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The Poetics of Noise from Dada to Punk par John Melillo (anglais) livre de poche

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Numéro de l'objet eBay :386080522234

Dernière mise à jour : mars 06, 2024 06:29:15 HNEAfficher toutes les modificationsAfficher toutes les modifications

Caractéristiques de l'objet

État: Entièrement neuf: Un livre neuf, non lu, non utilisé et en parfait état, sans aucune page manquante ...

ISBN-13: 9781501373725

Book Title: The Poetics of Noise from Dada to Punk

ISBN: 9781501373725

Publication Year: 2022

Type: Textbook

Format: Trade Paperback

Language: English

Publication Name: Poetics of Noise from Dada to Punk

Item Height: 0.4in

Author: John Melillo

Item Length: 9in

Publisher: Bloomsbury Publishing

Item Width: 6in

Item Weight: 10.1 Oz

Number of Pages: 208 Pages

À propos de ce produit

Product Information

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.

Product Identifiers

Publisher

Bloomsbury Publishing

ISBN-10

1501373722

ISBN-13

9781501373725

eBay Product ID (ePID)

13050380009

Product Key Features

Author

John Melillo

Publication Name

Poetics of Noise from Dada to Punk

Format

Trade Paperback

Language

English

Publication Year

2022

Type

Textbook

Number of Pages

208 Pages

Dimensions

Item Length

9in

Item Height

0.4in

Item Width

6in

Item Weight

10.1 Oz

Additional Product Features

Lc Classification Number

Pn1083.N65m45 2022

Reviews

"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 lets 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, 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., 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

Topic

General, Poetry

Dewey Decimal

809.1

Dewey Edition

Genre

Literary Criticism, Music

Description de l'objet du vendeur

Le vendeur assume l'entière responsabilité de cette annonce.

Numéro de l'objet eBay :386080522234

Dernière mise à jour : mars 06, 2024 06:29:15 HNEAfficher toutes les modificationsAfficher toutes les modifications

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