20th century
A01=Tobias Wilke
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art
articulate
articulation
artists
Author_Tobias Wilke
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avant-garde
bodily production
Category1=Non-Fiction
Category=AB
charles olson
COP=United States
cultural studies
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elocution
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experimental
experiments
expression
hugo ball
kurt schwitters
Language_English
linguistics
literary study
literature
marshall mcluhan
modernism
modernity
PA=Available
phonetics
physical speech
physiology
poems
poetic language
poetics
poetry
poets
Price_€50 to €100
PS=Active
raoul hausmann
softlaunch
sound
spoken word
viktor shklovsky
vocal
voice
writers
Product details
- ISBN 9780226817750
- Weight: 513g
- Dimensions: 152 x 229mm
- Publication Date: 22 Apr 2022
- Publisher: The University of Chicago Press
- Publication City/Country: US
- Product Form: Hardback
- Language: English
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Considers the avant-garde rethinking of poetic language in terms of physical speech production.
Avant-garde writers and artists of the twentieth century radically reconceived poetic language, appropriating scientific theories and techniques as they turned their attention to the physical process of spoken language. This modernist “sound writing” focused on the bodily production of speech, which it rendered in poetic, legible, graphic form.
Modernist sound writing aims to capture the acoustic phenomenon of vocal articulation by graphic means. Tobias Wilke considers sound writing from its inception in nineteenth-century disciplines like physiology and experimental phonetics, following its role in the aesthetic practices of the interwar avant-garde and through to its reemergence in the postwar period. These projects work with the possibility of crossing over from the audible to the visible, from speech to notation, from body to trace. Employing various techniques and concepts, this search for new possibilities played a central role in the transformation of poetry into a site of radical linguistic experimentation. Considering the works of writers and artists—including Raoul Hausmann, Kurt Schwitters, Viktor Shklovsky, Hugo Ball, Charles Olson, and Marshall McLuhan—Wilke offers a fresh look at the history of the twentieth-century avant-garde.
Avant-garde writers and artists of the twentieth century radically reconceived poetic language, appropriating scientific theories and techniques as they turned their attention to the physical process of spoken language. This modernist “sound writing” focused on the bodily production of speech, which it rendered in poetic, legible, graphic form.
Modernist sound writing aims to capture the acoustic phenomenon of vocal articulation by graphic means. Tobias Wilke considers sound writing from its inception in nineteenth-century disciplines like physiology and experimental phonetics, following its role in the aesthetic practices of the interwar avant-garde and through to its reemergence in the postwar period. These projects work with the possibility of crossing over from the audible to the visible, from speech to notation, from body to trace. Employing various techniques and concepts, this search for new possibilities played a central role in the transformation of poetry into a site of radical linguistic experimentation. Considering the works of writers and artists—including Raoul Hausmann, Kurt Schwitters, Viktor Shklovsky, Hugo Ball, Charles Olson, and Marshall McLuhan—Wilke offers a fresh look at the history of the twentieth-century avant-garde.
Tobias Wilke is a Heisenberg Researcher at the Leibniz-Center for Literary and Cultural Research in Berlin. He is the author and editor of several books in German.
