Hermeneutyka poetyckiego głosu w najnowszych badaniach literackich
The article discusses the latest research on poetry performance in Polish literature. At the outset, the author situates it within the scope of sound studies as well as acoustic philology and audio anthropology. Then, the author focuses on Aleksandra Kremer’s book The Sound of Modern Polish Poetry:...
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| Vydáno v: | URI:https://journals.openedition.org/td, |
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| Hlavní autor: | |
| Médium: | Article ou chapitre numérique |
| Jazyk: | Polonais |
| Vydáno: |
Teksty Drugie
2024
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| Témata: | |
| On-line přístup: | Accès Université d'Orléans et IFPM |
| Shrnutí: | The article discusses the latest research on poetry performance in Polish literature. At the outset, the author situates it within the scope of sound studies as well as acoustic philology and audio anthropology. Then, the author focuses on Aleksandra Kremer’s book The Sound of Modern Polish Poetry: Performance and Recording After World War II and the research methods presented there for studying vocal performance. Kremer refers to Charles Bernstein’s concept of close listening, which she enriches with analyses using the computer program Praat, designed for scientific analysis of speech and phonetic phenomena. Kremer analyzes the sound waves of recorded poetic performances. Using this method, she examines recordings of Czesław Miłosz, Julia Hartwig, Miron Białoszewski, Wisława Szymborska, Aleksander Wat, Zbigniew Herbert, Anna Kamieńska, Anna Świrszczyńska, Tadeusz Różewicz, and Krystyna Miłobędzka. The author of the article notes that Kremer’s close listening studies have a hermeneutic character, encompassing biography, history, and culture. This extensive anthropological context, supported by sound visualization, brings us closer to capturing the phenomenon of the poet’s recorded voice. |
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