Listening and the Performed Word brings together seventeen essays, especially written for this volume, on the poetry reading, the sounds 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 negligible. This collection opens many new avenues for the critical discussion of the sound and performance of poetry, with special attention to innovative work. More important, the essays collected here offer wide-ranging elucidations of how twentieth-century poetry has been practiced as a performance art. The contributors cover topics that range 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 and to new imaginations of prosody. Such approaches are intended to 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 word. With readings and "spoken word" events gaining an increasing audience for poetry, Close Listening provides an indispensable critical groundwork for understanding the importance of language in--and as--performance.

Contents: Charles Bernstein, Introduction

Sound's Measures

Susan Stewart, Letter on Sound

Nick Piombino, The Aural Ellipsis and the Nature of Listening in Contemporary Poetry

Bruce Andrews, Praxis: A Political Economy of Noise and Informalism

Marjorie Perloff, After Free-Verse: The New Non-Linear Poetries

Susan Howe, Either/Ether

Performing Words

Johanna Drucker, Visual Performance of the Poetic Text Steve McCaffery, Voice in Extremis

Dennis Tedlock, Toward a Poetics of Polyphony and Translatability

Bob Perelman, Speech Effects: The Talk as Genre

Peter Quartermain, Sound Reading

Close Hearings / Historical Settings

Jed Rasula, Understanding the Sound of Not Understanding

Peter Middleton, The Contemporary Poetry Reading

Lorenzo Thomas, Neon Griot: The Functional Role of Poetry Readings in the Black Arts Movement

Maria Damon, Was that "Different," "Dissident" or "Dissonant"? Poetry (n) the Public Speak: Slams, Open Readings and Dissident Traditions

Susan Schultz, Local Vocals: Hawai'i's Pidgin Literature, Performance, and Postcoloniality

Afterword

Ron Silliman, Who Speaks: Ventriloquism and the Self in the Poetry Reading

Close Listening : Poetry and the Performed Word
Average customer rating: Not rated
    Close Listening : Poetry and the Performed Word
    Charles Bernstein
    Manufacturer: NY
    ProductGroup: Book
    Binding: Paperback
    ASIN: B000MUF9AE
    Close Listening : Poetry and the Performed Word
    Average customer rating: Not rated
      Close Listening : Poetry and the Performed Word
      Charles Bernstein
      Manufacturer: Oxford University Press
      ProductGroup: Book
      Binding: Paperback
      ASIN: B000OKKWGI

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