Inge Arteel is Associate Professor of German Literature at the Department of Linguistics and Literary Studies of the Vrije Universiteit BrusselLars Bernaerts is Associate Professor of Dutch Literature at the Department of Literary Studies of Ghent UniversitySiebe Bluijs is a Postdoctoral Researcher at the Department of Communication and Cognition of Tilburg UniversityPim Verhulst is a Postdoctoral Researcher at the University of Oxford and a Teaching Assistant at the University of Antwerp

• Part I: The poetics of the radiophonic neo-avant-garde1 Transnational, untranslatable: Apollinaire in Freddy de Vree’s multilingual radiophonic composition A Pollen in the Air – Lars Bernaerts2 Radiophonic art and electroacoustic music: an aesthetic controversy during the establishment of the BBC Radiophonic Workshop and the radiophonic poem Private Dreams and Public Nightmares – Tatiana Eichenberger3 A forefront in the aftermath? Recorded sound and the state of audio play on post-‘golden age’ US network radio – Harry Heuser4 Croaks and calls: posthuman sound ecologies in the neo-avant-garde – Jesper Olsson5 Textual and audiophonic collage in Dutch and Flemish radio plays – Siebe Bluijs6 ‘Ja, ja, so schön klingt das Schreckliche’: an audionarratological analysis of Andreas Ammer and FM Einheit’s Lost & Found: Das Paradies­ – Jarmila MildorfPart II: The acoustic neo-avant-garde between theatre, music and poetry7 Poetry on the Austrian radio: sound, voice and intermediality – Daniel Gilfillan8 Gerhard Rühm's radiophonic poetry – Roland Innerhofer9 A theatre of choric voices: Jandl and Mayröcker’s radio play Spaltungen – Inge Arteel10 Language, sound and textuality: Caryl Churchill’s Identical Twins as neo-avant-garde (radio) drama – Pim Verhulst11 Studio audience: Glenn Gould’s contrapuntal radio – Adam J. FrankIndex

Inge Arteel is Associate Professor of German Literature at the Department of Linguistics and Literary Studies of the Vrije Universiteit BrusselLars Bernaerts is Associate Professor of Dutch Literature at the Department of Literary Studies of Ghent UniversitySiebe Bluijs is a Postdoctoral Researcher at the Department of Communication and Cognition of Tilburg UniversityPim Verhulst is a Postdoctoral Researcher at the University of Oxford and a Teaching Assistant at the University of Antwerp

• Part I: The poetics of the radiophonic neo-avant-garde1 Transnational, untranslatable: Apollinaire in Freddy de Vree’s multilingual radiophonic composition A Pollen in the Air – Lars Bernaerts2 Radiophonic art and electroacoustic music: an aesthetic controversy during the establishment of the BBC Radiophonic Workshop and the radiophonic poem Private Dreams and Public Nightmares – Tatiana Eichenberger3 A forefront in the aftermath? Recorded sound and the state of audio play on post-‘golden age’ US network radio – Harry Heuser4 Croaks and calls: posthuman sound ecologies in the neo-avant-garde – Jesper Olsson5 Textual and audiophonic collage in Dutch and Flemish radio plays – Siebe Bluijs6 ‘Ja, ja, so schön klingt das Schreckliche’: an audionarratological analysis of Andreas Ammer and FM Einheit’s Lost & Found: Das Paradies­ – Jarmila MildorfPart II: The acoustic neo-avant-garde between theatre, music and poetry7 Poetry on the Austrian radio: sound, voice and intermediality – Daniel Gilfillan8 Gerhard Rühm's radiophonic poetry – Roland Innerhofer9 A theatre of choric voices: Jandl and Mayröcker’s radio play Spaltungen – Inge Arteel10 Language, sound and textuality: Caryl Churchill’s Identical Twins as neo-avant-garde (radio) drama – Pim Verhulst11 Studio audience: Glenn Gould’s contrapuntal radio – Adam J. FrankIndex

Inge Arteel is Associate Professor of German Literature at the Department of Linguistics and Literary Studies of the Vrije Universiteit BrusselLars Bernaerts is Associate Professor of Dutch Literature at the Department of Literary Studies of Ghent UniversitySiebe Bluijs is a Postdoctoral Researcher at the Department of Communication and Cognition of Tilburg UniversityPim Verhulst is a Postdoctoral Researcher at the University of Oxford and a Teaching Assistant at the University of Antwerp

• Part I: The poetics of the radiophonic neo-avant-garde1 Transnational, untranslatable: Apollinaire in Freddy de Vree’s multilingual radiophonic composition A Pollen in the Air – Lars Bernaerts2 Radiophonic art and electroacoustic music: an aesthetic controversy during the establishment of the BBC Radiophonic Workshop and the radiophonic poem Private Dreams and Public Nightmares – Tatiana Eichenberger3 A forefront in the aftermath? Recorded sound and the state of audio play on post-‘golden age’ US network radio – Harry Heuser4 Croaks and calls: posthuman sound ecologies in the neo-avant-garde – Jesper Olsson5 Textual and audiophonic collage in Dutch and Flemish radio plays – Siebe Bluijs6 ‘Ja, ja, so schön klingt das Schreckliche’: an audionarratological analysis of Andreas Ammer and FM Einheit’s Lost & Found: Das Paradies­ – Jarmila MildorfPart II: The acoustic neo-avant-garde between theatre, music and poetry7 Poetry on the Austrian radio: sound, voice and intermediality – Daniel Gilfillan8 Gerhard Rühm's radiophonic poetry – Roland Innerhofer9 A theatre of choric voices: Jandl and Mayröcker’s radio play Spaltungen – Inge Arteel10 Language, sound and textuality: Caryl Churchill’s Identical Twins as neo-avant-garde (radio) drama – Pim Verhulst11 Studio audience: Glenn Gould’s contrapuntal radio – Adam J. FrankIndex