Vadim Keylin – författare

As a multifaceted and intermedial phenomenon, poetry in the digital age not only demands a rethinking and expansion of the traditional paradigms of literary studies but also attracts increasing attention from other humanities. This interdisciplinary handbook is thus addressed both to literary scholars and to the broadest academic audience interested in contemporary poetry research. It offers 50 contributions by an international collective of authors that highlight the diversity of contemporary poetry, examining it from a wide variety of complementing theoretical and methodological angles. The handbook focuses on contemporary modes of poetry presentation that are often located beyond the book, e.g., on stages, in public spaces, as multi- as well as transmedia publications, or on digital platforms. Such intermedial poetic practices, which may supplement poetic language with elements borrowed from music, visual art, cinema, or theater and performance, are transforming the forms and functions of poetry. It four parts thus (1) adapt established concepts and parameters of poetry research to the digital age, (2) explore established genres and emerging formats, (3) introduce interdisciplinary perspectives and new research fields, and (4) engage in current debates.

The speech technologies of the digital age make everything speak – from voice assistants and GPS navigators to streaming media. The dissociation of voice and speech from the speaker and the situation of speaking engendered by this condition imbues the ages-old question of lyric theory “Who speaks?” with renewed salience. This book investigates digital oral poetry – an artform that explores the modes of oral speech facilitated and conditioned by digital technologies and digital culture, foregrounding the selves that are performed and constructed in the speaking act. Practices of digital oral poetry run across the boundaries between institutionally recognised forms of art and poetry, pop culture and participatory culture online. They may include poetry performed in synthesised or deep-faked voices, AI-generated performance poetry, intersections of poetry and ASMR videos or audioliterary memes such as Autotune stories to name a few examples. Through a series of case studies, the book offers a (post-)phenomenological examination of the contemporary digitally-inflected forms of subjectivity as they manifest in digital oral poetry.

This book examines the evolving medial entanglements between poetry, music, and sound in the digital age, foregrounding the complex interrelations between textuality, vocality, and sonic materiality. Drawing on perspectives from literary sound studies, intermediality theory, and word and music studies, the contributors explore contemporary poetic practices that engage with music and sound beyond conventional musico-literary genres. The phenomena examined here range from recent transformations of traditional oral poetry and the art song to innovative intermedial formats such as poetry audiowalks and spoken music. The book highlights the impact of digital technologies on musico-poetic forms, tracing how contemporary practices challenge traditional genre boundaries and reconfigure listening as an integral component of poetic experience. By bridging historical perspectives with emerging sound cultures, this collection offers new insights into the mediality of poetry and its intersections with music and sound art.

"Romanın ne demek olduğunu anlatmaya çalışacak değilim. Yalnız, şunu söyleyeyim ki; roman Türkiye'de kari bulamamış değildir. İyi roman daima hitap edecek bir kitleye malik olagelmiştir."1948 yılında, henüz 41 yaşındayken aramızdan ayrılan Sabahattin Ali bu kısa ömre üç ölümsüz roman sığdırmayı başarmıştı. Bunların ilki olan Kuyucaklı Yusuf 1932-37 yılları arasında gazete tefrikası, 1937 yılında kitap halinde yayımlandı. Ardından İçimizdeki Şeytan 1939 yılında tefrika, 1940 yılında kitap olarak okurla buluştu. İçimizdeki Şeytan'ı 1940-41 yıllarında tefrika, 1943 yılında kitap halinde yayımlanan Kürk Mantolu Madonna takip etti. Yazarın bu üç büyük romanının tefrikaları ve ilk baskıları karşılaştırarak hazırlanan bu yeni basım, yayınevimizin Sabahattin Ali külliyatının da ilk cildini oluşturuyor. Dönemin yaşantısına dair notlar ve metindeki eski sözcüklere dair açıklamalarla zenginleştirilen bu özel çalışma, Sabahattin Ali'nin eserlerinin ruhuna nüfuz etmenizi kolaylaştıran, özgün bir okuma deneyimi sunuyor."Bence Sabahattin'in en kuvvetli tarafı kendine benzerliği, temiz ve metotlu bir edebiyat kültürüne dayanarak, en yaratıcı anlamında realist oluşudur... Sabahattin köyü, kasabayı, köylüyü, kasabalıyı çok iyi biliyor, duyuyor ve yaşatıyor. Dili pürüzsüz. Görünüşü dağıtıp yine bir noktada toplamasını büyük bir ustalıkla başarıyor."- Nazım Hikmet"Sabahattin Ali anlattığı hikâyelere bizi inandırıyor... Muharrir çorak, zavallı köyün sefaletini, acılarını anlayıp anlatmaya çalışıyor. "Bir Gemici Hikâyesi", "Kanal", "Bir Firar", "Kazlar", "Candarma Bekir" hikayelerini yazan bir muharrir gerçekten iyi bir sanatkardır."- Nurullah Ataç"Sabahattin Ali imzası hikaye ve roman vadisinde son yıllarda hissedilen büyük boşluk içinde büyük bir ümit ışığı yakmaktadır."- Yaşar Nabi"Sabahattin Ali'nin, böyle devam ederse, Tanzimat'tan beri en iyi hikayecimiz olabileceğini zannediyorum. Çünkü yazılarında benim istediğim şey var, iç var, görüş var. Sonra tekniği güzel, yeni bir şey yapayım diye garabete kaçan tarafı yok."- Suat Derviş

This book addresses a major gap in sound art scholarship: the role of audience participation. It offers a survey of participatory sound art from its origins in the historical avant-gardes to the non-institutionalized forms of sonic creativity in contemporary digital culture. In doing so, it proposes an innovative theoretical framework for analysing such phenomena, rooted in Pragmatist aesthetics, affordance theory and postcritique. Combining artwork analyses with qualitative studies, it focuses on three principal aspects of participatory sound art: the ways the materialities of the artworks facilitate and structure the participatory processes; the interplay of the creative agencies of the artists and the participants; and the postcritical approach to sound art’s politics, unfolding through the participants’ affective gestures. In considering these multiple dimensions, this book contributes to the growing fields of sound studies and participation studies, as well as to curatorial practice regarding sound art and participatory art.