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Public poetry performances of the 1970s and 1980s: reconsiderations of poetic licence

Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSN › Chapter (peer-reviewed)

Published

Standard

Public poetry performances of the 1970s and 1980s: reconsiderations of poetic licence. / Gräbner, Cornelia.
Lírica i deslírica: Anàlisis i propostes de la poesia d’experimentacio. ed. / Margalida Pons. Palma de Mallorca: University of the Balearic Islands Press, 2012.

Research output: Contribution in Book/Report/Proceedings - With ISBN/ISSN › Chapter (peer-reviewed)

Harvard

Gräbner, C 2012, Public poetry performances of the 1970s and 1980s: reconsiderations of poetic licence. in M Pons (ed.), Lírica i deslírica: Anàlisis i propostes de la poesia d’experimentacio. University of the Balearic Islands Press, Palma de Mallorca.

APA

Gräbner, C. (2012). Public poetry performances of the 1970s and 1980s: reconsiderations of poetic licence. In M. Pons (Ed.), Lírica i deslírica: Anàlisis i propostes de la poesia d’experimentacio University of the Balearic Islands Press.

Vancouver

Gräbner C. Public poetry performances of the 1970s and 1980s: reconsiderations of poetic licence. In Pons M, editor, Lírica i deslírica: Anàlisis i propostes de la poesia d’experimentacio. Palma de Mallorca: University of the Balearic Islands Press. 2012

Author

Gräbner, Cornelia. / Public poetry performances of the 1970s and 1980s : reconsiderations of poetic licence. Lírica i deslírica: Anàlisis i propostes de la poesia d’experimentacio. editor / Margalida Pons. Palma de Mallorca : University of the Balearic Islands Press, 2012.

Bibtex

@inbook{4c2dd932b7c146ae977f81e41b640f36,
title = "Public poetry performances of the 1970s and 1980s: reconsiderations of poetic licence",
abstract = "The term {\textquoteleft}poetic licence{\textquoteright} is developed as a {\textquoteleft}searchlight concept{\textquoteright}, for the purpose of exploring the relationship between poetry performances from the 1970s, and the poetic tradition. I take Marjorie Perloff{\textquoteright}s reflections on {\textquoteleft}poetic licence{\textquoteright} in her book of this title as a point of departure, and then extend these reflections through the analysis of poetry performances by Linton Kwesi Johnson and Urs M. Fiechtner & Sergio Vesely. {\textquoteleft}Poetic licence{\textquoteright} is developed as a useful concept to understand the diverse types of relationality that are developed in the poetry performance (Johnson: affirmation of the collective experience of his generation in explicit defiance of the poetic conventions of white Britain; Fiechtner & Vesely: the performance as a platform where poetry critiques society in an Adornian manner). Both performance practices are connected through their positing of poetry as a force autonomous from, and opposed to the establishment; and the performance is turned into the platform for such a critique.",
keywords = "spoken word poetry, contemporary poetry, literary theory",
author = "Cornelia Gr{\"a}bner",
year = "2012",
language = "English",
editor = "Margalida Pons",
booktitle = "L{\'i}rica i desl{\'i}rica",
publisher = "University of the Balearic Islands Press",

}

RIS

TY - CHAP

T1 - Public poetry performances of the 1970s and 1980s

T2 - reconsiderations of poetic licence

AU - Gräbner, Cornelia

PY - 2012

Y1 - 2012

N2 - The term ‘poetic licence’ is developed as a ‘searchlight concept’, for the purpose of exploring the relationship between poetry performances from the 1970s, and the poetic tradition. I take Marjorie Perloff’s reflections on ‘poetic licence’ in her book of this title as a point of departure, and then extend these reflections through the analysis of poetry performances by Linton Kwesi Johnson and Urs M. Fiechtner & Sergio Vesely. ‘Poetic licence’ is developed as a useful concept to understand the diverse types of relationality that are developed in the poetry performance (Johnson: affirmation of the collective experience of his generation in explicit defiance of the poetic conventions of white Britain; Fiechtner & Vesely: the performance as a platform where poetry critiques society in an Adornian manner). Both performance practices are connected through their positing of poetry as a force autonomous from, and opposed to the establishment; and the performance is turned into the platform for such a critique.

AB - The term ‘poetic licence’ is developed as a ‘searchlight concept’, for the purpose of exploring the relationship between poetry performances from the 1970s, and the poetic tradition. I take Marjorie Perloff’s reflections on ‘poetic licence’ in her book of this title as a point of departure, and then extend these reflections through the analysis of poetry performances by Linton Kwesi Johnson and Urs M. Fiechtner & Sergio Vesely. ‘Poetic licence’ is developed as a useful concept to understand the diverse types of relationality that are developed in the poetry performance (Johnson: affirmation of the collective experience of his generation in explicit defiance of the poetic conventions of white Britain; Fiechtner & Vesely: the performance as a platform where poetry critiques society in an Adornian manner). Both performance practices are connected through their positing of poetry as a force autonomous from, and opposed to the establishment; and the performance is turned into the platform for such a critique.

KW - spoken word poetry

KW - contemporary poetry

KW - literary theory

M3 - Chapter (peer-reviewed)

BT - Lírica i deslírica

A2 - Pons, Margalida

PB - University of the Balearic Islands Press

CY - Palma de Mallorca

ER -