BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sabre//Sabre VObject 4.5.7//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:Europe/Zurich X-LIC-LOCATION:Europe/Zurich TZURL:http://tzurl.org/zoneinfo/Europe/Zurich BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19810329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19961027T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:news709@dslw.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20220909T135108 DTSTART;TZID=Europe/Zurich:20220927T130000 SUMMARY:Poetical thanatosonics - on the grounds of Polish literature 1939-1 945. DESCRIPTION:Abstract\\r\\nIn his 2015 book Listening to War J.M. Daughtry c onvincingly claims that the sound can wound because wartime is always conn ected with a unique entanglement of violence and aural phenomena. Daughtry ’s concept of thanatosonics was developed by him for needs of the analys is of the testimonies from the recent war in Iraq. This theory proves adeq uate to describe the poems written in Polish in the period of World War II rendered as immediate responses to individual war experiences of first-ha nd earwitnesses. Although poetry differs from non-fiction testimonies\, it can be treated as source material for studying war soundscapes and painfu l experiences of listeners who sense the imminence of death. Moreover\, th anatosonic poems connect aural motifs with special affective attunement\, and they evoke psychological and somatic reactions to the din of war. \\r\ \nThe main research question deals with various affordances of poetry as a medium used in parallel staging war experiences and sounds. The thanatoso nic poem never turns out to be a transparent representation. Firstly\, it is often meant to trace the unrepresentable: to emulate audial elements an d to convey preverbal affects connected with traumatizing events. Many pre served texts\, written by survivors who were still in danger\, appear as b rief and radical artistic performances. Their obscurity and disruptions ec ho liminal experiences and bursts of affect. Such texts can even function as the precocious mode of witnessing the inaccessible trauma (Sh. Felman ’s concept). Secondly\, the experienced wartime auscultators (e.g. soldi ers\, civilians during air raids\, prisoners\, including Jews in ghettos o r concentration camps) developed a host of auditory practices which are mi rrored by a stable reservoir of sound-related poetic motifs and convention s. Thirdly\, to cope with their thanatosonic \\r\\nexperiences\, wartime a uthors tended to adapt numerous cultural costumes\, which helped them enge nder the peculiar “cultural politics of emotions” (S. Ahmed’s term). As a result\, poetical thanatosonics in Polish wartime verse covers a ful l spectrum of artistic possibilities\, ranging from the most traditional f orms to avant-garde experiments. \\r\\nDobrawa Lisak-Gębala – Ph.D.\, b orn in 1984\; assistant professor at the Institute of Polish Philology\, U niversity of Wrocław (Poland). She graduated from cultural studies and Po lish language and literature studies. She published two monographs: ‘Ult raliterature’ (2014) and ‘Visual Springboards. Contemporary Polish Ess ays on Paintings and Photographs’ (2016). Her field of interest covers t he history of the Polish literature of the 20th and 21st centuries\, the i ntermediality\, sound studies and memory studies. Her project ‘Poetical thanatosonics – on the grounds of Polish poetry (1939–1945)’ is fina nced by the National Science Centre (2019/35/D/HS2/00128). X-ALT-DESC:

Abstract

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In his 2015 book Listen ing to War J.M. Daughtry convincingly claims that the sound can wound because wartime is always connected with a unique entanglement of violenc e and aural phenomena. Daughtry’s concept of thanatosonics was developed by him for needs of the analysis of the testimonies from the recent war i n Iraq. This theory proves adequate to describe the poems written in Polis h in the period of World War II rendered as immediate responses to individ ual war experiences of first-hand earwitnesses. Although poetry differs fr om non-fiction testimonies\, it can be treated as source material for stud ying war soundscapes and painful experiences of listeners who sense the im minence of death. Moreover\, thanatosonic poems connect aural motifs with special affective attunement\, and they evoke psychological and somatic re actions to the din of war.

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The main research question deals with various affordances of poetry as a medium used in parallel staging war exp eriences and sounds. The thanatosonic poem never turns out to be a transpa rent representation. Firstly\, it is often meant to trace the unrepresenta ble: to emulate audial elements and to convey preverbal affects connected with traumatizing events. Many preserved texts\, written by survivors who were still in danger\, appear as brief and radical artistic performances. Their obscurity and disruptions echo liminal experiences and bursts of aff ect. Such texts can even function as the precocious mode of witnessing the inaccessible trauma (Sh. Felman’s concept). Secondly\, the experienced wartime auscultators (e.g. soldiers\, civilians during air raids\, prisone rs\, including Jews in ghettos or concentration camps) developed a host of auditory practices which are mirrored by a stable reservoir of sound-rela ted poetic motifs and conventions. Thirdly\, to cope with their thanatoson ic

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experiences\, wartime authors tended to adapt numerous cultura l costumes\, which helped them engender the peculiar “cultural politics of emotions” (S. Ahmed’s term). As a result\, poetical thanatosonics i n Polish wartime verse covers a full spectrum of artistic possibilities\, ranging from the most traditional forms to avant-garde experiments.

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Dobrawa Lisak-Gębala – Ph.D.\, born in 1984\; assistant professor at the Institute of Polish Philology\, University of Wrocław (Poland). She graduated from cultural studies and Polish language and literature studies . She published two monographs: ‘Ultraliterature’ (2014) and ‘Visual Springboards. Contemporary Polish Essays on Paintings and Photographs’ (2016). Her field of interest covers the history of the Polish literature of the 20th and 21st centuries\, the intermediality\ , sound studies and memory studies. Her project ‘Poetical thanatosonics – on the grounds of Polish poetry (1939–1945)’ is financed by the Na tional Science Centre (2019/35/D/HS2/00128).

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