Bringing together an international and diverse group of scholars, Tuning in to the neo-avant-garde offers the first in-depth study of the radio medium’s significance as a site of artistic experimentation for the literary neo-avant-garde in the postwar period. Covering radio works from the 1950s until the 2010s, the collection charts how artists across the UK, Europe and North America continued as well as reacted to the legacies of the historical avant-garde and modernism, operating within different national broadcasting contexts, by placing radio in an intermedial dialogue with prose, poetry, theatre, music and film. In doing so, the volume explores a wide variety of acoustic genres – radio play, feature, electroacoustic music, radiophonic poem, radio opera – to show that the medium deserves to occupy a more central place than it currently does in studies of literature, (inter)media(lity) and the (neo-)avant-garde.
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Inge Arteel is Associate Professor of German Literature at the Department of Linguistics and Literary Studies of the Vrije Universiteit Brussel
Lars Bernaerts is Associate Professor of Dutch Literature at the Department of Literary Studies of Ghent University
Siebe Bluijs is a Postdoctoral Researcher at the Department of Communication and Cognition of Tilburg University
Pim Verhulst is a Postdoctoral Researcher at the University of Oxford and a Teaching Assistant at the University of Antwerp
From the postwar period on, radio has functioned as an important site of artistic experimentation, particularly through the form of the radio play and related acoustic genres. The ‘neo-avant-garde’ has demonstrated a strong and enduring interest in aural media, rooted in an appreciation of the seemingly autonomous power of sound and voice.
This is the first in-depth study of radio’s significance for the neo-avant-garde. Examining a wide range of artists and writers from across Europe and North America, itlooks closely at how they have explored the creative possibilities of radio and the semiotics of auditive storytelling through electro-acoustic manipulation, stereophonic positioning, montage and mixing. At the same time, it probes the question of how they have experimented in related genres and media such as music, sound poetry and theatre. The book also reflects on intermedial and material issues, analysing how they have impacted artistic production in different parts of the world.
Featuring chapters on Ernst Jandl and Friederike Mayröcker (Austria), Åke Hodell (Sweden), Glenn Gould (Canada), Caryl Churchill (UK) and more, Tuning in to the neo-avant-gardeis essential reading for students and scholars working in the fields of radio, literature and theatre, media studies and intermediality.
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