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In 2025, the journal Literaturna missal (Literary thought) is going to publish an issue dedicated to the interdisciplinary topic "Sound and Text". The issue will include articles in English and Bulgarian. The complex interrelations between sound and text have a history as long as literature itself, dating back from the primary unstable form of oral poetry, through the secondary writing forms of oral poetry, up till today’s digital audio-visual forms (Paul Zumthor. Oral Poetry: An Introduction). Sound should be considered in the broadest possible sense, and in many literary and cultural forms it is practically inseparable from the text. The interconnected forms of sound and text are positioned in a broad intercultural context, as these forms develop from the verse of Antiquity to the present day. The research could focus on acoustic and textological issues of the Medieval Corpus and Early Modernity to the 20th century. It can adopt historical or theoretical approach. From the perspective of intermediality, the research could analyze the sound-text interaction in the historical avant-gardes and neo-avant-gardes. The complex relations between the two are crucial also for many other realms of contemporary cultural studies (electronic audio literature, film, theatre, performance, popular music, video games, digital media, etc.). Their theoretical and historical configurations call for examination from various perspectives.

This study examines the shift in the prosecutorial strategy of Ernest Pinard in the cases against Gustave Flaubert (“Madame Bovary”) and Charles Baudelaire (“Les Fleurs du mal”), offering an interpretation that explores the ways in which legal professionals read literary works. Using examples such as the poet-detective Gabriel Syme, a character in G. K. Chesterton’s “The Man Who Was Thursday”, and the investigating monk William, a character in Umberto Eco’s “The Name of the Rose”, the article investigates potential connections between poetry and law. These connections create legal spaces where both laughter and music become possible. Particular attention is given to the relationship between text and music within the framework of court proceedings (the so-called “courtroom acoustics”) as well as in the formation of judicial practice (understood as a harmonious performance).