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From the Page to the Stage: Poetry Writing, Performance, and Reception

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From the Page to the Stage: Poetry Writing, Performance, and Reception SPIEL Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft SPIEL: Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft Jg. 22 (2003), Heft 2 Peter Lang Frankfurt am Main • Berlin • Bern • Bruxelles • New York • Oxford • Wien Bibliografische Information Der Deutschen Bibliothek Die Deutsche Bibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie; detaillierte bibliografische Daten sind im Internet über <http://dnb.ddb.de> abrufbar. ISSNISSN 2199-80780722-7833 © Peter Lang GmbH Europäischer Verlag der Wissenschaften Frankfurt am Main 2005 Alle Rechte vorbehalten. Das Werk einschließlich aller seiner Teile ist urheberrechtlich geschützt. Jede Verwertung außerhalb der engen Grenzen des Urheberrechtsgesetzes ist ohne Zustimmung des Verlages unzulässig und strafbar. Das gilt insbesondere für Vervielfältigungen, Übersetzungen, Mikroverfilmungen und die Einspeicherung und Verarbeitung in elektronischen Systemen. Printed in Germany 1 2 3 4 6 7 www.peterlang.de Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft SPIEL 22 (2003) H. 2 MEDIEN UND EMOTIONEN MEDIA AND EMOTIONS hrsg. von / ed. by Anne Bartsch (Halle) Die vorliegende Ausgabe entstand in Folge des Panels „Emotions and the Community Building Function of the Media“ auf dem IX. IGEL-Kongress 2004 in Edmonton. Die Heftbezeichnung SPIEL 22 (2003), H. 2 ergab sich aus produktionstechnischen Gründen und bezieht sich weder auf das Jahr des stattgefundenen Kongresses 2004 noch auf das aktuelle Erscheinungsjahr des Bandes 2005. Die Redaktion bittet um Verständnis. Das Heft wird zitiert: Bartsch, Anne, Hg., Medien und Emotionen. Frankfurt/M., Peter Lang, 2005. (= special issue SPIEL, 22 (2003), H. 2). The present edition succeeded the panel „Emotions and the Community Building Function of the Media“ (IX. IGEL congress in Edmonton, 2004). Owing to technical reasons of production the title SPIEL 22 (2003), H. 2 neither refers to the year of the congress nor to the actual year of publication, 2005. The editorial team ask for the readers’ indulgence. This issue is cited as follows: Bartsch, Anne, Ed., Media and Emotions. Frankfurt/M., Peter Lang, 2005. (= special issue SPIEL, 22 (2003), H. 2). Siegener Periodicum zur Internationalen Empirischen Literaturwissenschaft Herausgeber dieses Heftes: Anne Bartsch Contents / Inhalt SPIEL 22 (2003), H. 2 Anne Bartsch (Halle) Vorwort Michelle C. Hllscher & Gerald Cupchik (Toronto) From the page to the stage: Poetry writing, performance and reception 215 Dagmar Unz & Peter Winterhoff-Spurk (Saarbrücken) Emotional processes of TV-viewers: Outlining a method for studying the temporal structure of facial expressions 237 Siegfried J. Schmidt (Münster) Medien und Emotionen: Zum Management von Bezugnahmen 251 Jens Eder (Hamburg) Analysing affective reactions to films. Towards an integrative model 271 Kathrin Fahlenbrach (Halle) Audiovisuelle Metaphern und emotionales Design in Musikvideos 291 Anne Bartsch & Reinhold Viehoff (Halle) Meta-Emotion: In search of a meta-account for entertainment by negative emotions 309 Frank Schwab (Saarbrücken) Are we amusing ourselves to death? Answers from evolutionary psychology 329 Katrin Döveling (Berlin) Emotions and the community building function of the media 339 Susanne Hübner (Halle) Emotionale Kommunikation im Alter: Ein Beitrag zu den Besonderheiten des emotionalen Kommunikations- und Mediennutzungsverhaltens alter Menschen 353 10.3726/80997_215 SPIEL 22 (2003), H. 2 , 215-235 Michelle C. Hilscher1 and Gerald C. Cupchik (Toronto) From the Page to the Stage: Poetry Writing, Performance, and Reception Das Schreiben, Vortragen und Rezipieren von Lyrik haben zwei komplementäre Aspekte, spontane Kreativität und die Nutzung intentionaler Strategien. Während Spontaneität und interpretative Freiheit in Reader Response Theorien von zentraler Bedeutung sind, ist die Anwendung formalisierter Strategien grundlegend für den Ansatz des New Criticism. Es wurden zwei Studien durchgeführt, um die Rolle von Spontaneität und Intentionalität beim Schreiben, Vortragen und Rezipieren von Lyrik zu untersuchen. In der ersten Studie beschrieben 12 Lyriker jeweils zwei kritische Schreib- und Vortragserlebnisse. Eine qualitative Analyse ihrer Interviews ergab 10 zugrunde liegende Kategorien (z.B. Lyriker beschreibt positive Emotionen während des Schreibens oder Vortragens), und es wurde die Häufigkeit, mit der eine Kategorie in jedem Protokoll vorkam, festgestellt. Mittels Faktorenanalyse wurden Zusammenhänge zwischen diesen Kategorien für Erlebnisse des kreativen Schreibens und Vortragens festgestellt. Die Ergebnisse zeigten, dass Spontaneität im Vergleich zur Anwendung zielgerichteter Strategien während der Schreiberlebnisse von größerer Bedeutung war. Beim Vortrag hingegen ergänzten sich Spontaneität und Intentionalität, da Interpretation und Ausdruck hier im gleichen Moment ablaufen. Das zweite Experiment verglich drei Rezeptionsbedingungen für Lyrik: lesen, hören und sehen. Achtundvierzig Teilnehmern, von denen jeweils die Hälfte männliche und weibliche Psychologie- und Literaturstudenten waren, wurden jeweils ein thematisch positives und ein thematisch negatives Gedicht von einem der 6 interviewten Lyriker präsentiert. Die Versuchspersonen beurteilten die Gedichte und ihr Rezeptionserlebnis auf 15 Fünf-Punkt-Skalen. Die Ergebnisse der Faktorenanalyse deuten daraufhin, dass, wie im Fall des Schreibens, spontane emotionale und kognitive Reaktionen auf Lyrik überwiegen. Die Ergebnisse beider Untersuchungen unterstützen die Reader Response Perspektive, schließen strategisches Verhalten jedoch nicht aus. (Übersetzung Anne Bartsch) Poetry may be penned by a writer and/or voiced by a performer. Likewise, it may be experienced through various modes of reception including reading, hearing, and seeing. Regardless of whether one is a writer, performer, or recipient, the ultimate issue that must be faced concerns the contrast between spontaneity and intention. Intentional strategy incorporates the rules of the discipline, while spontaneity expresses a freedom within it. Clearly, different dynamics contribute to meaningful experiences of poetry and it is of value to determine what combination of spontaneity and intention make episodes of poetry writing, performance, and reception creative and insightful. Spontaneous writing was a topic that John Dewey (1934) addressed by describing a seeming parallel between the random movement of waves in the ocean and the flow of imagination. According to Dewey, “meaningful experiences have unity, they are without 1 Experiment 2 was conducted as part of Michelle Hilscher’s Senior Honours Thesis at the University of Toronto at Scarborough. 216 Michelle C. Hilscher & Gerald C. Cupchik holes or mechanical junctions - they flow from something to something” (Dewey, 1934, p.36). He suggested that poets may go along with the twists and turns of spontaneous thoughts and feelings in the hopes of finding some new meaning, or they may persist with a strategy that anchors them to some pre-determined poetic ideal - the promise of a safe haven in the distance. By naturally adding fresh ideas and restructuring them, spontaneity facilitates this continuity, whereas intentional strategies constrain the outcome according to acceptable conventions. Wilson (1986), like Dewey, felt that creative poets are spontaneously inspired. In particular, he described “a great envisioning” as the moment when a random and original idea springs to the mind of a poet without warning. Rothenberg (1990) interviewed creative individuals and noted that they all shared a common desire to produce new and valuable works, but he went on to say that this desire for success could limit their spontaneity. He argued that poetic creativity reaps the benefit of a homospatial process whereby two discrete ideas or observations are combined to make an original one. Such a process functions best under spontaneous conditions because conscious intention may inhibit the imagination by importing rules and personal biases. Successful writing has also been described as a disciplined and intentional project. Schiller introduced the notion of eloingment, which suggested that poets ought to write “in the tranquility of distancing recollection”, rather than in the moment of strong emotion (in Wilkinson, 1957, p. xxxv). Ehrenzweig (1967) also thought that poets ought to avoid the “inarticulate visions” of spontaneity in favour of a strategic and intentional loyalty to preconceived poetic design. Detachment can be said to facilitate self-criticism, as is evidenced by Jones’ (1995) report that Shakespeare edited his work many times over before considering it complete. While some scholars have described spontaneity and intention as independent aspects of the creative writing process, others have seen them as complementary partners. Creative ideas can only appear spontaneously if poets have prepared themselves to stimulate, recognize, and manipulate these seeming novelties. Wallas (1926) proposed four stages of creativity illustrating his belief that writing is based on a complement of the spontaneous and the intentional. These stages were initiated by a conscious period of preparation in which a poet thinks about potential writing topics before incubation of the idea without further conscious consideration. Illumination is defined as the moment when a new idea comes to mind that promises a new understanding of the topic, and finally the value of the idea is verified by exploring it in a
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