You are absolutely right, Hal. I meant or forgot to ask and/or point to the 'punctuation techie' who has the job to listen to the different recordings of a poem in order to either justify or clarify the line breaks and punctuation marks in the work's printed version and/or must create x number of printed versions that follow the line breaks, pauses and silences in the oral version.
A job for the acute of ear. I suspect this job definition is still a work in progress.
Unless anybody has heard different - no pun intended.
Stephen
--- On Fri, 1/23/09, Halvard Johnson <[log in to unmask]> wrote:
From: Halvard Johnson <[log in to unmask]>
Subject: Re: Inverted commas and such
To: [log in to unmask]
Date: Friday, January 23, 2009, 8:25 AM
Methinks that this "future" has been around for quite
a while now, Stephen.
Hal
"There are some things that are so serious that
you can only joke about them."
--Niels Bohr
Halvard Johnson
================
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On Jan 22, 2009, at 6:51 PM, Stephen Vincent wrote:
> It is curious to imagine now - in 'the concordance of the future'
- one will be able to look at both handwritten mss. (if there is one), the
published version (with its punctuation as well as all the other things that
make a page a page) and then 2 or 3 versions of spoken renditions - by poet, by
performer, with or without music, or done as an improv with, say, a scat version
as different from a 'straight' version.
> In other words, strict, orthodox interpretations of a particular poem will
be laughably odd.
> What one does with the core of a poem will be entirely flexible and no
doubt judged well, bad or indifferent by the historical context and quality of
means of its 'production.'
>
> Good-bye canon, as such, this one says, 'canonearly'!
>
> Stephen V
> http://stephenvincent.net/blog/
> Now featuring the First 100 Days of Obama, haptics & texts.
>
>
> --- On Thu, 1/22/09, Robin Hamilton <[log in to unmask]>
wrote:
> From: Robin Hamilton <[log in to unmask]>
> Subject: Re: Inverted commas and such
> To: [log in to unmask]
> Date: Thursday, January 22, 2009, 3:56 PM
>
> Seems to be an excellent piece, Doug, part of a larger series of
discussions on
> MS study, and (the part I URLed) drawing on Parkes' _Pause and
Effect_.
>
> Following through on Christopher's heads-up, I had a look (ain't
google
> books wonderful?) at Isadore of Seville's _Etymologies_, I.20.
>
> Sheesh!! Talk about Rube Goldberg!! Only excelled by I.21, dealing with
> "the 26 critical marks placed in poetry."
>
> <g>
>
>
>
http://books.google.com/books?id=igxC93_A-fIC&pg=PT53&lpg=PT53&dq=Isidore+Etymologies+punctuation&source=bl&ots=kZR2ZhQ0Pq&sig=YwtKVK5zZtKNNwZxBRH6mtNUg54&hl=en&sa=X&oi=book_result&resnum=8&ct=result#PPT54,M1
>
> ... but I'd argue that Isadore there makes my point, in that he seems
to be
> primarily (entirely?) concerned by the way that pointing in MSS reflects
the
> spoken voice.
>
> He does seem to carry it to an extreme, admittedly, and whether MSS were
ever
> *actually scored to the extent that he implies, I wonder ...
>
> Robin
>
> ----- Original Message ----- From: "Douglas Barbour"
> <[log in to unmask]>
> To: <[log in to unmask]>
> Sent: Thursday, January 22, 2009 11:38 PM
> Subject: Re: Inverted commas and such
>
>
>> Geez, I might have known my old pal, Stephen Reimer would fit in
here...
> Good for UofA.
>>
>> Doug
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