Volta: form and gestalt. The history of the English Sonnet as an exploration of poetic form

Volta：形式和形状。

• 批准号: 239734411
• 负责人: Professor Dr. Felix Sprang
• 金额: --
• 依托单位: Seminar für Anglistik
• 依托单位国家: 德国
• 项目类别: Research Fellowships
• 财政年份: 2013
• 资助国家: 德国
• 起止时间: 2012-12-31 至 2013-12-31
• 项目状态: 已结题
• 来源: https://gepris.dfg.de/gepris/projekt/239734411?language=en
• 关键词: Volta; form; gestalt.; history; English

The sonnet form is usually conceived of as a rigid poetic form (Cousins/Howarth 2011; Borgstedt 2009) that is marked by its prosodic features: the 14 lines in combination with a rigorous rhyme scheme. Taking a phenomenological and dynamic conception of form (Cassirer [1928] 1995, Leighton 2007) as a point of departure, I focus on the volta, i.e. the caesura that divides the poem thematically and introduces a turn or shift in perspective. Investigating the volta as a cognitive movement allows for probing into the dynamic relationship between established forms and formal innovations with respect to the Gestalt of the sonnet from the early modern period to the present. While the investigation may facilitate our understanding of the sonnet's popularity, it is primarily aimed at probing into the relationship between generic conventions and dynamic form. If we conceive of poetic form as a process rather than a structure, it is argued, investigating the dynamics of form may also arrive at a better understanding of how we conceptualize poetry and literary history. When in Cambridge I should like to devote all my time to analysing individual sonnets and - in discussions with Angela Leighton, who has been inspirational throughout the initial stages of this project - to devising models and ways of describing the dynamics of poetic form that go beyond traditional formalism. I should also like to consult scholars who have worked on cognitive (Raphael Lyne) and rhetorical/lyrical (Gavin Alexander) notions of form. And I will look for manuscript sources that can possibly tell us something about the poetics of the volta from the poet's and the audience's perspective.

十四行诗形式通常被认为是一种刚性诗歌形式（Cousins/Howarth 2011； Borgstedt 2009），其标志是其韵律特征：14行与严格的韵律相结合。我以形式的现象学和动态概念（Cassirer [1928] 1995，Leighton 2007）作为出发点，我专注于伏击，即凯撒（Caesura），即诗歌主题分裂并引入转向或转变。将Volta作为认知运动进行调查可以探讨从近代早期到现在的十四行诗的既定形式与正式创新之间的动态关系。 尽管调查可能有助于我们对十四行诗的受欢迎程度的理解，但它主要旨在探讨通用惯例与动态形式之间的关系。如果我们认为诗意形式是一种过程而不是结构，则认为，研究形式的动态也可能会更好地理解我们如何概念化诗歌和文学历史。在剑桥时，我想全力投入分析单个十四行诗，并与安吉拉·莱顿（Angela Leighton）进行讨论，安吉拉·莱顿（Angela Leighton）在该项目的整个初始阶段都感到鼓舞人心 - 设计模型和描述超出传统形式主义的诗意动态的方式。我还应该咨询从事认知（拉斐尔·林恩）和抒情/抒情（加文·亚历山大）形式的学者。我将寻找可以从诗人和观众的角度告诉我们有关Volta的诗学的手稿资源。