• To map the development of contemporary poetry between genres, art forms and media and to provide a coherent framework for understanding contemporary poetry.
• To stimulate a breakthrough by using theory not previously used in poetry research, such as performativity theory, interart theory, media theory and theories of genre, narrativity and intertextuality, linking their methods and developing new interdisciplinary methods as ways of reading contemporary poetry.
• To produce a unified analytical methodology of contemporary poetry.
• To focus on the literary-historical, art-historical, social and political implications of the expansion of poetry as a genre.

When poetry is perceived as a unified field, it also becomes possible to discuss poetry’s presence in and effect on contexts that are not normally associated with poetry. The interaction of poetry with other genres, art forms and media has implications for its function as it appears as song lyrics, performance and electronic units of communicating text. Poetry is also strongly represented on the Internet. It prevails in net forums where poetry is made public and commented on, and poetry has also found its place in social media such as Blogger, Twitter and Facebook. An overview of digital poetry on websites shows the breadth of poetry compared to other genres. In short, , we have witnessed an explosive development in the production, distribution and reception of poetry in recent decades. However, it is paradoxical that major research projects in this field on a global scale are virtually non-existent. The great relevance and the innovative nature of the project are obvious seen from a societal perspective. Poetry will be a very important part of the cultural expressions of the future because poetry is integral to all aspects of social life. An understanding of poetry's role in the future, which is the anticipated effect of the project, will undoubtedly have a major impact in relation to academia, the public debate and the education system.

The various theoretical and methodological perspectives used in this project derive from five main schools of thought, which supplement each other:

1. Close reading inspired by formalism and new criticism, focusing on poetic style and rhetorical categories such as rhythm and figurative language.
2. Classical and poststructuralist theory and analysis of genre, narrativity and intertextuality, focusing on polyphony and poetic hybrid forms.
3. Performativity theory and analysis, focusing on oral poetic forms.
4. Interart theory and analysis, focusing on poetry’s interaction with visual art, music and other art forms.
5. Media theory and analysis, focusing on poetry’s role on the Internet and in the new social media.

In terms of theory and methodology, the Center for Research in Contemporary Poetry will work for a paradigm shift within poetry research. Traditionally, poetry research has mainly  focused on the first-mentioned school and kept the five above-mentioned methodological positions separate. This project demands a radical innovation in the theory and methodology applied to poetry. The four latter schools of analysis will be used in innovative ways, and new interdisciplinary methods will be developed in which several different methods are combined.

The work of Center for Research in Contemporary Poetry deals with a selection of the most prominent poets from Europe, USA and the Third World experimenting in the field between genres, art forms and media. They include Christian Yde Frostholm, Mette Moestrup, Ursula Andkjær Olsen, Morten Søndergaard, Jørgen Leth, Cia Rinne, Ottar Ormstad, Johannes Heldén, Peter Licht, Jason Nelson, Adam Green, Jim Rosenberg, Robert Kendall, John Cayley, Jhave Johnston, Serge Bouchardon, Eugenio Tisseli, Rui Torres, and Yong Hun Kim. 

• PoetryConnexion
• Electronic Book Review
• NorLyr
• SoundEffects. Interdisciplinary Journal of Sound and Sound Experience 
• Ekfrase Nordisk Tidsskrift for Visuell Kultur
• Poetry Beyond Text
• UbuWeb
• Interdisciplinære Kulturstudier (IRGIC) 

OVERVIEW OF POETRY SCENES AND LITERATURE FESTIVALS IN THE NORTH:

Sweden
Göteborg poesifestival

Norway
Nordisk samtidspoesifestival / Rolf Jacobsendagene
Norsk litteraturfestival

Finland
Runoviikko ry, Poetry Week Association
Nuoren Voiman Liitto, Poetry Moon

Denmark
Odense lyrikfestival
TXT.VILLE
LIPS
Lyd + Litteratur

• Bogfolk uge 6: Er poesi et modsprog?, Politiken, den 12. februar 2016
• Lyrik: Det er her, den virkelige fornyelse sker, Berlingske Tidende, den 11. december 2015
• Forfatteroplæsninger er populære, P1, den 18,. januar 2016
• Det er her, den virkelige fornyelse sker - Berlingske Tidende, 12. december 2015
• Anmeldelse af Mødesteder. Om Tomas Tranströmers og Henrik Nordbrandts poesi - STANDART #2, juni 2014
• Anmeldelse af Passage 69 - Information, 25. april 2014
• Litteraturen er blevet politisk, fordi politikken ikke er det - Information, 28. februar 2014
• Eksperterne - TV2/Nord, 5. februar 2014
• Anmeldelse af Mødesteder. Om Tomas Tranströmers og Henrik Nordbrandts poesi - Information,17. januar 2014
• Anmeldelse af Mødesteder. Om Tomas Tranströmers og Henrik Nordbrandts poesi - Kulturkapellet, 14. november 2013
• Bo's Lille Kulturhjørne - TV Østjylland og TV Midtvest, 2. marts 2013
• Anmeldelse af Nattehimlens poetik - Information, 9. marts 2012
• Anmeldelse af Nattehimlens poetik - Kristeligt Dagblad, 4. januar 2012

• Stefan Kjerkegaard: Den menneskelige plet (2017)
• Ole Karlsen: Papirets flate med teikn (2017)
• Hans Kristian Rustad: Fotopoetikk (2017)
• Louise Mønster: Ny nordisk (2016)
• Martin Gregersen og Tobias Skiveren: Den materielle drejning (2016)
• Peter Stein Larsen: Poesiens ekspansion (2015)
• Ole Karlsen (red.): Nordisk samtidspoesi
• Stefan Kjerkegaard og Unni Langås (red.): Diktet udenfor diktsamlingen (2013)
• Louise Mønster og Peter Stein Larsen (red.): Lyrik på tværs (2013)
• Louise Mønster: Mødesteder. Om Tomas Tranströmers og Henrik Nordbrands poesi (2013)
• Dan Ringgaard: Stoleleg (2012)
• Hans Kristian Rustad: Digital litteratur (2011)
• Peter Stein Larsen: Nattehimlens poetik (2011)

The CERCOP book series: Studies in contemporary poetry

Dansk samtidslyrik

Editors: Peter Stein Larsen and Louise Mønster
Number of pages: 306
Release year: 2015
Version: 1st edition
ISBN: 978-87-7112-341-8
ISSN: 2445-7094

Contemporary Danish Poetry is the first volume in a series that deals with contemporary poetry between genres, art forms and media in Danish, Nordic and global contexts. The anthology presents new interdisciplinary methods for reading contemporary poetry and discusses the literary, art historical, social and political implications of the expansion of poetry as a genre.

Contemporary Danish Poetry contains thirteen articles on a variety of poetic forms of expression and directions. They include conceptualism, artist books, neo-materialism, interaction poetry, short poems, performative poetry and blog poetry. The anthology aims to inspire research and teaching in one of today's richest and most fascinating and challenging artistic fields.

Contributions by:

Mikkel Krause Frantzen, Martin Gregersen, Susanne Kemp, Stefan Kjerkegaard,
Rikke Andersen Kraglund, Thomas Hvid Kromann, Louise Mønster, Birgitte Stougaard Pedersen, Rene Rasmussen, Michael Kallesoe Schmidt, Jakob Schweppenhauser, Martin Glaz Serup, Tobias Skiveren and Marianne Stidsen.

Contemporary Danish Poetry is the first publication in the series Studies in Contemporary Poetry 

The various theoretical and methodological perspectives used in this project derive from five main schools of thought, which supplement each other:

1. Close reading inspired by formalism and new criticism, focusing on poetic style and rhetorical categories such as rhythm and figurative language.
2. Classical and poststructuralist theory and analysis of genre, narrativity and intertextuality, focusing on polyphony and poetic hybrid forms.
3. Performativity theory and analysis, focusing on oral poetic forms.
4. Interart theory and analysis, focusing on poetry’s interaction with visual art, music and other art forms.
5. Media theory and analysis, focusing on poetry’s role on the Internet and in the new social media.

In terms of theory and methodology, the Center for Research in Contemporary Poetry will work for a paradigm shift within poetry research. Traditionally, poetry research has mainly  focused on the first-mentioned school and kept the five above-mentioned methodological positions separate. This project demands a radical innovation in the theory and methodology applied to poetry. The four latter schools of analysis will be used in innovative ways, and new interdisciplinary methods will be developed in which several different methods are combined.

Each of the project’s sub-themes, “poetry between genres”, “poetry between art forms” and “poetry between media”, demands a combination of specific methodological approaches. “Poetry between genres” combines close reading, focusing on poetic style and rhetorical categories such as rhythm and figurative language, and te poststructuralist theory and analysis of genre and intertextuality. As for “poetry between art forms”, new insights are created by combining performativity theory, performativity analysis, interart theory and interart methodology. Finally, interart theory and methodology are combined with media theory and analysis in new ways in the discussion of the field “poetry between media”.

Theoretical and methodological innovation will occur in connection with the exchanges with other international research environments (for instance, a postdoctoral student’s stay at The University of Edinburgh as well as in the international conferences held in conjunction with the project). The postdoctoral project is based on an extremely ambitious and original PhD dissertation on one of the central issues in the project, namely the relationship between poetry and sound/performance, and will undoubtedly lead to innovative research in the field. Moreover, a PhD project on the relationship between contemporary poetry and visual arts is strategically important in relation to the project's innovative approach to poetry.

The project deals with a selection of the most prominent poets from Europe, USA and the Third World experimenting in the field between genres, art forms and media. They include Christian Yde Frostholm, Mette Moestrup, Ursula Andkjær Olsen, Morten Søndergaard, Jørgen Leth, Cia Rinne, Ottar Ormstad, John Heldén, Peter Licht, Jason Nelson, Adam Green, Jim Rosenberg, Robert Kendall, John Cayley, Jhave Johnston, Serge Bouchardon, Eugenio Tisseli, Rui Torres, and Yong Hun Kim.

The project is divided into three phases that deal with the three above-mentioned sub-themes. The three overlapping phases are 2013-14, 2014-15 and 2015-2016. The subprojects have all been designed so that while eachdiscusses a specific aspect of the topic,t hey all relate to the overall thesis of the project. As is evident from the scope of the project and the subprojects, the aim is to produce a unified analytical methodology of contemporary poetry. The 8 subprojects are:

Poetry between Genres (2013-14)

• Modern Hybrid Poetic Forms: The Contemporary Long Poem (Ole Karlsen)
• Poetry and the Remix of Genre and Tradition (Louise Mønster & Rikke Kraglund)

Poetry between Art Forms (2014-15)

• Lyrics: Between Poetry and Music (postdoc project, Jakob Schweppenhäuser)
• The Poetics of Poetry Performance (Stefan Kjerkegaard & Birgitte Stougaard Pedersen)

Poetry between Media (2015-16)

• Contemporary Poetry between the Book and the Internet (Peter Stein Larsen)
• Radicant Poetry. Poetry in the Media Ecology of Our Time (Hans Kristian Rustad & Dan Ringgaard)
• Poetry IRL (Rasmus Dahl Vest)

In the post-war era, the modernist long poem has received much critical attention, particularly within American research focusing on the high modernist poetic classics of Eliot, Pound and Williams. Traditionally, studies in this field have tended to highlight the modernist character of the long poem, tracing it back to the early modern poetic era and often placing its roots in Whitman’s authorship. The long poem has slowly established itself as a generic term (Höllerer 1966) in the postwar era from categories such as cycle poems (Cameron 1979) and the modern poetic sequence (Rosenthal and Gall 1983), and more recent studies have focused on the generic aspects of this genre, describing it its lawlessness and inherent newness (Kamboureli 1991) or mapping it in terms of its novelistic or architectural modes (McHale 2004). Although these studies and generic characteristics are also applicable to the contemporary poetic scene, where the long poem plays a dominant role (Karlsen 2008, 2011), they fall short of explaining phenomena such as the role played by the German Lang-Gedichte-tradition in the development of the genre and its creation of polyphonic newness by adopting novelistic or architectural forms from both modern and modernist literature and from pre-romantic literary forms (such as didactic forms and topographic literature). Through a close reading of selected contemporary long poems, the generic aspects of the genre will be researched, mapped and related to the development of the genre in postwar years, with a particular view to the way in which these works draw on pre-modern literary forms. The subproject combines the above-mentioned analytical and theoretical traditions 1), 2) and 3).

Contemporary poetry is characterised by the perforation of poetry’s traditional boundaries and forms (Mønster 2012; Larsen 2012). In many ways, poetry is breaking up, but this does not mean that it has lost interest in tradition. On the contrary, new poetry has emerged in an intense dialogue with tradition. This can be seen in a very concrete manner as literary genres such as remix, pastiche and parody have gained currency, and cut-up techniques, poetry mashup and readymade poetry or found lyrics have been used extensively. Various intertextual strategies have been applied in what seems to be both a revolt against and a rehabilitation of a tradition in which popular culture and classical poetry interact in surprising ways (Worton & Still 1990; Kamboureli 1991; Wolf & Bernhart 1999; Orr 2003; Mønster 2011). This subproject aims at describing the relation between contemporary poetry and tradition, paying particular attention to the question of genre. A central focus point will be the recycling and remix of old genres and texts in contemporary poetry. In addition to well-known forms such as pastiche and parody, these strategies use the sampling techniques of electronic music. Furthermore, they transgress the relation between classical lyrical genres and the book media by remediating these genres within the frameworks of the book object and the computer. In other words, this subproject combines the above-mentioned theoretical and analytical traditions 1), 2) and 5).

Western civilisation seems to be in the midst of a revolution: we are experiencing a shift from a print culture to electronic media (Gioia 2003). In this process, literature has undergone fundamental changes – one being that poetry is increasingly performed off the page instead of on the page (Perloff 2004). This development has numerous expressions: audio books, poetry slam, performance poetry, poetry readings and song lyrics (Schweppenhäuser 2011; Naschert 2006; Faulstich 1978). Whether they are  produced by collaborations between poets and musicians (e.g. the Danish duo Moritz/Hørslev Projektet), the poet himself singing his lyrics (e.g. the German writer and musician Peter Licht) or simply lyrically gifted singer-songwriters (e.g. the versatile American artist Adam Green), lyrics of a high literary interest interact with music in new and remarkable ways. Deriving from the Greek noun λυρική, which is closely connected to the instrument lyre, the English word ‘lyrics’ hints at the original inseparability of poetry and music. The relationship between these two art forms has been scrutinised thoroughly and in several ways (e.g. Aurnhammer & Schnitzler 2011; Pedersen 2008; Dürr 1994; Winn 1981; Friedrich 1973; Staiger 1947; Raymond 1909). However, when it comes to contemporary lyrics, there is a striking lack of scholarly engagement. Since the field of research is fundamentally interdisciplinary, the project draws on intermediality theory (Bruun 2010; Rajewsky 2002: Helbig 1998). Moreover, the notion of the voice (Lønstrup 2004; Barthes 1981) plays a central role in the project and in a broader perspective concerning the relationship between orality and literacy (Ong 1982; Finnegan 1977). This subproject combines the above-mentioned analytical and theoretical traditions 1), 3), 4) and 5).

Much theory on poetry is not applicable if one wants to describe non-written poetry, usually performed outside the framework of the book as a primary product. During the first decade of the 21st century, however, this kind of poetrybecame widespread (Gioia 2003). This subproject will describe the oral change captured in contemporary written poetry and will focus on poetry readings and performances as independent and analysable objects, relating these phenomena to existing theory within the field (Foley 2002; Middleton 2005). Our thesis is that the effect of the poetry reading culture can be described by relating it to the two trends described in P. Stein Larsen’s doctoral dissertation Drømme og dialoger (2009). In other words, one can describe how ‘centrallyrik’ and ‘interaktionslyrik’ embody the audible side of poetry and, subsequently, how the oral culture around poetry is reflected in written poems within the book as framework. The consequence of the perception of poetry as a performative art form is that the status of written poetry and of the poetic voice has changed. In many contemporary poems, the literary voice seems neither to be a pure instance of writing nor an indication of a physical voice miming the intention of the author, but rather a rhetorical principle or a function arising in the relationship between reader and text (Pedersen 2008). New challenges thus occur regarding the status of the literary voice in contemporary poetry, and there is a need for analysis of the the relationship between voice and the contemporary poet’s use of new medial platforms (Rustad 2008). In addition, new types of performative actions, such as reading cultures (Kjerkegaard 2010), are involved in changing the discourse of a poetic voice. This subproject combines theoretical and analytical traditions 4) and 5) mentioned above.

The subproject aims to explore the relation between book poetry and digital poetry and will focus on the distinctive differences and similarities between poetry presented in these two media. Several trends within the tradition of poetry have intensified and developed after the emergence of the Internet, namely hypertextual structure (Eco 1998; Aarseth 1997), serial forms (Eco 2011; Larsen 2012) and procedural forms (Conte 1991; Larsen 2009). On the other hand, we find significant changes in both genre and work concepts, such as author and reader roles, in the transition from book poetry to digital poetry (Kress 2003; Morris and Swiss 2006; Engberg 2007). Given the hybrid nature of the new multimodal poetry, with complex mixtures of writing, speech, image, graphics, film and sound effects, it has been claimed that ‘each work is a genre in itself’ (Sørensen 2010). In that cases, has the concept of genre become meaningless in relation to digital poetry? Is the concept of literary works dissolved when you cannot place works in categories such as ‘poem’ and ‘collection of poems’? Has the work as a stable object become replaced by the text as an act or an event? And has the poet lost his authority and authenticity (Larsen 2009) in “ergodic” poetry (Aarseth 1997), in which the reader’s interaction with the text is an inseparable part of poetic aesthetics (Rustad 2012)? Finally, what is the relationship between the original definition of poetry and contemporary poetry? Theis subproject combines the above-mentioned theoretical and analytical traditions 1), 2), 4) and 5).

To a greater extent than other literary genres, poetry has moved between different media (Bolter 2006; Kress 2003). Digital and performance-oriented poetry consists of complex mixtures of writing, speech, image, graphics, film, body language and sound effects (Hayles 2005; 2008; Bolter & Grusin 1999; Bolter 2001). This subproject will consider contemporary poetry in terms of a “radicant aesthetic” (Bourriaud 2009). In the radicant aesthetic, art works are in motion through acts of translation, and they develop through different forms, in different situations and in different media. We will discuss the theoretical perspectives of poetry within intermediality (Wolf & Bernhart 1999; Bernstein 2011; Middleton 2005; Chion 1994), especially remediation (Bolter & Grusin 1999) or recycling and the idea of modal constituents across the particulars of single art forms (Mitchell 2007; Bruhn 2011; Ringgaard 2012). The subproject focuses on how to define and understand the new multimodal poetry and to answer the question: What happens to poetic texts in their movements between media, and what implications do these poetic texts have for the media? The aim of the project is thus to show how contemporary poetry can give us knowledge about the complex media ecology of our time. This subproject combines theoretical and analytical traditions 3), 4) and 5) mentioned above.

The use of social media has actively transformed Western civilization by changing the very way we interact. What we are experiencing might be the long awaited departure from the Gutenberg Galaxy (McLuhan 1962; 1967; Ong 1982) or the end of print culture (Gioia 2003). Whatever one might call it, there is no denying that our use of social media has blurred, if not destroyed, the line between public and private (Thompson 2001; 2005). It therefore seems appropriate to ask a few questions concerning contemporary poetry, the first and foremost being, ‘hat happens to poetry when it is dragged into “real” life?’ In other words, what happens to poetry, when life is partly lived through media interfaces? This subproject strives to answer such questions by claiming that contemporary poetry in the digital age has become part of the trans-media distribution of language, which constitutes the digital age’s social sphere. Hence a new approach to contemporary poetry is needed; this new approach would take it into account that contemporary poetry is stretched in time through the use of different media (LP, CD, book, web based blog, artists book etc.). In developing this approach, the subproject will address themes such as postproduction (Bourriaud 2002), intertextuality and hypertextuality (Genette 1997) and remediation (Bolter 2001; Bolter and Grusin 1999; Berge 2011). In continuation, he concepts of voice and author will be discussed, since the subproject will claim that in its essence, trans-media poetry can be viewed as a fluid juxtaposition of the private and the collective. This juxtaposition naturally raises the subproject’s final question: whether or not it might be beneficial to perceive contemporary poetry as politically charged (Nexø 2009; Serup 2008). In answering these questions, the subproject will be able to expand on poetry’s role in the digital age or, put differently, define poetry IRL. This subproject combines the above-mentioned theoretical and analytical traditions 3), 4) and 5).

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