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Sound in literature. --- Metaphysics in literature. --- Poetics --- Sound poetry --- Music and literature --- Phonetic poetry --- Poesie sonore --- Sonorist rhythms (Poetry) --- Sound poems --- Poetry --- Sounds in literature --- History --- History and criticism. --- Stevens, Wallace, --- Technique.

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It has often been claimed that writing about music is like dancing about architecture. The general distrust of methods that combine or aggregate knowledge from different research fields, and therefore tend to elide or smooth out some of their particularities, may account for the paucity of critical writing dealing not only with the role of voice and song in poetry but also with the history of the interdependencies of verbal, textual and musical materials in the broader context of contemporary American literature. The purpose of this book is to develop an informed and imaginative understanding of the interrelationships between poetry and music in a way that reflects the diversity and richness of contemporary artistic practice in the US since the beginning of the 20th century. Related topics such as theories of representation, the aesthetics of rhythm, the material production of literature and music, the links between poetry, politics and popular culture, the making of music from literary texts, or literature from musical models, all provide the focus for a study that deals with the theoretical and practical interrelationships between poetry and music.

Amerikaanse letterkunde --- Littérature américaine --- Musique --- Muziek --- American poetry --- Sound poetry --- Music --- Music and literature --- Sound in literature --- History and criticism --- History --- Phonetic poetry --- Poesie sonore --- Sonorist rhythms (Poetry) --- Sound poems --- Poetry --- Sounds in literature --- American poetry - 20th century - History and criticism --- Sound poetry - History and criticism --- Music - United States - 20th century - History and criticism --- Music and literature - History - 20th century --- Poésie américaine --- Musique dans la littérature --- Musique et littérature --- 20e siècle --- États-unis --- Histoire et critique

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Sonosyntactics introduces the reader to over forty-five years of Paul Dutton’s diverse and inventive poetry, ranging from lyrics, prose poems, and visual work to performance texts and scores. Perhaps best known for his acclaimed solo sound performances and his contributions to the iconic sound poetry group The Four Horsemen, Dutton is a surprising, witty, sensitive, and innovative explorer of language and of the human. This volume gathers a representative selection of his most significant and characteristic poetry together with a generous selection of uncollected new work. Sonosyntactics demonstrates Dutton’s willingness to (re)invent and stretch language and to listen for new possibilities while at the same time engaging with his perennial concerns—love, sex, music, time, thought, humour, the materiality of language, and poetry itself. Gary Barwin’s introduction outlines the major subjects and techniques of Dutton’s poetry: an intricate weaving of thought and language, sound and emotion, sound and sense, and the unfolding of a text through the logic of language play such as puns, paradoxes, ambiguity, and sound relations. In an afterword by Dutton himself, the poet insightfully lays out the terms of his engagement with the materiality—both visual and aural—of language, often beyond the purely recountable, representational, or depictive.

Canadian poetry --- Canadian poetry --- 21st century. --- Canadian literature. --- Canadian poetry. --- Four Horsemen. --- Gary Barwin. --- Paul Dutton. --- concrete poetry. --- dirty concrete. --- experimental poetry. --- jazz poetry. --- lyric poetry. --- narrative poetry. --- poetry. --- prose poetry. --- serial poetry. --- sound poetry. --- typewriter art. --- typewriter poetry. --- vispo. --- visual poetry.

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The previous two volumes of this acclaimed anthology set forth a globally decentered revision of twentieth-century poetry from the perspective of its many avant-gardes. Now editors Jerome Rothenberg and Jeffrey C. Robinson bring a radically new interpretation to the poetry of the preceding century, viewing the work of the romantic and post-romantic poets as an international, collective, often utopian enterprise that became the foundation of experimental modernism. Global in its range, volume three gathers selections from the poetry and manifestos of canonical poets, as well as the work of lesser-known but equally radical poets. Defining romanticism as experimental and visionary, Rothenberg and Robinson feature prose poetry, verbal-visual experiments, and sound poetry, along with more familiar forms seen here as if for the first time. The anthology also explores romanticism outside the European orbit and includes ethnopoetic and archaeological works outside the literary mainstream. The range of volume three and its skewing of the traditional canon illuminate the process by which romantics and post- romantics challenged nineteenth-century orthodoxies and propelled poetry to the experiments of a later modernism and avant-gardism.

Poetry, Modern. --- Poetry. --- Poems --- Poetry --- Verses (Poetry) --- Literature --- Modern poetry --- Philosophy --- Poetry, Modern.. --- alfred tennyson. --- charles darwin. --- christina rossetti. --- discussion books. --- edgar allan poe. --- elizabeth barrett browning. --- emily dickinson. --- henry wadsworth longfellow. --- herman melville. --- international poetry. --- jean jacques rousseau. --- johann wolfgang von goethe. --- john keats. --- literary. --- mary robinson. --- percy bysshe shelley. --- poetry and poets. --- poetry anthology. --- post romantic poetry. --- prose poetry. --- ralph waldo emerson. --- robert burns. --- romantic poetry. --- sound poetry. --- victor hugo. --- walt whitman. --- william blake. --- william wordsworth.