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Sound Poetry Scores (Bernard Heidsieck's Cycle Poemes-Partitions)

100%

Hejmej A.

Ruch Literacki

2005

vol. 46

issue 1(268)

69-80

Rooted in the tradition of oral poetry and a number of avantgarde movements of the last century (futurism, Dadaism and Lettrism), sound poetry entered the European literary and cultural scene in the 1950s. Bernard Heidsieck began his poetic sequence called Poemes-partitions in 1955 and continued to expand it in the following decades. The Poemes-partitions inaugurated one strand of this type of poetry, subsequently labelled semantic. The article focuses, firstly, on the modalities of sound poetry, composed no doubt with an eye to its public presentation by the author himself (cf. the conventions and pronouncements made by theoreticians of the genre, among them Henri Chopin, Bernard Heidsieck, Jean-Paul Bobillot and Jean-Yves Bossuer) and, secondly, on the poetics of Bernard Heidsieck's poetry and his individual artistic style.

„Ke slovu je potřeba se doposlouchat”. Audio art a tekstowo-dźwiękowa twórczość Jaromíra Typlta

61%

Pospiszil K.

Bohemistyka

2013

vol. 13

issue 2

101 - 122

In the following article I present text-sound works of Jaromír Typlt on the background of one of the most interesting phenomena in contemporary Czech culture, which is audio art. Reflection on audio art and sound poetry is an introduction to writer's works. His textes and compositions from borderland of arts, especially so-called zmutovaná autorská čtení and a cycle Audio, which raises issue of sound, hearing and their connections with literature also are analyzed in this article.

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1 Bohemistyka

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1 Hejmej A.

1 Pospiszil K.

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Sound Poetry Scores (Bernard Heidsieck's Cycle Poemes-Partitions)

„Ke slovu je potřeba se doposlouchat”. Audio art a tekstowo-dźwiękowa twórczość Jaromíra Typlta