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The Library of Congress Archive of Recorded Poetry and Literature, 1941--1961, and, Famous Birds, a collection of poems.

机译：1941--1961年的美国国会图书馆的记录诗歌与文学档案，以及《名禽》，一本诗集。

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摘要

This dissertation consists of two distinct elements, one critical and the other creative. The critical element, "Chapter One: The Library of Congress Archive of Recorded Poetry and Literature, 1941-1961," situates the Library of Congress poetry-recording project in the context of Cold War attempts to create and project a robust American literary culture. The author examines the historical relationship between the audiotext archive and the literary canon, the role of authorial performance in audiotext production, and the significance of the archival and testimonial process of recording poets reading their own work. In tracing the evolution of the Library of Congress project, the author shows how early auditory archive-building, despite its ad hoc practices, endorsed the authority of the short lyric and posited the voice as the ultimate hermeneutic key, while simultaneously reinforcing the canonization of High Modernist authors and New Critics who in print expressed disdain for this sort of authority-building. As anxiety about producing documentary evidence of a national culture spurred the identification of an artist's aural performance with official sanction, institutional discourse---academic, governmental, and pedagogical---collided with the aesthetic discourse and technological ideology of the mid-twentieth century. The author concludes that despite attempts to recuperate a lost oral tradition, magnetic sound recording of poets reading aloud serves mainly to reconfigure and affirm the graphical authority of literary work even as we move into a post-print era.;The creative element, "Chapter Two: Famous Birds, A Collection of Poetry," challenges the authority of the spoken voice which the author examines in the Library of Congress project by graphically, semantically, and syntactically deploying language in a way that seems to deny an authoritative oral expression. The "subject matter" of these poems might be characterized as soliloquies interrupted by the language of the world, such that any and all internal and external events that occur during the process of writing can be filtered and integrated into the poem.
机译：本文由两个不同的元素组成，一个是关键元素，另一个是创造力。关键要素“第一章：1941-1961年的美国国会图书馆记录的诗歌和文学档案”，是在冷战时期试图创建和投射美国文学文化的国会图书馆诗歌记录项目中提出的。作者考察了音频文本档案与文学经典之间的历史关系，作者在音频文本生产中的作用，以及记录诗人阅读自己作品的档案和证明过程的意义。在追踪国会图书馆项目的发展过程中，作者展示了早期听觉档案建设，尽管是临时性的做法，却是如何认可短抒情诗的权威并将声音作为最终的解释学钥匙，同时又加强了对圣经的规范化。印刷的高级现代派作家和新评论家对这种权威的建立表示不屑。由于对产生民族文化文献证据的焦虑促使对艺术家的听觉表现进行官方制裁，机构话语（学术，政府和教学法）与二十世纪中叶的美学话语和技术意识形态相冲突。 。作者得出的结论是，尽管试图恢复失去的口头传统，但大声朗读的诗人的磁性录音主要是在重新进入印刷后时代的同时，重新构造并确认文学作品的图形权威。 《二：著名的鸟类，一首诗集》》挑战了作者在国会图书馆项目中通过以图形，语义和句法方式部署语言的方式来检验口语的权威，这种方式似乎拒绝了权威的口头表达。这些诗歌的“主题”可能被世界语言所打断，从而使写作过程中发生的任何内部和外部事件都可以被过滤并整合到诗歌中。

著录项

  • 作者

    Rawson, Eric.;

  • 作者单位

    University of Southern California.;

  • 授予单位 University of Southern California.;
  • 学科 Library Science.;Literature American.
  • 学位 Ph.D.
  • 年度 2009
  • 页码 200 p.
  • 总页数 200
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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