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The physiology of "song" :Sound, meaning, and politics in "objectivist" poetics (Louis Zukofsky, Basil Bunting, Lorine Niedecker).

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	The physiology of "song" :
其他題名:	Sound, meaning, and politics in "objectivist" poetics (Louis Zukofsky, Basil Bunting, Lorine Niedecker).
作者:	Scott, David Giles.
面頁冊數:	269 p.
附註:	Advisers: Marjorie Perloff; Robert Kaufman.
附註:	Source: Dissertation Abstracts International, Volume: 64-09, Section: A, page: 3297.
Contained By:	Dissertation Abstracts International64-09A.
標題:	Literature, American.
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3104141
ISBN:	0496517090

The physiology of "song" :Sound, meaning, and politics in "objectivist" poetics (Louis Zukofsky, Basil Bunting, Lorine Niedecker).
Scott, David Giles.

The physiology of "song" :Sound, meaning, and politics in "objectivist" poetics (Louis Zukofsky, Basil Bunting, Lorine Niedecker). [electronic resource] - 269 p.

Advisers: Marjorie Perloff; Robert Kaufman.

Thesis (Ph.D.)--Stanford University, 2003.

Louis Zukofsky, Basil Bunting, and Lorine Niedecker are most commonly and mistakenly thought of as 1930s and 1940s poets grouped together under the label "Objectivist." They are less commonly regarded as engaged with the social and political crises of the 1960s, nor as poets whose writing engages in significant ways with the body. This dissertation begins from the premiss that their work seeks to embody sound as an activation of physiological processes so that the body enters the poetic space not as metaphoric possibility but as actualized participant in the activity of poetic meaning-making. All three poets use sound as a means for extending conceptual frameworks for how meaning might be constructed in order to re-conceptualize the nexus where mind, body, world, and language intersect. Their re-configuration of poetic space engenders crucial significance as a poetic and ethical gesture that binds within it political ramifications.

ISBN: 0496517090Subjects--Topical Terms:

212571
Literature, American.

The physiology of "song" :Sound, meaning, and politics in "objectivist" poetics (Louis Zukofsky, Basil Bunting, Lorine Niedecker).
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520 # $a Louis Zukofsky, Basil Bunting, and Lorine Niedecker are most commonly and mistakenly thought of as 1930s and 1940s poets grouped together under the label "Objectivist." They are less commonly regarded as engaged with the social and political crises of the 1960s, nor as poets whose writing engages in significant ways with the body. This dissertation begins from the premiss that their work seeks to embody sound as an activation of physiological processes so that the body enters the poetic space not as metaphoric possibility but as actualized participant in the activity of poetic meaning-making. All three poets use sound as a means for extending conceptual frameworks for how meaning might be constructed in order to re-conceptualize the nexus where mind, body, world, and language intersect. Their re-configuration of poetic space engenders crucial significance as a poetic and ethical gesture that binds within it political ramifications.
520 # $a Through a detailed examination of the poets' use of varied phonemic structures and forms of poetic cadence and measure, this dissertation makes clear that ideas of poetic musicality and song need to be extended in order to include not only melody and metrical sophistication, but also a study of how poetic form engages in the physiological process of active linguistic production. Similarly, largely dualistic debates surrounding the nexus of poetic sound and meaning need to expand to include the additional component of physicality. By placing concrete, formal, and physiological analyses in historical and literary-critical contexts, it becomes clear that the redefinition of poetic limits brought about by these poets also redefines the means for situating and conceptualizing poetry as a political force. Taking Zukofsky, Bunting, and Niedecker in turn, the dissertation moves from a study of their formal engagements with sound as aspects of the body felt as song, dance, and reflective stillness, to analytical conclusions that demonstrate how the invigoration of poetry as a physical and physiological mechanism allows for new and productive encounters with the social and political crises that inflected the 1960s as a historical period. Their work energizes poetic and mental space as engaged in physiological as well as intellectual activity.
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