THere is a similar concept relating to the poetics of language found in both Indian and Chinese tradtions - in India (sanskrit) it is called "dhvani" and in China, "Shenyun" or cosmic resonance. It has to do with the way the brain/mind stores and retrieves information moment to moment according to memory and self-recognitive forms of perception. Christopher Partridge ("The Lyre of Orpheus") writes about a similar concept in relation to popular music and religiosity, which he calls an "affective field," but which refers to the associative-affective relationships in cognition and perception stored according to emotional-affective investment around sites of significance (memories, people, relationships, etc.) which direct attention. The Indian grammarian poet-philosopher Bhartrihari (10th c) also articulates the most complete version of sanskrit poetics which derive from Bharata's Natyasastra (5th BCE). Ashok Aklujkar gives a good summary in this article: ("The Word is the World" https://www.dropbox.com/s/cl3d01e0v7sqmmn/The%20Word%20is%20the%20World%20%28Aklugkar%20%29.pdf?dl=0
I suspect modern rhapsodes and rappers include very little of the effect of literate linguistics in their multimedia expression. See Donald Theall's books ('Beyond the Word" and "James Joyce's Techno-Poetics") on the matter.
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THere is a similar concept relating to the poetics of language found in both Indian and Chinese tradtions - in India (sanskrit) it is called "dhvani" and in China, "Shenyun" or cosmic resonance. It has to do with the way the brain/mind stores and retrieves information moment to moment according to memory and self-recognitive forms of perception. Christopher Partridge ("The Lyre of Orpheus") writes about a similar concept in relation to popular music and religiosity, which he calls an "affective field," but which refers to the associative-affective relationships in cognition and perception stored according to emotional-affective investment around sites of significance (memories, people, relationships, etc.) which direct attention. The Indian grammarian poet-philosopher Bhartrihari (10th c) also articulates the most complete version of sanskrit poetics which derive from Bharata's Natyasastra (5th BCE). Ashok Aklujkar gives a good summary in this article: ("The Word is the World" https://www.dropbox.com/s/cl3d01e0v7sqmmn/The%20Word%20is%20the%20World%20%28Aklugkar%20%29.pdf?dl=0
I suspect modern rhapsodes and rappers include very little of the effect of literate linguistics in their multimedia expression. See Donald Theall's books ('Beyond the Word" and "James Joyce's Techno-Poetics") on the matter.
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