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

本项目主要追求两个目标：第一，从方法论上阐明书面文本潜在声学特征的现状，补充诗歌研究领域中常见的分析方法。其次，通过三项先导性研究举例说明了这一方法。通过这种方式，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，即那些仅以书面形式保存下来的抒情诗。这种方法随后被应用于约翰·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。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，对抒情诗的解释在很大程度上依赖于对此类文本的声学特征的观察。或者，更具体地说，他们通常强调自己的功能。然而，到目前为止，还没有一种方法可以确定在这种情况下相关的所有文本特征。此外，文学理论仍然缺乏一种方法，使学者们能够从理论上和系统地证明这些特征的性格属性以及象征或表达属性的归属。然而，考虑到这类分析通常超出了文学研究的方法论框架，这并不令人惊讶：它们取决于不同研究领域的结果，这些领域将首次在本项目的背景下合并。该项目的主要假设是，将功能归因于抒情诗的潜在声学特性等同于解释这种功能，但这并不意味着它是随意完成的。相反，这些类型的构建可以在一个特定的理论和方法框架内得到证明，该框架是从几个研究领域得出的。因此，我建议采用跨学科和综合的观点，将不同研究领域的研究成果结合起来，这些领域包括：分析美学(音乐)、(文化)声学、心理声学和心理语音学。综上所述，本课题的研究对于抒情诗理论研究和诗歌体裁发展史的文学研究具有一定的创新性和现实意义。它的发现可能被用来更好地支持解读诗歌的实践，并促进抒情诗理论，而抒情诗理论迄今远没有叙事理论或戏剧文本理论那么成熟。此外，它的三个历史研究可以作为设计抒情诗历史的起点，特别关注声学方面的问题，尽管它与该体裁的历史高度相关，但尚未被写成。

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.