Miriam Helga Auer Poetry in Motion and Emotion –
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Miriam Helga Auer Poetry in Motion and Emotion – An analysis of the Forms, Functions and Effects of Intermedial References to Poems and Poets within Creative Products of Visual Culture DISSERTATION zur Erlangung des akademischen Grades Doktorin der Philosophie 792/343 Doktoratsstudium der Anglistik und Amerikanistik (Literaturwissenschaft) Alpen-Adria-Universität Klagenfurt Fakultät für Kulturwissenschaften 1. Begutachter: Univ.-Prof. Dr. Jörg Helbig, M.A. Institut: Institut für Anglistik und Amerikanistik Alpen-Adria-Universität Klagenfurt 2. Begutachter: Univ.-Prof. Mag. Dr. Arno Rußegger Institut: Institut für Germanistik Alpen-Adria-Universität Klagenfurt Dezember 2014 Poetry in Motion and Emotion Ehrenwörtliche Erklärung Ich erkläre ehrenwörtlich, dass ich die vorliegende wissenschaftliche Arbeit selbstständig angefertigt und die mit ihr unmittelbar verbundenen Tätigkeiten selbst erbracht habe. Ich erkläre weiters, dass ich keine anderen als die angegebenen Hilfsmittel benutzt habe. Alle aus gedruckten, ungedruckten Quellen oder dem Internet im Wortlaut oder im wesentlichen Inhalt übernommenen Formulierungen und Konzepte sind gemäß den Regeln für wissenschaftliche Arbeiten zitiert und durch Fußnoten bzw. durch andere genaue Quellenangaben gekennzeichnet. Die während des Arbeitsvorganges gewährte Unterstützung einschließlich signifikanter Betreuungshinweise ist vollständig angegeben. Die wissenschaftliche Arbeit ist noch keiner anderen Prüfungsbehörde vorgelegt worden. Diese Arbeit wurde in gedruckter und elektronischer Form abgegeben. Ich bestätige, dass der Inhalt der digitalen Version vollständig mit dem der gedruckten Version übereinstimmt. Ich bin mir bewusst, dass eine falsche Erklärung rechtliche Folgen haben wird. ______________________________ ____________________________ (Unterschrift) (Ort, Datum) ii Poetry in Motion and Emotion For my ‘social catalyst’ iii Poetry in Motion and Emotion […] I behold the picturesque giant and love him, and I do not stop there, I go with the team also. In me the caresser of life wherever moving, backward as well as forward sluing, To niches aside and junior bending, not a person or object missing, Absorbing all to myself and for this song. Oxen that rattle the yoke and chain or halt in the leafy shade, what is that you express in your eyes? It seems to me more than all the print I have read in my life. My tread scares the wood-drake and wood-duck on my distant and day-long ramble, They rise together, they slowly circle around. I believe in those wing’d purposes, And acknowledge red, yellow, white, playing within me, And consider green and violet and the tufted crown intentional, And do not call the tortoise unworthy because she is not something else, And the jay in the woods never studied the gamut, yet trills pretty well to me, And the look of the bay mare shames silliness out of me ~ Walt Whitman, Song of Myself, Section 13 (1855) ~ i Poetry in Motion and Emotion Table of Contents Declaration Acknowledgements………………………………………………………………………………………………....i Poetic Preface: Poetry in Motion and Emotion: Plunging into an Intermedial Ocean………………….….....iii List of Illustrations…………………………………………………………………………………..…..…….....xiii Introduction: The Secret Life of Words……...………………………………...……………………………..….1 Chapter 1: Educating the Heart – Establishing the Framework of Ethics, Empathy, Eschatology and Epistemology and Reviewing Relevant Secondary Literature……………………………………………….11 1.1 Developing the ‘Four E’s of Edutainment’ and Defining Key-Terminology……………….....11 1.2 Poetics’ Perspectives – Implications on Convergence and Reloading of Pleasure…………....19 1.3 From M.A. Research to Ph.D. Thesis – How It Is All Connected………………….……….....21 1.4 Conscious Ethics…………………………………………………………………………….....25 1.5 Synthesising Cognitive Science, Cognitive Cultural Studies and Affect Theory……………..29 1.6 Empathy and Intermedially Referenced Poetry………………………………………………..34 1.7 Main Categories of Forms, Functions and Effects of References to Poetry…………………..39 1.8 Eschatological Example: FALLOUT 3’s Interpretation of the End of Days…………..……….....43 1.9 Emotions Delivered through the Motion Picture: Empathetic Viewing and Gaming………...43 1.10 Implications ……………………………………………………………………………………46 Chapter 2: Poetry in Motion, Carrying a Schoolbag – Poetry References and Didactic Implications……..48 2.1 Towards Mastering the Art of Recognising Intermedial References…………………………49 2.1.1 Implications………………………………………………………………...54 2.2 INTERNATIONAL - INTERMEDIAL! Employing Learners’ Increased Intermedia Literacy as an Innovative Method to Creatively Augment the Realities of Globally Oriented English Teaching……………………………………………………………………………………….55 2.2.1 “Poetry in Motion”, Carrying a Schoolbag………………………………...55 2.2.2 Poetry’s Psycholinguistic Potential…...……………………………………56 2.2.3 Remedialising Wor(l)ds – An Intermedial Movement…………………….61 2.2.4 Mission: Empathy…………………………………………………………..63 2.2.5 Poetic Perspectives – Pleasure Reloaded……………………………….….67 2.2.6 Multimedial adaptations – “Poetry in Motion”…………………………….69 2.2.7 Intermediality’s Internationality – Feeling into Wor(l)ds………………….73 i Poetry in Motion and Emotion Chapter 3: Painting Words and Reading Pictures – Poetry References and Paintings……………………...75 3.1 Paintings and their Poetic Framing…………………………………………………………….76 3.2 From Static Visual Art to the Moving Image – Tracing Intermedial Roots…………………..77 3.3 Static Visual Art, Ekphrasis and Mise en Abyme………………………………………………81 3.4 “Lyric Ekphrasis”………………………………………………………………………………84 3.5 Contemporary Syntheses of Poetry and Static Visual Art………………………………….….87 Chapter 4: Here we are now, entertain us! – Poetry References and Movies………………………………..93 4.1 How Images Began to Move and to Be Increasingly Moving……………………………..…..94 4.2 The ‘Four E’s of Edutainment’ and Film……………………………………………………....96 4.3 Categories of Movies According to the Forms, Functions and Effects of the Poetry-References Integrated……………………………………………………………………………………….97 4.3.1 Movies on the Lives of Poets…………………………………………………………97 4.3.2 Movies with Obvious Occasions of Delivery of Poems……………………….……..99 4.3.3 Films in the Tradition of DEAD POETS SOCIETY…………………………………….….100 4.3.4 Movie-adaptations of Novels Featuring Poems……………………………………..101 4.3.5 Less Marked, more Covert, Complex References to Poems and Poets…………..…105 4.4 Remedialising two Different “Stereotypical” Poets……………………………………….….114 4.5 Transmedially Expanding the HELLBOY II-Universe………………………………..………....116 4.6 Reimagining and Remedialising ‘Lyric Protagonists’……………………….……………….119 4.7 How The Raven Keeps Flying Across the Media…………………………………………….122 4.8 Poetry and Movies: Joining the Dots…………………………………………………………128 4.8.1 The Spectators’ Share – What Else Evolves from Recognising Intermedial Connections…………………………………………………………………………129 Chapter 5: Playin’ it Cool: How Videogames Bring Ancient Poems Back to Life – Poetry References and Videogames……………………………………………………………………………………………………..136 5.1 Secondary Sources – Plunging into the Fountain of Cool: Poetry in Gaming……………….137 5.2 There Will Come Soft Rains – The Poetry of FALLOUT 3………………………..………….…146 5.2.1 There Will Come Soft Rains – The Intermedially Referenced Foreshadowing of Postapocalyptic Dystopias in the Videogame Connected to Two Songs…………...147 5.2.2 The Links between “There Will Come Soft Rains” and FALLOUT 3 in Detail.....…...148 5.2.2.1 The Poem………………………………………………………....151 5.2.2.2 The Short Story…………………………………………..……….154 ii Poetry in Motion and Emotion 5.2.2.3 The Videogame……………………………………………..……157 5.2.2.4 The Songs…………………………………………………..……167 5.2.2.5 The Uncanny: Multimedially Realised Foreshadowing of an Uncanny Future…………………………………………….…….171 5.2.2.6 Conclusion Poem and Videogame 1: Joining the Dots and Explaining the References’ Overall-Relevance in Relation to the ‘Four E’s of Edutainment’…………….………176 5.2.2.7 Similarly Organised Intermedial References to a Poem in a Videogame…………………………………………………….….182 5.3 L.A. NOIRE and Its Cinematographic and Poetic Referential Richness……………..…..…….189 5.3.1 Los Angeles Painted Black and Set in Motion………………………………..…….190 5.3.2 Plot, Gameplay and Characters…………………………………………………..….192 5.3.2.1 Plot and Characters……………………………………………….192 5.3.2.2 Gameplay and Integration of Shelley’s Prometheus Unbound….196 5.3.3 The Poem Within……………………………………………………………………198 5.3.4 How Things Are Made – Aesthetic Interferences of Movie Aesthetics with the Videogame and Further References…………………………………………………205 5.3.4.1 Interactivity and “Concreativity”…………………………..…….205 5.3.4.2 Adaptations and Intentional Intermedial Referencing……..……..207 5.3.4.3 MotionScan, CGI, USP and Related References………...……….208 5.3.4.4 Tracking the Sound……………………………………………….209 5.3.4.5 ‘Driving Phelps Psycho’ – Distinct Intermedial References…….211 5.3.4.6 Artistic Licence and Intolerance…………………………...…….214 5.3.4.7 Film Festival Featuring………………………………………...…214 5.3.5 Conclusion Poem and Videogame 2: Joining the Dots and Explaining the References’ Overall-Relevance in Relation to the ‘Four E’s of Edutainment’……………………………………………………….….215 5.4 Setting Sails like Ulysses: An Edutaining MASS EFFECT Is Called to Duty…………..…………219 5.4.1 One Poem and Two Videogames: How the Intermedial Connection Sets Sail………………………………………………………………………………219 5.4.2 Conclusion Poem and Videogame 3………………………………………………….222 iii Poetry in Motion and Emotion Chapter 6: Everyday a Little Apocalypse – Song-lyrics, Music-Performances and the ‘Four E’s’ – Poetry References and Lyrics……………………………………………………………………………………….…225 6.1 Poetry and Classical