(l. to r.) Jeffrey Angles, Hiromi Ito, Jerome Rothenberg
During the romantic era, the notion that individuality represented the source of all new developments in the art world came to have enormous cultural influence in the West. Rather than seeing poets, writers, visual artists, composers and performers as temporally bound people working within (and often against) the bounds of their own cultures and prison-houses of language to produce their work, the romantic era tended to view artists as visionaries who dove into the depths of their individuality to present new, personal works that spoke of their vision of the world.
This is my final post in the inaugural commentary series on African Poetry. I’ve barely scratched the surface, and I have new respect for the many wonderful blogs on African expressive culture, and particularly writing, that have flourished in the last few years. The rhythm of my posts has been syncopated, and in signing off, I’d like to point to a few sites that update more regularly, and to some exciting projects coming soon. Africa in Words is one of the most exciting literary digests for African writing.
This is my final post in the inaugural commentary series on African Poetry. I’ve barely scratched the surface, and I have new respect for the many wonderful blogs on African expressive culture, and particularly writing, that have flourished in the last few years. The rhythm of my posts has been syncopated, and in signing off, I’d like to point to a few sites that update more regularly, and to some exciting projects coming soon.
The photo above is so you can see what the page layout looks like in my copy-text. The lower half of each page is a (quite enjoyable) word-for-word rendition of the tale translated more smoothly in the upper half. The book was intended, after all, for specialists interested in the Koryak language, an sich. My sense from the introduction is that the linguists and ethnographers involved in the research expedition cared nothing for the actual content of the stories they collected. They just wanted to set native speakers talking, so that the Koryaks’ homemade, inconsistent, Martian grammar and diction could be recorded and analyzed. The introduction, meanwhile, does not explain why all but one of the expedition's informants were female.
Bibliography: Bogoras, Waldemar, Publications of the American Ethnological Society, Vol. V: Koryak Texts, E.J. Brill, Limited, Leyden 1917; AMS reprint, New York 1974.
As part of my work to excavate, digitize, and contextualize one of the first poetry audio archives in US, The Speech Lab Recordings, I’m thrilled to announce a significant addition to the collection: new digitizations of previously unreleased Robert Frost recordings, made in the Speech Lab in 1933 and 1934.
These recordings, which may be the first recordings ever made of Frost, in one sense mark a departure from the aesthetic circumscription of the collection. Many of the poets who were recorded in professors W. Cabell Greet and George W. Hibbitt’s Columbia University lab built for the study of American dialects operated in a modernist tradition of formal innovation.
Jeffrey Angles: A translator's note on the 2010 Kumamoto Renshi (Linked Poetry) Session
During the romantic era, the notion that individuality represented the source of all new developments in the art world came to have enormous cultural influence in the West. Rather than seeing poets, writers, visual artists, composers and performers as temporally bound people working within (and often against) the bounds of their own cultures and prison-houses of language to produce their work, the romantic era tended to view artists as visionaries who dove into the depths of their individuality to present new, personal works that spoke of their vision of the world.
Sunday 15 August 2010
Kuperekedzwa ... walking with you halfway to say goodbye
This is my final post in the inaugural commentary series on African Poetry. I’ve barely scratched the surface, and I have new respect for the many wonderful blogs on African expressive culture, and particularly writing, that have flourished in the last few years. The rhythm of my posts has been syncopated, and in signing off, I’d like to point to a few sites that update more regularly, and to some exciting projects coming soon. Africa in Words is one of the most exciting literary digests for African writing.
This is my final post in the inaugural commentary series on African Poetry. I’ve barely scratched the surface, and I have new respect for the many wonderful blogs on African expressive culture, and particularly writing, that have flourished in the last few years. The rhythm of my posts has been syncopated, and in signing off, I’d like to point to a few sites that update more regularly, and to some exciting projects coming soon.
Twenty-six items from Special Collections (s)
Exhibit ‘S’: Koryak. (Two folktales, both told by Pa’qa, a girl of Kamenskoye Village on the Penzhinskaya Bay, collected 1901)
The photo above is so you can see what the page layout looks like in my copy-text. The lower half of each page is a (quite enjoyable) word-for-word rendition of the tale translated more smoothly in the upper half. The book was intended, after all, for specialists interested in the Koryak language, an sich. My sense from the introduction is that the linguists and ethnographers involved in the research expedition cared nothing for the actual content of the stories they collected. They just wanted to set native speakers talking, so that the Koryaks’ homemade, inconsistent, Martian grammar and diction could be recorded and analyzed. The introduction, meanwhile, does not explain why all but one of the expedition's informants were female.
Bibliography: Bogoras, Waldemar, Publications of the American Ethnological Society, Vol. V: Koryak Texts, E.J. Brill, Limited, Leyden 1917; AMS reprint, New York 1974.
New at PennSound: Previously unreleased Robert Frost
Chris Mustazza
As part of my work to excavate, digitize, and contextualize one of the first poetry audio archives in US, The Speech Lab Recordings, I’m thrilled to announce a significant addition to the collection: new digitizations of previously unreleased Robert Frost recordings, made in the Speech Lab in 1933 and 1934.
These recordings, which may be the first recordings ever made of Frost, in one sense mark a departure from the aesthetic circumscription of the collection. Many of the poets who were recorded in professors W. Cabell Greet and George W. Hibbitt’s Columbia University lab built for the study of American dialects operated in a modernist tradition of formal innovation.
Gerald Bruns on Mallarmé (1969)
Mallarmé: The Transcendence of Language and the Aesthetics of the Book
The Journal of Typographic Research
July 1969
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