BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sabre//Sabre VObject 4.5.8//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:news375@english.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20221124T170537 DTSTART;TZID=Europe/Zurich:20220927T130000 SUMMARY:Poetical thanatosonics – on the grounds of Polish literature 1939 -1945 DESCRIPTION:In his 2015 book Listening to War J.M. Daughtry convincingly cl aims that the sound can wound because wartime is always connected with a u nique entanglement of violence and aural phenomena. Daughtry’s concept o f thanatosonics was developed by him for needs of the analysis of the test imonies from the recent war in Iraq. This theory proves adequate to descri be the poems written in Polish in the period of World War II rendered as i mmediate responses to individual war experiences of first-hand earwitnesse s. Although poetry differs from non-fiction testimonies\, it can be treate d as source material for studying war soundscapes and painful experiences of listeners who sense the imminence of death. Moreover\, thanatosonic poe ms connect aural motifs with special affective attunement\, and they evoke psychological and somatic reactions to the din of war.\\r\\nThe main rese arch question deals with various affordances of poetry as a medium used in parallel staging war experiences and sounds. The thanatosonic poem never turns out to be a transparent representation. Firstly\, it is often meant to trace the unrepresentable: to emulate audial elements and to convey pre verbal affects connected with traumatizing events. Many preserved texts\, written by survivors who were still in danger\, appear as brief and radica l artistic performances. Their obscurity and disruptions echo liminal expe riences and bursts of affect. Such texts can even function as the precocio us mode of witnessing the inaccessible trauma (Sh. Felman’s concept). Se condly\, the experienced wartime auscultators (e.g. soldiers\, civilians d uring air raids\, prisoners\, including Jews in ghettos or concentration c amps) developed a host of auditory practices which are mirrored by a stabl e reservoir of sound-related poetic motifs and conventions. Thirdly\, to c ope with their thanatosonic experiences\, wartime authors tended to adapt numerous cultural costumes\, which helped them engender the peculiar “cu ltural politics of emotions” (S. Ahmed’s term). As a result\, poetical thanatosonics in Polish wartime verse covers a full spectrum of artistic possibilities\, ranging from the most traditional forms to avant-garde exp eriments.\\r\\nDobrawa Lisak-Gębala – Ph.D.\, born in 1984\; assistant professor at the Institute of Polish Philology\, University of Wrocław (P oland). She graduated from cultural studies and Polish language and litera ture studies. She published two monographs: Ultraliterature (2014) and Vis ual 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 me mory studies. Her project ‘Poetical thanatosonics – on the grounds of Polish poetry (1939–1945)’ is financed by the National Science Centre (2019/35/D/HS2/00128). X-ALT-DESC:

In his 2015 book Listening to War J.M. Daughtry conv incingly claims that the sound can wound because wartime is always connect ed with a unique entanglement of violence and aural phenomena. Daughtry’ s concept of thanatosonics was developed by him for needs of the analysis of the testimonies from the recent war in Iraq. This theory proves adequat e to describe the poems written in Polish in the period of World War II re ndered as immediate responses to individual war experiences of first-hand earwitnesses. Although poetry differs from non-fiction testimonies\, it ca n be treated as source material for studying war soundscapes and painful e xperiences of listeners who sense the imminence of death. Moreover\, thana tosonic poems connect aural motifs with special affective attunement\, and they evoke psychological and somatic reactions 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 experiences and sounds. The thanatoson ic poem never turns out to be a transparent representation. Firstly\, it i s often meant to trace the unrepresentable: to emulate audial elements and to convey preverbal affects connected with traumatizing events. Many pres erved texts\, written by survivors who were still in danger\, appear as br ief and radical artistic performances. Their obscurity and disruptions ech o liminal experiences and bursts of affect. Such texts can even function a s the precocious mode of witnessing the inaccessible trauma (Sh. Felman’ s concept). Secondly\, the experienced wartime auscultators (e.g. soldiers \, civilians during air raids\, prisoners\, including Jews in ghettos or c oncentration camps) developed a host of auditory practices which are mirro red by a stable reservoir of sound-related poetic motifs and conventions. Thirdly\, to cope with their thanatosonic experiences\, wartime authors te nded to adapt numerous cultural costumes\, which helped them engender the peculiar “cultural politics of emotions” (S. Ahmed’s term). As a res ult\, poetical thanatosonics in Polish wartime verse covers a full spectru m of artistic possibilities\, ranging from the most traditional forms to a vant-garde experiments.

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Dobrawa Lisak-Gębala – Ph.D.\, born in 1984\; assistant professor at the Institute of Polish Philology\, Universi ty of Wrocław (Poland). She graduated from cultural studies and Polish la nguage and literature studies. She published two monographs: Ultralite rature (2014) and Visual Springboards. Contemporary Polish Essays on Paintings and Photographs (2016). Her field of interest covers th e 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 (19 39–1945)’ is financed by the National Science Centre (2019/35/D/HS2/00 128).

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