Heard poetry. Lyric poetry as an acoustic phenomenon with selected case studies from German speaking lyric poetry

该项目追求两个主要目标：首先，它在方法上澄清书面文本的潜在声学特征的地位，并补充诗歌研究领域常见的分析方法。第二，它通过三个试点研究来验证这一方法。通过这种方法，建立了一种描述文学文本，特别是抒情诗的声学方面的方法，即那些只以书面形式存在的抒情诗。这种方法然后被应用到约翰·克拉伊，弗里德里希·戈特利布·克洛普斯托克和路德维希·蒂克的诗歌中。因此，该项目可以被视为抒情诗研究领域的一项开创性工作：默认情况下，抒情诗的解释在很大程度上依赖于对此类文本声学特征的观察。或者更具体地说，它们通常强调其功能。然而，迄今为止，还没有一种方法可以确定与此相关的所有文本特征。此外，文学理论仍然缺乏一种方法，使学者能够从理论上和系统地证明这些特征的性格以及象征或表达属性的归属。这并不奇怪，然而，考虑到这种分析通常超出了文学研究的方法框架：它们依赖于不同研究领域的成果，这些研究领域将首次在本项目的背景下合并。该项目的主要假设是，将一个函数归因于抒情诗的潜在声学特性相当于对这样一个函数进行验证，但这并不意味着它是任意完成的。相反，这些类型的结构可以在来自多个研究领域的特定理论和方法框架内得到证明。因此，我建议采取跨学科以及综合的观点，结合不同领域的研究成果，除了修辞学和修辞学，即：分析美学（音乐），（文化）声音研究，心理声学，和心理声学。总之，本课题的研究在抒情诗理论和诗歌体裁史研究领域具有创新性和相关性。它的研究结果可以用来更好地支持诗歌的解释实践，以及促进抒情诗的理论，迄今为止还远远没有像叙事或戏剧文本的理论那样建立起来。此外，它的三个历史研究可以作为一个起点，设计一个抒情诗的历史，特别注重声学方面，尽管它的高度相关性的体裁的历史，尚未被写入。

This project pursues two main goals: first, it methodologically clarifies the status of potential acoustic features of written texts and complements the methods of analysis common in the field of poetry research. Second, it exemplifies this approach by means of three pilot studies. By this means, a method for describing the acoustic aspects of literary texts, and lyric poems in particular, is established, namely those lyric poems that have survived in written form only. This approach is then applied to poems by Johann Klaj, Friedrich Gottlieb Klopstock and Ludwig Tieck. Thus, the project can be regarded as a piece of pioneering work within the research field of lyric poetry: by default, interpretations of lyric poems draw heavily on observations regarding the acoustic features of such texts. Or, to be more specific, they usually lay emphasis on their function. Nevertheless, to date there is no approach that allows for determining of all textual features that are relevant in this context. Moreover, literary theory still lacks an approach that enables scholars to theoretically and methodically justify ascriptions of dispositional as well as symbolic or expressive properties to these features. This is not surprising, however, considering that analyses of this kind generally exceed the methodical framework of literary studies: they depend on outcomes of different fields of research that are to be merged for the first time in the context of this project. The main assumption of the project is that ascribing a function to potential acoustic properties of lyric poems is tantamount to construing such a function, but that this does not mean it is done arbitrarily. Rather, these kinds of constructions can be justified within a specific theoretical and methodological framework that is derived from several fields of research. Accordingly, I propose to adopt an interdisciplinary as well as integrative point of view that combines findings from different fields of research besides Metrics and Rhetoric, namely: Analytical Aesthetics (of Music), (Cultural) Sound Studies, Psychoacoustics, and Psychophonetics. In summary, the research done within this project is innovative and relevant to Literary Studies in the area of theory of lyric poetry as well as in the history of the genre of poetry. Its findings may be used to better back up the practice of interpreting poetry as well as to promote the theory of lyric poetry that is thus far nowhere near as well-established as the theory of narrative or of dramatic texts. Additionally, its three historical studies may serve as a starting point for designing a history of lyric poetry with a special focus on acoustic aspects, which, despite its high relevance to the history of the genre, has not yet been written.