In this essay Joseph Donahue uncovers the Orphic ambitions of Susan Howe's 2010 volume of poetry, That This, especially as manifested in the poet's collaboration with the composer David Grubbs in the recording of a poem from that volume, ‘Frolic Architecture’. To account for the use of free-floating syllabic sound as an intensification of the Orphic concerns of the poem in the recording, the essay turns at first to the origin of acousmatic sound and its proposed relations to ancient mystery cults: composer and sound theorist Pierre Schaeffer claimed that to hear sound without seeing its source placed the listener in a position comparable to that of an initiate in the cult of Pythagoras. Drawing on Brian Kane's 2014 study of the origins of musique concrète (which incorporates recorded sounds) in the postwar period, Sound Unseen, this piece claims the acousmatic not only for Pythagoras but for Orpheus. It is argued that an Orphic poetics rooted in the acousmatic comes to full fruition in late Howe. Howe's own evocations of Pythagoras, and her own mythologising of the acousmatic, are examined, especially in regard to her collage method which so often and so momentously conceals or removes the visual origin of sounded syllables. The collaboration with composer David Grubbs intensifies the acousmatic poetics of Howe's text, and it is suggested, is the poem's ultimate realisation.
{"title":"Acousmatic Orphism: Susan Howe","authors":"Joseph I. Donahue","doi":"10.3366/count.2021.0243","DOIUrl":"https://doi.org/10.3366/count.2021.0243","url":null,"abstract":"In this essay Joseph Donahue uncovers the Orphic ambitions of Susan Howe's 2010 volume of poetry, That This, especially as manifested in the poet's collaboration with the composer David Grubbs in the recording of a poem from that volume, ‘Frolic Architecture’. To account for the use of free-floating syllabic sound as an intensification of the Orphic concerns of the poem in the recording, the essay turns at first to the origin of acousmatic sound and its proposed relations to ancient mystery cults: composer and sound theorist Pierre Schaeffer claimed that to hear sound without seeing its source placed the listener in a position comparable to that of an initiate in the cult of Pythagoras. Drawing on Brian Kane's 2014 study of the origins of musique concrète (which incorporates recorded sounds) in the postwar period, Sound Unseen, this piece claims the acousmatic not only for Pythagoras but for Orpheus. It is argued that an Orphic poetics rooted in the acousmatic comes to full fruition in late Howe. Howe's own evocations of Pythagoras, and her own mythologising of the acousmatic, are examined, especially in regard to her collage method which so often and so momentously conceals or removes the visual origin of sounded syllables. The collaboration with composer David Grubbs intensifies the acousmatic poetics of Howe's text, and it is suggested, is the poem's ultimate realisation.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44080490","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay-poem develops the author's ongoing transdisciplinary examination of her integrated artistic practice and theory known as ‘quantum poetics’, investigating shared principles in poetry and science with the aim of reinventing common notions of spacetime, language, and reality. Topics touched upon include her research in particle physics at the European Organization for Nuclear Research (CERN) and Canfranc Underground Laboratory, the uncertainty principle in quantum theory and aesthetic ambiguity, Werner Heisenberg's essays on language and science, the reader of a literary text in relation to an observation in quantum theory, string theory and poetry, the asymmetry of matter and antimatter in the known universe in relation to the imagination, and the poethics of science. Using a cross-genre form that includes poetry, creative nonfiction, and academic scholarship identified as an essay-poem, the author writes in ‘windows’, justified text blocks that transition into and out of original poetry and quoted material by writers and scientists. One purpose of these windows is to treat the spacetime of the page as a literary device, one that visually foregrounds the material construct of literary language.
{"title":"The Positron Passport: An Essay-Poem in Quantum Poetics","authors":"A. Catanzano","doi":"10.3366/count.2021.0249","DOIUrl":"https://doi.org/10.3366/count.2021.0249","url":null,"abstract":"This essay-poem develops the author's ongoing transdisciplinary examination of her integrated artistic practice and theory known as ‘quantum poetics’, investigating shared principles in poetry and science with the aim of reinventing common notions of spacetime, language, and reality. Topics touched upon include her research in particle physics at the European Organization for Nuclear Research (CERN) and Canfranc Underground Laboratory, the uncertainty principle in quantum theory and aesthetic ambiguity, Werner Heisenberg's essays on language and science, the reader of a literary text in relation to an observation in quantum theory, string theory and poetry, the asymmetry of matter and antimatter in the known universe in relation to the imagination, and the poethics of science. Using a cross-genre form that includes poetry, creative nonfiction, and academic scholarship identified as an essay-poem, the author writes in ‘windows’, justified text blocks that transition into and out of original poetry and quoted material by writers and scientists. One purpose of these windows is to treat the spacetime of the page as a literary device, one that visually foregrounds the material construct of literary language.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42765050","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Front matter","authors":"","doi":"10.3366/count.2021.0227","DOIUrl":"https://doi.org/10.3366/count.2021.0227","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49380091","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Back matter","authors":"","doi":"10.3366/count.2021.0235","DOIUrl":"https://doi.org/10.3366/count.2021.0235","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41281224","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This essay reads Ford Madox Ford's Parade's End materially, to claim that Ford's radically ‘modernist’ style worked to refigure history on the basis of the literary mark. Ford's innovative use of the material elements of writing allows his readers to approach history as materialistic historio graphy – a key idea for Paul de Man – that reads writing as marks and traces independent of fluctuating ideological abstractions. In Parade's End, Ford's narration avoids extra-textual context-building, instead sticking as tightly (and often bewilderingly) as possible to the interiority of a character's consciousness. Notably, this technique interacts with the material world in a similar way to de Man's approach to reading. This allows Ford to stage the ‘writing’ of history, where trace-chains are constantly refigured as material inscriptions, taken up and made sense of anew. The essay first interprets Ford's attitude to history as a creative act, ironised by his protagonist Tietjens’ belief in the certainty and self-evidence of unified historicism. It then describes the ‘elliptical’ structure of one of the novels’ key scenes, where Tietjens is forced to learn the unfinishable nature of history–especially via written forms (like the ellipsis itself) that do not speak. Finally, it directs its attention to the tetralogy's conclusion, ‘voiced’ by a mute narrator, that inscribes the potential for meaning to always remain in an unpredictable future. This ‘theotropic’ force cuts through Ford's novels, and in doing so gestures to the ellipsis from which all reading has, always-already, been re-membered.
{"title":"Cutting, Reading, Re-Membering: Parade's End's Elliptical History …","authors":"James Dutton","doi":"10.3366/count.2021.0233","DOIUrl":"https://doi.org/10.3366/count.2021.0233","url":null,"abstract":"This essay reads Ford Madox Ford's Parade's End materially, to claim that Ford's radically ‘modernist’ style worked to refigure history on the basis of the literary mark. Ford's innovative use of the material elements of writing allows his readers to approach history as materialistic historio graphy – a key idea for Paul de Man – that reads writing as marks and traces independent of fluctuating ideological abstractions. In Parade's End, Ford's narration avoids extra-textual context-building, instead sticking as tightly (and often bewilderingly) as possible to the interiority of a character's consciousness. Notably, this technique interacts with the material world in a similar way to de Man's approach to reading. This allows Ford to stage the ‘writing’ of history, where trace-chains are constantly refigured as material inscriptions, taken up and made sense of anew. The essay first interprets Ford's attitude to history as a creative act, ironised by his protagonist Tietjens’ belief in the certainty and self-evidence of unified historicism. It then describes the ‘elliptical’ structure of one of the novels’ key scenes, where Tietjens is forced to learn the unfinishable nature of history–especially via written forms (like the ellipsis itself) that do not speak. Finally, it directs its attention to the tetralogy's conclusion, ‘voiced’ by a mute narrator, that inscribes the potential for meaning to always remain in an unpredictable future. This ‘theotropic’ force cuts through Ford's novels, and in doing so gestures to the ellipsis from which all reading has, always-already, been re-membered.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48800296","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
On July 10, 1940, amidst fear of Nazi invasion, a prison ship, of sorts, left Liverpool, England, crammed full of over two thousand male ‘Enemy Aliens’ – Germans, Austrians, and some Italians. They were herded together, below deck, with all hatches sealed. Some were prisoners of war, some were passionate Nazis, but most were Jewish refugees. Among them was Walter Benjamin's estranged son, a young man of 22 years, Stefan Rafael Schoenflies Benjamin. Soon after boarding, however, the authorities mistakenly recorded his surname as Benjamini. ‘All at Sea’, John Schad's critical-creative piece, recounts events around ‘the unknown German’ on the vessel, playing richly on, and with, recognition effects around what is (un)familiarly known about Virginia Woolf, Walter Benjamin, and various kinds of connection between them and other figures from the period.
1940年7月10日，在对纳粹入侵的恐惧中，一艘监狱船离开了英国利物浦，船上挤满了2000多名男性“外敌”——德国人、奥地利人和一些意大利人。他们聚在一起，在甲板下，所有的舱口都封好了。有些是战俘，有些是热情的纳粹分子，但大多数是犹太难民。其中包括沃尔特·本杰明疏远的儿子，一个22岁的年轻人，斯特凡·拉斐尔·舍恩弗里斯·本杰明。然而，登机后不久，当局错误地将他的姓氏记为Benjamini约翰·沙德（John Schad）的评论性创作作品《All at Sea》讲述了船上“未知的德国人”周围的事件，在弗吉尼亚·伍尔夫（Virginia Woolf）、沃尔特·本杰明（Walter Benjamin）的鲜为人知的事物上进行了丰富的演奏，并产生了识别效果，以及他们与该时期其他人物之间的各种联系。
{"title":"‘All at Sea’: Virginia Woolf, Walter Benjamin, and the Unknown German","authors":"J. Schad","doi":"10.3366/count.2021.0230","DOIUrl":"https://doi.org/10.3366/count.2021.0230","url":null,"abstract":"On July 10, 1940, amidst fear of Nazi invasion, a prison ship, of sorts, left Liverpool, England, crammed full of over two thousand male ‘Enemy Aliens’ – Germans, Austrians, and some Italians. They were herded together, below deck, with all hatches sealed. Some were prisoners of war, some were passionate Nazis, but most were Jewish refugees. Among them was Walter Benjamin's estranged son, a young man of 22 years, Stefan Rafael Schoenflies Benjamin. Soon after boarding, however, the authorities mistakenly recorded his surname as Benjamini. ‘All at Sea’, John Schad's critical-creative piece, recounts events around ‘the unknown German’ on the vessel, playing richly on, and with, recognition effects around what is (un)familiarly known about Virginia Woolf, Walter Benjamin, and various kinds of connection between them and other figures from the period.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42841747","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
‘The Orphanage’, by Peter Hertz-Ohmes, is a creative piece extracted from a longer work of the same name currently in completion. Voice and the play of memory are key aspects of a text richly concerned with the politics of exile, disaffiliation and naming.
{"title":"The Orphanage","authors":"P. Hertz-Ohmes","doi":"10.4324/9780203789650-5","DOIUrl":"https://doi.org/10.4324/9780203789650-5","url":null,"abstract":"‘The Orphanage’, by Peter Hertz-Ohmes, is a creative piece extracted from a longer work of the same name currently in completion. Voice and the play of memory are key aspects of a text richly concerned with the politics of exile, disaffiliation and naming.","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44015621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
S. Rushdie, James Corby, S. Portelli, Christine Caruana, Ambrose Galea, L. Micallef
{"title":"The CounterText Interview: Salman Rushdie","authors":"S. Rushdie, James Corby, S. Portelli, Christine Caruana, Ambrose Galea, L. Micallef","doi":"10.3366/count.2021.0229","DOIUrl":"https://doi.org/10.3366/count.2021.0229","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45367132","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Editorial","authors":"Ivan Callus, James Corby","doi":"10.3366/count.2021.0228","DOIUrl":"https://doi.org/10.3366/count.2021.0228","url":null,"abstract":"","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45646046","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyses the novel An Unnecessary Woman (2013) by the American-Lebanese writer Rabih Alameddine from the perspective of multilingual selfhood, echoing Borges's vision of ‘writing as translation’ as it expands to considerations of literary translingualism. The narrator/protagonist of the novel, Aaliya Saleh, is a translator whose main occupation is translation into Arabic from the existing English and French translations: from literary West into East. The significance of the author's creative choice of what is referred to as a twice-removed translator is explored with the following questions: How, while navigating between two languages, cultures, and identities, is the multilingual individual experiencing the balancing act between the ‘translation’ and the ‘original’? To what extent are characters, generated by writers' translingual imagination, indeed creative (re)incarnations of the author's fragmented self? Is there such a thing as the fidelity to an original' for an immigrant (the author)? What can we learn about this translingual polyphony of voices when it comes from the area of political conflict and deepening economic/humanitarian crisis?
{"title":"Translator and Translated Twice Removed: Multilingual Selfhood in Rabih Alameddine's An Unnecessary Woman","authors":"Natasha Lvovich","doi":"10.3366/count.2021.0232","DOIUrl":"https://doi.org/10.3366/count.2021.0232","url":null,"abstract":"This article analyses the novel An Unnecessary Woman (2013) by the American-Lebanese writer Rabih Alameddine from the perspective of multilingual selfhood, echoing Borges's vision of ‘writing as translation’ as it expands to considerations of literary translingualism. The narrator/protagonist of the novel, Aaliya Saleh, is a translator whose main occupation is translation into Arabic from the existing English and French translations: from literary West into East. The significance of the author's creative choice of what is referred to as a twice-removed translator is explored with the following questions: How, while navigating between two languages, cultures, and identities, is the multilingual individual experiencing the balancing act between the ‘translation’ and the ‘original’? To what extent are characters, generated by writers' translingual imagination, indeed creative (re)incarnations of the author's fragmented self? Is there such a thing as the fidelity to an original' for an immigrant (the author)? What can we learn about this translingual polyphony of voices when it comes from the area of political conflict and deepening economic/humanitarian crisis?","PeriodicalId":42177,"journal":{"name":"CounterText-A Journal for the Study of the Post-Literary","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-08-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44151960","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：