1,721,024 research outputs found
Phonodia. La voz de los poetas, uso crítico de sus grabaciones y entrevistas.
Full text linkThis essay focuses on the ‘voice’ as it sounds in a specific type of recordings. This recordings always reproduce a poet performing a poem of his/her by reading it aloud. Nowadays this kind of recordings are quite common on Internet, while before the ’90 digital turn it was possible to find them only in specific collection of poetry books that came with a music cassette or a CD. These cultural objects, as other and more ancient analogic sources, were quite expensive to produce and acquire. However, all of them contain this same type of recoding which share the same characteristic: the author’s voice reading aloud a poem of his/her. By bearing in mind this specific cultural object and its characteristics, this study aims to analyse the «intermedial relation» that occur between a poetic text and its recorded version with the author’s voice. This «intermedial relation» occurs especially when these two elements (text and voice) are juxtaposed and experienced simultaneously. In fact, some online archives dedicated to this type of recording present this configuration forcing the user to receive both text and voice in the same space and at the same time This specific configuration not just activates the intermedial relation, but also hybridises the status of both the reader, who become a «reader-listener», and the author, who become a «author-reader». By using an interdisciplinary approach that combines philosophy, psychology, anthropology, linguistics and cognitive sciences, the essay propose a method to «critically listening» some Spanish poets’ way of vocalising their poems. In addition, the book present Phonodia web archive built at the Ca’ Foscari University of Venice as a paradigmatic answer to editorial problems related to online multimedia archives dedicated to these specific recordings. An extent part of the book is dedicated to the twenty-eight interviews made to the Spanish contemporary poets who became part of Phonodia and agreed in discussing about their personal relation to ‘voice’ and how this element works in their creative practice
“Manchas de voz”, de Juan Vicente Piqueras: metapoesía y pre-verbal
No full textSince writing and human voice are media, which the poets always worked\ud
with, interactions and interferences created between the text and the author\ud
reading it aloud fall within the reach of the intermedial phenomena. Thanks to\ud
the specific case of the poem “Manchas de voz” by Spanish poet Juan Vicente\ud
Piqueras and the recording that he realised under the Phonodia project, this\ud
article shows the shift of status that concerns, on the one hand, the figure of\ud
reader and, on the other hand, the figure of the author in relation to his own\ud
voice as a mean.Puesto que la escritura y la voz humana son medios con los que los poetas\ud
trabajan desde siempre, las interacciones e interferencias que se crean entre el\ud
texto y su lectura en voz alta por parte del autor pertenecen al ámbito de los\ud
fenómenos intermediales. Gracias al caso específico del poema “Manchas de\ud
voz” del autor español Juan Vicente Piqueras y de la grabación que el mismo\ud
llevó a cabo en el marco del proyecto Phonodia, este artículo muestra el cambio\ud
de estatus que concierne por una parte a la figura del lector y, por otra, a la del\ud
poeta en relación con su propio medio-voz
«La mañana del búho» de Claudio Rodríguez. La voz del (des)conocimiento poético
No full textThe aim of this article is to critically read Rodríguez’s poem «La mañana del búho» dealing\ud
with the author’s vocal version recorded in 1989 during a public event at the Residencia de Estudiantes\ud
in Madrid. After transcribing the vocal version and placing it beside the poem published in\ud
1991 within Casi una leyenda, the two texts will be compared demonstrating how changes decided\ud
by the author can enhance our hermeneutical approach and extend the poem’s interpretation. This\ud
approach will also give a philological insight on Rodríguez’s writing process considering his vocal\ud
version as a proper manuscript of a previous stage in relation to the published text. Rodríguez’s\ud
words presenting his text during the public reading at the Residencia are also considered in order\ud
to connect the poem within the larger author’s creative trajectory
Manuel Vázquez Montalbán leyendo sus poemas: cuerpo y voz, escritura y autoría
No full textStarting by analysing a 1989 documentary in which Manuel Vázquez Montalbán reads out loud his own poems, the article focuses on the way this author uses his voice in relation to the space and his own body. It also concentrates on the relation between the written and published version of the pomes and the vocalized ones suggesting a way to interpret the vocal expression of the reader-author
APPROCCI ALLA PHONÉ DELLA POESIA: L’ESPERIENZA DI PHONODIA
No full textApproaches to the phoné of poetry: the experience of Phonodia. The digital archive project dedicated to the voice of poets called Phonodia and created at the Ca’ Foscari University of Venice was born as a tool to investigate the “intermedial relation” that occurs between a poetic text and its recorded version with the reading voice of the author. After some suggestions about the concept of phoné in poetic language, the article focuses on how the specific configuration of Phonodia web page, in which text and recording are juxtaposed and experimented simultaneously, not only activates an intermedial relationship between voice and writing, but also hybrids the status of both the author, who becomes an “author-reader”, and the traditional reader who becomes a “reader-listener”. By an interdisciplinary approach that combines philosophy, psychology, anthropology, linguistics and cognitive sciences, the article also offers a possible method to “critically” listen to these recordings and finally treat them as a real part of the hermeneutical process
Despiece peatonal | Respiración continua de Julio Reija. Un libro (no sólo) doble.
Full text linkThe last poetry book of Julio Reija combines two different poetry collections in the same object though a very peculiar layout designed by the same author. Far from looking for a mere rhetorical effect, the specific layout of the book is constitutive of the way Reija understands poetry: his practice of poetry is a continuous exercise in which words are literally and desperately disjointed, fragmented, took apart in a writing that is always searching for a new form. Julio Reija’s writing combines the derridian deconstruction of logos (language and though) with an ethical posture against the overwhelming power of mass media in contemporary world
Cajambre de Armando Romero: una novela no solo negra
No full textThe last novel of the Colombian author Armando Romero takes place in the forest traversed by the river Cajambre, which flows into the Pacific Ocean. In this work, Romero recollect the culture of the Pacific coast, where he had the opportunity to live as a young man, and pays a tribute to African-American women of that area, which have always been the support of local communities. The tragic story of Ruperta allows the author to explore the social dynamics between different sectors of that community, and to investigate the relationships with the white strangers, called «paisas» . It is a strange noire and a tribute to the river, to its people and a personal story describing the wonderful and difficult impressionist landscape of the damp tropical jungle
Escuchando a Pablo García Baena: notas sobre la traducción de Rumore occulto
Full text linkThis article focuses on the Spanish poet Pablo García Baena’s first Italian
anthology, Rumore occulto, published by Passigli Editori in 2018. It demonstrates how
audio recordings can inform translation process especially when dealing with poetry.
By collecting and examining specific recordings where García Baena reads aloud some
of his poems, the study shows in what way this author uses prosodic tools as caesura
and enjambment to modify the versification of his poems. In these specific recordings,
the translator can listen to how the author’s voice rearranges the printed poem and
uses these variations to reproduce specific metrics and rhythm in the target language
too. This type of recordings also helps with semantics; in fact, interpreting the poem
following the author’s vocal action on the original text can be beneficial to make a better lexical choice.El artículo se centra en la primera antología italiana del poeta español Pablo García Baena, Rumore occulto, publicada por Passigli Editori en 2018. Demuestra cómo las grabaciones de audio pueden informar el proceso de traducción, especialmente cuando se trata de poesía. Al recopilar y examinar grabaciones específicas donde García Baena lee en voz alta algunos de sus poemas, el estudio enseña de qué manera este autor utiliza herramientas prosódicas como cesura y encabalgamiento para modificar la versificación de sus poemas. En estas grabaciones, de hecho, el traductor puede escuchar cómo la voz del autor reordena el poema impreso y utilizar estas variaciones para reproducir métricas y ritmos específicos también en la lengua de destino. Este tipo de grabaciones también ayudan la interpretación semántica; interpretar el poema siguiendo la acción vocal del autor sobre el texto originalmente fijado en la página puede ser beneficioso para hacer una mejor elección léxica
Reading Voices: Critical Perspectives in Contemporary Poetry Reading
No full textThe paper focuses on voice in relation to contemporary poetic language. The voice of a poet who reads aloud his own composition puts back into play multiple relationships and similarities regarding the process of creating that specific text, as well as the very process of poetic creation. The physical voice has always been tied to poetry, where it often acts as a fracture between syntax and prosody, making evident the variations between the published and the vocal version. Through its vocal execution a text is always re-evoked in a different way within a specific time and space, as well as provided with a new relationship with the subject who is listening and understanding it. By working on Claudio Rodríguez and Manuel Vázquez Montalbán’s vocal rendition of some specific poems, I am focusing on the relationship between voice – as a body gesture and the expression of a particular subjectivity – and authorship. Considering new interdisciplinary approaches stimulated by the study of voice in the arts and humanities, it is crucial to rethinking concepts such as “subject” and “author” as well as “authorship” or “authority”
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