In message <006601c016c5$e5b3ad20$170f6395@default>, Nate and Jane
Dorward <[log in to unmask]> writes
> But my point would be that while a
>poetics such as that of Bunting, with its strong sense of craft and the
>well-made poem, might be well within range of conventional ideas of prosody,
>it's less obvious how "use your ear" is useful advice for poet or reader in
>connection with, say, Bob Cobbing, Jackson Mac Low, John Ashbery, Allen
>Fisher, Charles Bernstein, John Cage, &c. Such poetries to varying degrees
>ignore concepts of the well-made poem & of a strict or subjectively
>determined aural prosody.
I can't really follow you here, Nate; isn't the point rather that it is
_outside_ a 'determined aural prosody' that the 'ear' comes most into
play? But I'm a bit thrown by such a mixed bag of examples. At one
extreme I'd agree that Allen Fisher works not 'by ear' but on a
conceptual base which has largely to do with interior relations among
ideas, perceptions & so on; at the other Bob Cobbing in much of his work
proceeds by sound alone, usually in relation to a non-verbal text - hard
to deny in his case that you need to 'use your ear'. The others in the
list fit in somewhere between these extremes but as a group I can't see
that they show anything at all. Ah but it's been a long day, mebbe I've
missed summat. Best, A
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