Escaping place and materiality of language on the poem

2020 ◽  
Vol 38 ◽  
pp. 241-269
Author(s):  
jaehui Shim
Keyword(s):  
Materiality Of Language

„Raps“

POETICA ◽  
2020 ◽  
Vol 50 (3-4) ◽  
pp. 282-313
Author(s):  
Robert Stockhammer
Keyword(s):  
Climate Change ◽  
Present Article ◽  
Subject Matter ◽  
Literary Studies ◽  
Close Reading ◽  
Literary Traditions ◽  
Man And Nature ◽  
Cultivated Plant ◽  
Materiality Of Language

Abstract The recent controversy about the possibility of defining a new geological era called ‘Anthropocene’ has far-ranging consequences. The new notion forces us to rethink the dichotomy between the entities formerly referred to as men and nature and to conceive of their relation as an interrelation. The relevance of these considerations for literary studies is not limited to the anthropocene as a subject matter of literature, or to the possible use of literature as a means of enhancing the reader’s awareness of climate change. Rather, what is at stake is the relation of language to the new interrelation between man and nature, including the poetical and metalinguistic functions that emphasize the materiality of language. The present article explores the relation between the materiality of language and the materiality of things by way of a close reading of a single poem written by Marcel Beyer. Devoted to the cultivated plant rape, the literary traditions which this poem invokes reach beyond nature lyrics into georgic. An excursus recalls this genre of agriculture poetry and distinguishes it from pastoral, especially with regard to its use of language.

Yes, I Told Her in the Middle of ...

Maska ◽  
2016 ◽  
Vol 31 (177) ◽  
pp. 58-67
Author(s):  
Ixiar Rozas
Keyword(s):  
The Body ◽  
Transformative Power ◽  
Written Form ◽  
Materiality Of Language ◽  
The Relationship ◽  
The Voice

Drawing on fragments from the performance Plastika (2013), this article explores the relationship between text and voice, between a text and its voices. The voice that it deals with is both textual and oral, even though it reaches us in written form or as grafts, and it allows us to listen to more than just the materiality of language, the sonority of the words, and the grain of the voice, In this textual voice, which can be both poetic and performative, we can hear the uniqueness of a voice that exceeds meaning, escapes the body, and begins interating with other singular bodies, drives and disruptions of the transformative power of the voice and of language.

Resonance: Aeschylus' Persae and the Poetics of Sound

Ramus ◽  
2013 ◽  
Vol 42 (1-2) ◽  
pp. 122-137
Author(s):  
Sean Gurd
Keyword(s):  
Extreme Form ◽  
Great Fall ◽  
Absolute Music ◽  
Poetic Diction ◽  
Materiality Of Language ◽  
Narrative Framework

Scholars tend to agree that Aeschylus' choice of material for the Persae was overdetermined: the battle at Salamis and its lead-up constituted a moment of the highest trauma and pride for the Athenian demos, one that could be accommodated to a well-known narrative framework (that of great pride followed by a great fall) and exploited as an exploration of the relations between (Athenian) Greek and Persian other. But in this essay I propose to set aside the tragedy's ethical or ethno-political engagements. I want to focus instead on its auditory aesthetics—what it says about sound, and how it works with it. I think that the Persae is intensely and persistently engaged with sound; so much so, in fact, that at moments it comes closer than any other Athenian drama to a kind of ‘absolute’ music. In the final 40 lines of the play, for example, when extralinguistic cries increasingly predominate, the ‘script’ starts to read more like a score, prescribing the timbral and rhythmic part of a music whose pitches have been lost. Though I will not treat its engagements with the Persian ‘other’ directly, I do think that the Persae's interest in sound is related to its choice of setting and theme. Locating the action in Persia allowed Aeschylus to explore a poetic diction that could flirt with the thick edge of signification by invoking linguistic otherness; this facilitated a way of writing in which the materiality of language, that is, its status as sound, could become more palpable. In choosing to depict the Persian court as it learns the news of the defeat at Salamis, Aeschylus had the opportunity to represent an extreme form of lamentation, and by ideologically jacking up the stakes and transforming one military defeat into the fall of an empire, Aeschylus could go to the limits of language and beyond: the play ends with an extraordinary near-abandonment of signifying language in favour of non-verbal cries. Finally, Aeschylus' version of the battle of Salamis included the Greeks using sound as a psychological tactic; the story of the battle that is the kernel around which the play crystallised was itself a story of sound and its effects.

scholarly journals Perceiving the Materiality of Language in Teaching English Language Arts

2020 ◽  
Vol 1 (1) ◽  
pp. p61
Author(s):  
E.A. Gamini Fonseka, PhD
Keyword(s):  
Language Arts ◽  
English Language Arts ◽  
English Language ◽  
Holistic Approach ◽  
Teaching English ◽  
Life World ◽  
Language Arts Teachers ◽  
Verbal Language ◽  
Arts Teachers ◽  
Materiality Of Language

As language is the medium of an art or a configuration of arts focused on communication, it is indispensable to realize the materiality of language with its potential to interpret the numerous phenomena in the environment. Our individual microcosms filled with messages on various complex situations received through our sensory channels exist in terms of strings of verbal language that help to re-create them for communication in whatever fashion we want. We experience language in meaningful utterances that function in singles or clusters to represent the life world in numerous registers. Our expressions inspired by our experiences of the life world are communicated through words orchestrated in grammatically patterned sentences. Like in other forms of art, in English language arts, teachers and learners can behave with confidence, when they realize the substance they deal with as oral sounds that gradually evolve into syllables, morphemes, signs, symbols, metaphors, and images, which creatively represent the life world. Against this background, I intend to demonstrate here the relevance of perceiving the materiality of language under the framework of a multifaceted unity of several disciplines, namely, phonology, morphology, semiotics, rhetoric, and stylistics that altogether contribute to a holistic approach to language. A concrete perception of language achieved in this manner helps to recover the learning process not only from inhibition and anxiety but also from fossilization and ephemerality.

scholarly journals Book and Radio Play Silences: Medial Pauses and Reticence in ‘Murke's Collected Silences’ by Heinrich Böll

CounterText ◽  
2019 ◽  
Vol 5 (3) ◽  
pp. 352-370
Author(s):  
Mikko Keskinen
Keyword(s):  
Short Story ◽  
Sound Art ◽  
German Language ◽  
Materiality Of Language ◽  
Radio Play ◽  
Audio Media

This article analyses silence at the interface between print and audio media by reading and listening to Heinrich Böll's short story ‘Murke's Collected Silences’ (‘Doktor Murkes gesammeltes Schweigen’) in its book (1958) and three German-language radio play versions (1965; 1986; 1989). Reference is also made to Benjamin Gwilliam's sound art piece (2007) based on the 1986 adaptation. The Böll story thematises silence and media in various ways, and has definite countertextual aspects, in the sense of technology, textuality, and materiality of language. In the printed story, silence is either verbally named or typographically indicated, whereas the radio plays present or perform it. The comparison of the three silence-related scenes in the Murke radio plays shows considerable variation in the length and manner of pauses. The article considers the differences in receiving silence through print and audio media, and concludes that ‘Murke’ demonstrates, in both formats, that the medium is an integral part of the ‘message’, even the silent one.

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