Auditory spaces of literature. The sonorous performance of literary work in postwar Germany between 1947 and 1967

文学的听觉空间。

• 批准号: 323757092
• 负责人: Professorin Dr. Natalie Binczek
• 金额: --
• 依托单位: Germanistisches Institut
• 依托单位国家: 德国
• 项目类别: Research Grants
• 财政年份: 2016
• 资助国家: 德国
• 起止时间: 2015-12-31 至 2020-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/323757092?language=en
• 关键词: Auditory; spaces; literature.; sonorous; performance

The project is focused on German literature of the post-war period and concentrates on how during the dec-ades between 1947 and 1967 the creative literary process was to a decisive degree based on the develop-ment of a live performance attended by an audience. After 1945 the literary public developed a sonorous scene (Barthes), and the emerging literary networks were dominated by elementary social systems characterized by direct communication between participants (Luhmann), a fact, which is largely disregarded in contemporary research. Literature operated in the post-war decades mainly as a public performance of texts in halls and auditoriums and the performance was organized around the idea of direct and immediate re-sponse of a live audience. The central thesis of the project is therefore the assumption, that a vocal-acroamatic horizon (Riedel) was a decisive influence and thereby supported a Peotology of making oneself heard, thus intricately connecting text production and live response of an audience. Sonority became a regulating idea in the establishment of institutions and locations, where literary discourse was happening. It also shaped the methods and media in which such literary productions developed. The project will analyse theses aspects on the basis of literature studies and source-based case studies and thus construct a historic and systematic tableau. The case studies are to be based on material from the archives, including particular acoustical sources, hitherto not made use of.

该项目侧重于战后时期的德国文学，并集中于1947年至1967年的几十年间，创作文学的过程如何以观众参加的现场表演的发展为基础，达到决定性的程度。1945年以后，文学大众形成了一种铿铿声的景象（巴特），新兴的文学网络被以参与者之间直接交流为特征的初级社会系统所主导（卢曼），这一事实在当代研究中很大程度上被忽视了。在战后的几十年里，文学主要是在大厅和礼堂里进行文本的公开表演，这种表演是围绕现场观众直接和即时反应的理念组织起来的。因此，该项目的中心论点是假设，声乐-杂技视界（里德尔）是一个决定性的影响，从而支持了一种让自己被听到的诗学，从而复杂地将文本生产和观众的现场反应联系起来。在文学话语发生的机构和地点的建立中，声音成为一种调节思想。它也塑造了这些文学作品发展的方法和媒介。该项目将在文献研究和基于来源的案例研究的基础上分析这些方面，从而构建一个历史和系统的画面。个案研究将以档案材料为基础，包括迄今尚未利用的特别声学来源。