Volta: form and gestalt. The history of the English Sonnet as an exploration of poetic form

十四行诗形式通常被认为是一种严格的诗歌形式(Cousins/Howarth 2011；Borgstedt 2009)，其特点是韵律特征：14行与严格的押韵方案相结合。以现象学和动态的形式概念(Cassirer[1928]1995，Leighton 2007)为出发点，我将重点放在Volta，即按主题划分诗歌并在视角上引入转向或转变的caesura。将沃尔塔作为一种认知运动来研究，可以探讨从早期到现代的十四行诗格式塔的既定形式和形式创新之间的动态关系。虽然调查可能有助于我们理解十四行诗的流行程度，但它的主要目的是探讨类属惯例和动态形式之间的关系。如果我们认为诗歌形式是一个过程，而不是一种结构，那么研究形式的动态也可以更好地理解我们是如何概念化诗歌和文学史的。当我在剑桥的时候，我想把我所有的时间都花在分析个人的十四行诗上，并在与安吉拉·莱顿的讨论中--她在这个项目的初始阶段一直是鼓舞人心的--设计出超越传统形式主义的描述诗歌形式动态的模型和方法。我还想请教那些研究过认知(拉斐尔·莱恩)和修辞/抒情(加文·亚历山大)形式概念的学者。我将寻找手稿来源，从诗人和观众的角度，可能告诉我们一些关于伏尔塔的诗学的东西。

The sonnet form is usually conceived of as a rigid poetic form (Cousins/Howarth 2011; Borgstedt 2009) that is marked by its prosodic features: the 14 lines in combination with a rigorous rhyme scheme. Taking a phenomenological and dynamic conception of form (Cassirer [1928] 1995, Leighton 2007) as a point of departure, I focus on the volta, i.e. the caesura that divides the poem thematically and introduces a turn or shift in perspective. Investigating the volta as a cognitive movement allows for probing into the dynamic relationship between established forms and formal innovations with respect to the Gestalt of the sonnet from the early modern period to the present. While the investigation may facilitate our understanding of the sonnet's popularity, it is primarily aimed at probing into the relationship between generic conventions and dynamic form. If we conceive of poetic form as a process rather than a structure, it is argued, investigating the dynamics of form may also arrive at a better understanding of how we conceptualize poetry and literary history. When in Cambridge I should like to devote all my time to analysing individual sonnets and - in discussions with Angela Leighton, who has been inspirational throughout the initial stages of this project - to devising models and ways of describing the dynamics of poetic form that go beyond traditional formalism. I should also like to consult scholars who have worked on cognitive (Raphael Lyne) and rhetorical/lyrical (Gavin Alexander) notions of form. And I will look for manuscript sources that can possibly tell us something about the poetics of the volta from the poet's and the audience's perspective.