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Inge Arteel

Bio: Inge Arteel is an academic researcher. The author has contributed to research in topics: Materiality (auditing) & Pathos. The author has an hindex of 1, co-authored 1 publications receiving 2 citations.
Topics: Materiality (auditing), Pathos, Lament, Elegy, Singing

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Journal ArticleDOI
TL;DR: In this article, the authors present playful parodic rewritings of traditional vocal pathos genres such as the lyrical elegy, the opera aria, and the echolalic lament.
Abstract: Austrian neo-avant-garde authors excelled in literary forms that foregrounded the acoustic quality of voices. Their concern was not to establish the voice as a disembodied medium of pure emotionality; rather, they experimented with the corporeal materiality and technical mediality of voice and speech, and explored the ethics and aesthetics of non-sovereign, “impure” voices. After some introductory remarks on the work of Ernst Jandl, this essay argues this stance in regard to selected texts by the Viennese author Friederike Mayrocker. In a striking awareness of the cultural history of the voice, her texts present playful parodic rewritings of traditional vocal pathos genres such as the lyrical elegy, the opera aria, and the echolalic lament. They demonstrate the appealing quality of heteronomous, dispossessed speaking or singing voices, an appeal that is well worth listening to.

2 citations


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Book ChapterDOI
12 Nov 1989

4 citations

Journal ArticleDOI
TL;DR: In this article, a radio play adaptation of the novel Lanark: A Life in Four Books (1981) is presented, and the authors focus on the narratological category of "voice" and explore what happens when narrators and characters' voices are actualized in radio drama.
Abstract: Alasdair Gray’s novel Lanark: A Life in Four Books (1981) eludes generic categorization by crossing the boundaries between dystopian fiction, fantasy novel, life writing, and fiction marked by magic realism. In postmodern fashion, it plays with spatiotemporal frameworks and narrative order, shifts narrative voices, and perspectives and uses a multiplicity of presentational modes including dialogue and scholarly text commentary with encyclopedic annotations. In its “Epilogue,” the novel features metalepsis when it introduces the author, who talks to his protagonist about his work. The question arises how the novel’s radio play adaptation, first broadcast by the BBC on 1 November 2014, translates this playfulness into its own semiotic system. This paper particularly focuses on the narratological category of “voice” and explores what happens when narrators’ and characters’ voices are actualized in radio drama, how the radio play uses voice-over narration, voice qualities and the doubling of parts to create a recognizable as well as surprising aural storyworld. It also analyzes how sound techniques and music are employed to create narrative structures. Because of their medial instantaneousness and evanescence, radio plays arguably have to rely on disambiguation to make themselves accessible to a listening audience. However, as this paper shows, they also have a range of radiophonic techniques at their disposal to create narrativity on their own terms.

4 citations