Qui chante? The Lyric’s Voice as Impersonation

Starting from the imperative to not just read, but to speak lyric poems out loud, this paper considers ways in which poems change depending on who utters them. Beyond the familiar distinction between the poem's author and the lyrical “I” — the voice in which the poet chooses to utter the poem —...

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Autor principal:	Thomas Austenfeld
Formato:	article
Lenguaje:	DE EN
Publicado:	Universität Trier 2021
Materias:	lyric song performance voicing diotima ventriloquism impersonation charm Language and Literature P
Acceso en línea:	https://doaj.org/article/3cb2216f746143059a492ccd2ee36546
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id	oai:doaj.org-article:3cb2216f746143059a492ccd2ee36546
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spelling	oai:doaj.org-article:3cb2216f746143059a492ccd2ee365462021-11-19T13:28:17ZQui chante? The Lyric’s Voice as Impersonation10.25353/ubtr-izfk-ce7d-f9422698-492X2698-4938https://doaj.org/article/3cb2216f746143059a492ccd2ee365462021-04-01T00:00:00Zhttps://izfk.uni-trier.de/index.php/izfk/article/view/IZfK-Vol-2-Qui-chante-The-Lyrics-Voice-as-Impersonationhttps://doaj.org/toc/2698-492Xhttps://doaj.org/toc/2698-4938Starting from the imperative to not just read, but to speak lyric poems out loud, this paper considers ways in which poems change depending on who utters them. Beyond the familiar distinction between the poem's author and the lyrical “I” — the voice in which the poet chooses to utter the poem — any performer who speaks a poem also impersonates the text. Reading is the first act of interpretation; others follow. Sound is an indispensable constitutive aspect of the lyric poem, too often neglected. Each reading of a poem can turn into a momentary ec-stasis.Thomas AustenfeldUniversität TrierarticlelyricsongperformancevoicingdiotimaventriloquismimpersonationcharmLanguage and LiteraturePDEENInternationale Zeitschrift für Kulturkomparatistik, Vol 2, Pp 135-143 (2021)
institution	DOAJ
collection	DOAJ
language	DE EN
topic	lyric song performance voicing diotima ventriloquism impersonation charm Language and Literature P
spellingShingle	lyric song performance voicing diotima ventriloquism impersonation charm Language and Literature P Thomas Austenfeld Qui chante? The Lyric’s Voice as Impersonation
description	Starting from the imperative to not just read, but to speak lyric poems out loud, this paper considers ways in which poems change depending on who utters them. Beyond the familiar distinction between the poem's author and the lyrical “I” — the voice in which the poet chooses to utter the poem — any performer who speaks a poem also impersonates the text. Reading is the first act of interpretation; others follow. Sound is an indispensable constitutive aspect of the lyric poem, too often neglected. Each reading of a poem can turn into a momentary ec-stasis.
format	article
author	Thomas Austenfeld
author_facet	Thomas Austenfeld
author_sort	Thomas Austenfeld
title	Qui chante? The Lyric’s Voice as Impersonation
title_short	Qui chante? The Lyric’s Voice as Impersonation
title_full	Qui chante? The Lyric’s Voice as Impersonation
title_fullStr	Qui chante? The Lyric’s Voice as Impersonation
title_full_unstemmed	Qui chante? The Lyric’s Voice as Impersonation
title_sort	qui chante? the lyric’s voice as impersonation
publisher	Universität Trier
publishDate	2021
url	https://doaj.org/article/3cb2216f746143059a492ccd2ee36546
work_keys_str_mv	AT thomasaustenfeld quichantethelyricsvoiceasimpersonation
_version_	1718420065099972608

Qui chante? The Lyric’s Voice as Impersonation

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