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Das vorliegende Buch erzählt die Geschichte der Hörlyrik, eine Gattung, die im digitalen Zeitalter insbesondere durch das Berliner Portal Lyrikline sowie die US-amerikanischen Portale PennSound und UbuWeb bekannt geworden ist. Vor dem Hintergrund der in diesen weltweit größten Webseiten für Hörlyrik abrufbaren Originallesungen zeigt das Buch, wie stark moderne Lyrik gerade in Deutschland von der US-amerikanischen Moderne geprägt wurde. Denn große Dichter dieser Moderne wie etwa Ezra Pound, William Carlos Williams, Charles Olson oder John Ashbery entwickelten eine von Reim und Metrik befreite lyrische Form, die sich an Prosarhythmen, Alltagssprache oder Musikstilen wie Jazz orientierte, und deren Einfluss in Deutschland bis heute enorm ist. Um diese neuen lyrischen Ausdrucksformen nachvollziehbar zu machen, geht dieses Buch neue Wege. Es ist interaktiv, da man es beim Lesen auch hören kann. Wenn man mit der Kamera-App eines Smartphones den neben den diskutierten Gedichten platzierten QR-Code ausliest, lässt sich jedes Gedicht in einer Originallesung auch hören. Zudem stellt dieses Buch mit der "free verse prosody" eine bisher in Deutschland kaum bekannte Theorie vor, anhand derer sich freirhythmische Lyrik auch und vor allem in gelesener Form erstmals genauer verstehen lässt.
Hörlyrik --- freie Versprosodie --- Dichterlesungen --- freirhythmische Lyrik --- Lyrikübersetzung --- audio poetry --- free verse prosody --- poetry readings --- free rhythmic poetry --- poetry translations
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Through close readings of poems covering the span of Georg Trakl's lyric output, this study traces the evolution of his strangely mild and beautiful vision of the end of days.
Trakl, Georg, --- Trakël, Georg, --- Criticism and interpretation. --- Trakl, Georg --- Trakël, Georg --- LITERARY CRITICISM / European / German. --- Gentle Apocalypse. --- Georg Trakl. --- Meaning. --- Poetry. --- Truth. --- affective dimensions. --- apocalyptic vision. --- biographical context. --- close readings. --- cosmological dimensions. --- cultural context. --- ethical dimensions. --- historical dimensions. --- intimate poetry. --- rustic imagery. --- social dimensions. --- twentieth-century poetry. --- universal disintegration. --- worldview.
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The printed poetry anthologies first produced in sixteenth-century England have long been understood as instrumental in shaping the history of English poetry. This book offers a fresh approach to this history by turning attention to the recreative properties of these books, both in the sense of making again, of crafting and recrafting, and of poetry as a pleasurable pastime. The model of materiality employed extends from books-as-artefacts to their embodiedness - their crafted, performative, and expressive capacities. Publishers invariably advertised the recreational uses of anthologies, locating these books in early modern performance cultures in which poetry was read, silently and in company, sometimes set to music, and re-crafted into other forms. Engaging with studies of material cultures, including work on craft, households, and soundscapes, Crafting Poetry Anthologies argues for a domestic Renaissance in which anthologies travelled across social classes, shaping recreational cultures that incorporated men and women in literary culture.
Literature publishing --- Books and reading --- English poetry --- Anthologies --- Chrestomathies --- Collected papers (Anthologies) --- Collections (Anthologies) --- Papers, Collected (Anthologies) --- Readings (Anthologies) --- Appraisal of books --- Books --- Choice of books --- Evaluation of literature --- Literature --- Reading, Choice of --- Reading and books --- Reading habits --- Reading public --- Reading --- Reading interests --- Reading promotion --- Literary publishing --- Publishers and publishing --- History --- History and criticism. --- Publishing --- Appraisal --- Evaluation
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