Voice Inverse

Prins, Yopie

doi:10.1353/vp.2004.0034

Cited by 26 publications

(6 citation statements)

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“…The lyric "I" of In Memoriam eludes and exceeds what Prins calls "lyric humanism," suggesting instead a poetic subject whose taxonomic status is decidedly less cut and dry. 38 Thus, as it dissolves the category of the human, In Memoriam subjects its poet-speaker to a taxonomic death. This death is of course staged most immediately on the poem's title page, whose authorless expanse experiments with what de Man calls the "opposition between the name and the nameless," the "privative" power of language and the defacements it enacts upon the human subject.…”

Section: Apostrophe Without Voicementioning

confidence: 99%

Victorian Lyric in the Anthropocene

Garofalo¹

2019

Victorian Literature and Culture

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When Charles Lyell chronicles humankind's rise to geologic power in thePrinciples of Geology, he talks out of both sides of his mouth. Detailing the human species’ seemingly unmatched force as a terrestrial “levelling agent,” he ruminates on an unsettling possibility that haunts the present: “it admits of reasonable doubt whether, upon the whole, we fertilize or impoverish the lands we occupy.” Already at the time of Lyell's writing, the human species had “displaced” or altogether extinguished “a number of beasts of prey, birds, and animals of every class” (2:148) through deforestation, hunting, and the “progress of colonization” (2:150–51). But elsewhere in thePrinciples, Lyell puts into question what this history of environmental degradation otherwise seems to assert: that to be human is to possess a singular capacity for mastery. Thus, Lyell declares, “we ought always, before we decide that any part of the influence of man is novel and anomalous, carefully to consider all the powers of other animate agents which may be limited or superseded by him” (2:206). Tracing how swarms of insects gave dramatic and lasting shape to the German arboreal landscape in ways that humans could never replicate, he concludes: “[I]t does not follow that this kind of innovation”—human innovation—“is unprecedented” (2:206). Even as Lyell imagines humankind as “superior” in its capacity to act as “a single species,” he persistently lingers with the very real possibility that humans donotpossess a “novel and anomalous” hold over the world (2:207, emphasis original). Instead, thePrinciplestraces how the world is shaped by “physical causes” and nonhuman agencies that elude control and unmask the relative “insignifican[ce]” of humankind's “aggregate force” (2:207). Inasmuch as humans comprise only one part of an agential assemblage whose shifting interactions elude anthropogenic mastery, thePrinciplesimagines humankind as interpenetrated by and profoundly susceptible to nonhuman life-forms and forces. According to Lyell, then, deep history speaks not only of the human species’ seemingly privileged capacity for action but also its nonintentionality, noninstrumentality, and vulnerability. That thePrinciplestells a story about the porous interfaces between human and nonhuman geologic agents is perhaps surprising, given that it emerged and participated in a moment which, for many, marks the zenith of imperial and anthropogenic power.

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Section: Apostrophe Without Voicementioning

confidence: 99%

Victorian Lyric in the Anthropocene

Garofalo¹

2019

Victorian Literature and Culture

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“…Scholars of poetry are continuing to probe the implications of this position, sometimes in ways that directly intersect with music. Yopie Prins’s essays on ‘Victorian Meters’ (1999) and ‘Voice Inverse’ (2004) make the crucial point that we must reevaluate whether poetic voice always indicates a persona, positing instead the presence of speakerless voice. Yet we might still long to hear the voice of the poet, as she explores in ‘Sappho Recomposed: A Song Cycle by Granville and Helen Bantock’ (2005).…”

Section: New Lyric Studiesmentioning

confidence: 99%

A Score of Change: Twenty Years of Critical Musicology and Victorian Literature

Weliver

2011

Literature Compass

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Over the last 20 years, the impact of critical musicology (or new musicology) has given rise to fresh areas of exploration (e.g., performance practices, reception histories, affect, listening) and new methods and sites of investigation, including Victorian novels and poems. Influenced by cultural criticism, critical musicologists study musical practices as interactive with a wide range of human activities and beliefs. Simultaneously, literary scholars and historians have played a prominent early role in promoting the study of music in 19th-century Britain and in establishing its aims and methods. To these researchers and to contextually minded musicologists, it was obvious that music embodied and expressed ideological and political meanings, and that fictional, non-fictional, and verse works elucidated and helped to construct these perceptions. Music and Victorian literature is thus a truly interdisciplinary field because it speaks to individuals whose home training is in either literature or music, while also influencing scholars in a range of other disciplines including social and cultural history, art history, women's studies, gender studies, and queer studies.Introducing the field of music and Victorian literature to a literary audience therefore means first tracing developments in the discipline of music and then highlighting a major disciplinary difference (composer intentionality versus the death of the author). Outlining the latter will, I hope, suggest opportunities for critical musicologists as well as for people interested specifically in word-music connections. In particular, the issue of subjectivity is ripe for further development as can be seen by work on 19th-century poetry and music that is a part of new lyric studies. The final sections of the article outline the latter, indicate the interdisciplinary beginnings of the study of music in 19th-century Britain, provide a list of resources, and map out other recent trends and possible future directions in scholarship on music and Victorian literature.Throughout the whole of the first act we remained in our position -the Count, absorbed by the orchestra and the stage, never casting so much as a chance glance at us. Not a note of Donizetti's delicious music was lost on him.[…] When the people near him applauded the close of an air (as an English audience in such circumstances always will applaud), without the least consideration for the orchestral movement which immediately followed it, he looked round at them with an expression of compassionate remonstrance, and held up one hand with a gesture of polite entreaty. At the more refined passages of the singing, at the more delicate phases [sic] of the music, which passes unapplauded by others, his fat hands, […] softly patted each other, in token of the cultivated appreciation of a musical man. At such times, his oily murmur of approval, ''Bravo! Bra-a-a-a!'' hummed through the silence, like the purring of a great cat. His immediate neighbours on either side -hearty, ruddy-faced people from the country, ...

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“…The words are arranged in such a way that what stands out is the series of melodious sounds like music, namely by using a sound orchestra (Carlyle, 1984). Poetry is human thought concretely and artistically in emotional and rhythmic language Dunton (Prins, 2004). For example, with figures of speech, with images arranged artistically (for example, in harmony, symmetrical, choosing the right words, and so on), and the language is full of feeling and rhythmic like music (changing the sounds of the words in a row regularly).…”

Section: Introductionmentioning

confidence: 99%

The Implementation of Local Wisdom-Themed Poetry Musicalization Model and Its Influence on Elementary Students’ Poetry Writing and Reading Skills

Prawiyogi

Rahman

Sastromiharjo

et al. 2023

AIJP

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This paper set out to detail how using musicalization models based on poetry with a focus on local wisdom might improve students' abilities to read and write poetry in the primary school setting. The methodology of this investigation is quantitative. Nonequivalent Control Group Design was utilised for this study, making it a type of quasi-experimental research. This study was conducted at a randomly selected school in Purwakarta. The fifth-graders there split their time between two classes. Methods of data collecting, including both test and non-test methods. Students are tested using an assignment to write poetry, while knowledge is gauged using a reading comprehension form. If all of the prerequisites were met, a t-test was utilised for statistical significance in the data analysis. The study found that teaching primary school students about poetry through musicalization considerably increased their comprehension of the material. This can be shown by comparing pre-and post-test results on children's proficiency in reading and producing poetry using this framework. Students' interest in learning and their ability to write and read poetry benefit from a musical poetry model centred on local knowledge. Their vocabulary is enriched and expanded by the students' early exposure to Purwakarta's sites of local wisdom. Students found it less challenging to select appropriate diction when writing poetry. The students who enjoy making music out of their writing are given an additional creative challenge. Therefore, it appears that a musicalization model with a focus on wisdom can be useful for teaching poetry in primary schools in the modern period of education, which places an emphasis on writing and technology engagement without neglecting the wealth of students' local wisdom.

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Voice Inverse

Cited by 26 publications

References 0 publications

Victorian Lyric in the Anthropocene

Victorian Lyric in the Anthropocene

A Score of Change: Twenty Years of Critical Musicology and Victorian Literature

The Implementation of Local Wisdom-Themed Poetry Musicalization Model and Its Influence on Elementary Students’ Poetry Writing and Reading Skills

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