Academic literature on the topic 'Visual/concrete poetry'
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Journal articles on the topic "Visual/concrete poetry"
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Meyer, Marcy. "Concrete Research Poetry: A Visual Representation of Metaphor." Art/Research International: A Transdisciplinary Journal 2, no. 1 (March 22, 2017): 32. http://dx.doi.org/10.18432/r2ks6f.
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In this paper, the author employs concrete research poetry as a visual representation of a metaphor analysis. Using autoethnographic methods, she explores the experiences of eight single mothers of children and young adults with mental illness. She conducts a metaphor analysis of semi-structured interview data and generates concrete poetic structures from metaphors that emerged from the data. In the process, she transforms data into art.
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Schoone, Adrian. "Can Concrete Poems Fly? Setting Data Free in a Performance of Visual Enactment." Qualitative Inquiry 27, no. 1 (November 6, 2019): 129–35. http://dx.doi.org/10.1177/1077800419884976.
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In researching the tutors working in alternative education centers in New Zealand, I sought ways to bring voice to their lived experiences through, initially, creating found poetry from interview transcripts. The poems helped bring their vital voices to the page. Even so, I found the emotion of tutors’ lived experiences buckled under the pressure of their compression into lines of poetry. Thus, I set the found words free to form nonlinear configurations in two and three dimensions. In the tradition of concrete poetry noted by Khlebnikov, I “loosed the shackles of syntax . . . to attach meaning to words according to their graphic and phonic characteristics.” In this article, I present concrete poetry deriving from my poetic inquiry and reflect on the value concrete poetry provides arts-based researchers.
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Almeida Neto, Antonio Simplício de. "A improvável poesia concreto-visual acontece: relato afetivo e reflexões desautorizadas / The Unlikely Concrete-Visual Poetry Happens: Affective Account and Unauthorized Reflections." Revista do Centro de Estudos Portugueses 40, no. 63 (April 8, 2020): 33. http://dx.doi.org/10.17851/2359-0076.40.63.33-40.
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Resumo: Esse artigo apresenta um relato autobiográfico no qual o autor procura recuperar seus primeiros contatos com a poesia visual-concreta-experimental ao longo dos anos 1980 em função de deslocamentos provocados por diferentes sujeitos presentes nas relações estabelecidas no meio universitário do curso de graduação em História. Escapando de uma perspectiva histórica teleológica e de supostos encadeamentos lógicos e objetivos de causa e efeito, entende sua trajetória lítero-poética como decorrente de improváveis intercorrências no campo social em que se inseria. Ressalta, por isso mesmo, a importância dos processos educativos básicos e acadêmicos na promoção dos deslocamentos criativos e poiéticos. Traz, finalmente, um poema-visual de sua autoria em que relaciona história, memória e o fazer poético.Palavras-chave: poesia visual; poesia experimental; concretismo; autobiografia; memória.Abstract:This article presents an autobiographical account in which the author seeks to recover his first contacts with visual-concrete-experimental poetry throughout the 1980s due to displacements caused by different subjects present in the relationships established in the undergraduate course in History. Avoiding a teleological historical perspective and supposed logical links and objectives of cause and effect, he understands his literary-poetic trajectory as a result of unlikely complications in the social field to which he belonged. It therefore emphasizes the importance of basic and academic educational processes in the promotion of creative and poietic dislocations. Finally, he brings a visual poem of his own in which he relates history, memory and poetic making.Keywords: visual poetry; experimental poetry; concretism; autobiography; memory.
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Bollobás, Enikö. "Poetry of visual enactment: the concrete poem." Word & Image 2, no. 3 (July 1986): 279–85. http://dx.doi.org/10.1080/02666286.1986.10435350.
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Campos, Roland Azeredo. "Poesia visual e imagens da matéria." Aletria: Revista de Estudos de Literatura 15, no. 1 (June 30, 2007): 22–32. http://dx.doi.org/10.17851/2317-2096.15.1.22-32.
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Resumo: O propósito deste artigo é discutir alguns poemas visuais pós- concretos no contexto da teoria da imaginação poética proposta por Gaston Bachelard, baseada nos arquétipos dos quatro elementos (ar, água, terra e fogo). Os poemas aqui considerados estão diretamente relacionados ao tema dos elementos.Palavras-chave: poesia visual brasileira; poesia concreta; Bachelard; imaginação poética.Abstract: The purpose of this article is to discuss some postconcrete visual poems in the context of Gaston Bachelard’s theory of poetical imagination, which is based on the archetypes of the four elements (air, water, earth and fire). The poems considered here are directly related to the theme of the elements.Keywords: Brazilian visual poetry; concrete poetry; Bachelard; poetical imagination.
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McAllister, Brian J. "Narrative in Concrete / Concrete in Narrative: Visual Poetry and Narrative Theory." Narrative 22, no. 2 (2014): 234–51. http://dx.doi.org/10.1353/nar.2014.0011.
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Van der Elst, J., and C. Reinecke. "Die Afrikaanse poësie vir kykers." Literator 21, no. 1 (April 26, 2000): 69–84. http://dx.doi.org/10.4102/lit.v21i1.443.
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Afrikaans poetry for viewers The purpose of this article is to create an awareness of the visual or socalled physiognomic aspects of poetry in Afrikaans. Several examples of Afrikaans poems with a visual presence are given. Visuality in poetry is not a new phenomenon. It is of course linked to the emergence of concrete poetry which was formally named thus by Eugen Gomringer and Decio Pignatari in 1955. A fully-fledged and complete volume of concrete or visual poetry in Afrikaans was created by Willem Boshoff during the seventies and published in 1980. The physiognomically striking Afrikaans poems can be classified and studied according to the physical size of the visual element responsible for the overall impact of the poem. Several forms of these elements and their impact on the relevant poems are discussed in this article, which is based on an exploration of more than 500 volumes of poetry, in order to get an overview on visuality in Afrikaans poetry from the beginning of this century until 1989.
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Meinel, Katarzyna. "RECEPCJA ESTETYCZNA POEZJI KONKRETNEJ NA LEKCJI JĘZYKA OBCEGO." Scripta Neophilologica Posnaniensia 19 (December 15, 2019): 265–79. http://dx.doi.org/10.14746/snp.2019.19.18.
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The subject of the article is the aesthetic reception of concrete poetry and the possibility of its use in foreign language classes. Reception aesthetics concentrates on the reception of the work and not its production. Concrete poetry works on sight and hearing, combines decoding of letters with visual perception and creates special opportunities for aesthetic reception in foreign language classes. The article draws attention to the phenomenon of text communication. The historical background and the first attempts to experiment with concrete poetry are discussed. Works of concrete poetry bring together aesthetics and didactics, which justifies their use in class. The functions and objectives of working with concrete poetry in the lesson are discussed and examples of works included in textbooks and examples of lesson scenarios are given.
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Haft, Adele J. "Poems Shaped Like Maps: (Di)Versifying the Teaching of Geography, II." Cartographic Perspectives, no. 36 (June 1, 2000): 66–91. http://dx.doi.org/10.14714/cp36.825.
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This paper is about poems shaped like maps. It presents a brief history of visual poetry, beginning with the ancient Greek technopaignia and culminating in the concrete and experimental map-poems of the latter half of the twentieth century. After outlining some resemblances between concrete poetry and maps generally, the paper focuses on nine works spanning nearly forty years: from “Geographica Europa” by Eugen Gomringer, a founder of concrete poetry (1960), to “Manhattan” by Howard Horowitz, a professional geographer and poet (1997). Because these poems are maps, and because visual poetry resembles cartography in its graphic form, these playful map-poems offer a delightfully eccentric way to teach how maps—like/as poems—are generalized, simplified, and selective views of the world. This paper will tell their stories.
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Cornis-Pope, Marcel, and K. David Jackson. "Experimental Visual Concrete: Avant-Garde Poetry since the 1960s." World Literature Today 72, no. 1 (1998): 219. http://dx.doi.org/10.2307/40153741.
Full textDissertations / Theses on the topic "Visual/concrete poetry"
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Tosin, Giuliano. "Do papel aos suportes eletronicos : o percurso da poesia experimental e sua tradução para as novas tecnologias." [s.n.], 2003. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284845.
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Orientador: Fernando Cury de TaccaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta dissertação de mestrado apresenta um percurso histórico da poesia experimental que vai desde a Grécia Antiga até os dias de hoje, dando destaque aos principais movimentos artísticos e poéticos do século XX, entre eles os mais recentes, que utilizam meios de realização vinculados às tecnologias eletrônicas e digitais. Através do emprego da teoria semiótica, sobretudo a concebida por Charles S. Peirce, propõe-se a interpretar alguns princípios da poesia experimental e aprofundar-se na teoria da tradução intersemiótica, desenvolvida por Julio Plaza. Baseada nesta teoria, somada a fundamentos da teoria da informação, procura analisar a dinâmica dos processos pelos quais poemas visuais e verbais feitos em suportes convencionais (impressos) foram traduzidos para novas tecnologias
Abstract: This study presents a historical retrospective of experimental poetry that comprehends the period from Ancient Greece to present production, focusing on the main artistic and poetic movements of the 20th century, among them the most recent ones, which utilize electronic and digital technologies. Through the application of the semiotical theory, especially Charles S. Peirce¿s theory, it attempts to interpret some fundaments of experimental poetry and, afterwards, going into the theory of intersemiotical translation, developed by Julio Plaza. Based on this theory along with fundaments of the theory of information, the study aims to analyse the dynamics of the processes in which visual and verbal poems made in conventional media (print) have been translated into new technologies
Mestrado
Multimeios
Mestre em Multimeios
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Leduc, Natalie. "Dissensus and Poetry: The Poet as Activist in Experimental English-Canadian Poetry." Thesis, Université d'Ottawa / University of Ottawa, 2019. http://hdl.handle.net/10393/38773.
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Many of us believe that poetry, specifically activist and experimental poetry, is capable of intervening in our society, as though the right words will call people to action, give the voiceless a voice, and reorder the systems that perpetuate oppression, even if there are few examples of such instances. Nevertheless, my project looks at these very moments, when poetry alters the fabric of our real, to explore the ways these poetical interventions are, in effect, instances of what I have come to call “dissensual” poetry. Using Jacques Rancière’s concept of dissensus and the distribution of the sensible, my project investigates the ways in which dissensual poetry ruptures the distribution of the sensible—“our definite configurations of what is given as our real, as the object of our perceptions and the field of our interventions”—to look at the ways poetry actually does politics (Dissensus 156). I look at three different types of dissensual poetry: concrete poetry, sound poetry, and instapoetry. I argue that these poetic practices prompt a reordering of our society, of what is countable and unaccountable, and of how bodies, capacities, and systems operate. They allow for those whom Rancière calls the anonymous, and whom we might call the oppressed or marginalized, to become known. I argue that bpNichol’s, Judith Copithorne’s, and Steve McCaffery’s concrete poems; the Four Horsemen’s, Penn Kemp’s, and Christian Bök’s sound poems; and rupi kaur’s instapoems are examples of dissensual poetry.
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Nogueira, Fernanda Ferreira Marcondes. "Políticas estéticas e ocupações poéticas: uma genealogia (im)possível a partir do concretismo brasileiro." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-06052010-134321/.
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Que potencialidade ainda mantém a poesia concreta? O que pode permitir que essa poética continue intervindo no presente? Restabelecendo o vínculo com as tendências construtivas que surgem no Brasil da metade do século XX e tomando a poesia concreta como referência multidimensional, evidenciamos alguns conflitos inscritos nas políticas estéticas e no seu projeto político para propor outra genealogia que não se baseia somente na sua análise formal, mas que busca entender como essa estética radical penetra no social, na rua, no cotidiano, nos meios de comunicação e reverbera nas redes artísticas alternativas. Indicamos também algumas discussões que tentaram constituir e delimitar a poesia concreta, contrapostas às suas derivas, que subvertem definições e enquadres temporais designados pela historiografia literária. Assim, a primeira parte apresenta um panorama macropolítico no qual esta e outras produções se inscrevem para, nos capítulos seguintes, apontar formas de resistência micropolíticas.What potentiality still remains concrete poetry? What can allow it to continue to intervene in the present? By re-establishing their link with constructive art tendencies emerged in Brazil since 1950s, and taking concrete poetry as a multidimensional experience, we expose some of the conflicts inscribed in the politics of aesthetics of concrete poetry political project to put forward a different genealogy which is not based on its formal analysis only. Rather, how those radical aesthetics pervades the social structure, the public sphere, the common and the mass communication medium, echoing through the alternative artistic networks. We also point out some discussions that have been attempting to constitute or demarcate concrete poetry in an opposite way of its motives that subvert definitions and bring down the temporal frame of literary historiography. In this way, the first section proposes a macro-political panorama of this poetry production, in the following sections, some different ways of micropolitical resistance are emphasized.
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Yoo, Sirah. "Ineffable: Latency in Symbolic Languages." VCU Scholars Compass, 2017. http://scholarscompass.vcu.edu/etd/4814.
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The design process demands comprehensive knowledge of visual signs and symbols with a focus on visual literacy; it is related to visual syntax, semantics, and the pragmatics of contexts. My work is an interdisciplinary investigation into how designers integrate polysemantic signs into their design process for particular and highly individualized audiences. By analyzing the role of signs in specific contexts across the spectrum of arts, society, literature, and semiotics, a designer's understanding of the cyclical nature of interpretation and reinterpretation in complex environments creates an avenue for cultivating a new schema that provides further levels of interpretations and different access points. By removing elements from their original context, and fusing these elements into new narratives, we implement new meanings and emphasize the value of interpretation.
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Marques, Marcelo Ferreira. "Tipografia expressiva : Augusto de Campos e os desenhos da poesia." Universidade Federal de Alagoas, 2008. http://repositorio.ufal.br/handle/riufal/476.
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This research aims to map some of the ways letters design become structural constituent, by means of an expressive use of printing configuration, that is, through a skillful arrangement of printing elements, and, sometimes, by the determiners from Augusto de Campos s expressiveness of poems. To accomplish this study, it is relevant to do, before the analysis, a historical-conceptual contextualized path of printing as well as its implications with the ideogram conception, understood according to Ernest Fenollosa, via Ezra Pound. This printing route is found in Augusto s work from his first books (we can call this production as pre-concrete) to his definitely concrete poems, reaching his most recent production, which allows us a coherent glimpse and, at the same time, a rare mobility on Brazilian literature.Conselho Nacional de Desenvolvimento Científico e Tecnológico
Esta pesquisa se destina a mapear alguns modos como, por meio de um uso expressivo das configurações tipográficas, isto é, através de um inventivo arranjo dos elementos tipográficos, os desenhos das letras transformam-se em constituintes estruturais e, por vezes, determinantes da expressividade dos poemas de Augusto de Campos. Para tanto, precede as análises um percurso de contextualização histórico-conceitual da tipografia bem como de suas implicações com o conceito de ideograma, como entendido por Ernest Fenollosa, via Ezra Pound. Essa diretriz tipográfica se faz presente, na obra de Augusto, desde seus primeiros livros (quando então podemos chamar sua produção de pré-concreta) até seus poemas efetivamente concretos, alcançando sua produção mais recente, o que nos deixa entrever uma coerência e, ao mesmo tempo, uma mobilidade raras na literatura brasileira.
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Thiers, Bettina. "Poétiques expérimentales et engagement : Poésie concrète, visuelle, sonore et pièces radiophoniques expérimentales dans l'espace germanophone de 1945 à 1970." Thesis, Tours, 2014. http://www.theses.fr/2014TOUR2018.
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Les poésies concrète, visuelle, sonore, apparues au début des années 1950 dans une vingtaine de pays du monde, dont l’Allemagne, la Suisse et l’Autriche, et les pièces radiophoniques expérimentales ont, jusqu’à présent, été perçues comme jeux formels avec le matériau verbal épargnant à leurs auteurs une prise de position politique par rapport au réel. Face à la réception réductrice du concept sartrien de « littérature engagée », les poétiques expérimentales apparaissent comme « désengagées ». Or, les auteurs invoquent la portée politique de leur déconstruction de poétiques traditionnelles, de normes linguistiques et de modes de pensée de la culture occidentale. Les formes d’écriture expérimentale ne seraient-elles pas alors des choix politiques au sens où elles ébranlent des visions et expériences du monde? Cette mise à distance du réel provoquerait ce que Rancière appelle la « subjectivation politique », c'est-à-dire l’émancipation du citoyen par rapport à son identité sociale figée par des manières de dire et de penser. Montrant l’intention politique immanente à certains choix poétiques cette étude aborde la notion d’engagement sous un angle poétologiqueConcrete, visual and sound poetry, as well as experimental radio plays, appearing in the early 1950s in Germany, Switzerland and Austria specifically, have until now been perceived as formal games with language, sparing their authors from taking any political position with regards to reality. Given this narrow understanding of the sartrian concept of “engaged literature”, experimental poetry hence appeared as “disengaged.” And yet, authors insist on the deconstruction of traditional poetry, of linguistic norms and of the Occidental vision of culture. As a consequence, shouldn’t we also understand experimental literary forms as political in the sense that they shatter our traditional vision and experience of the world? The distance taken from reality leads to what Rancière calls “political subjectivity”, by which he means the emancipation of the individual from a fixed social identity through news ways of saying and thinking. Analyzing the political intention inherent to specific poetical choices, this study offers a poetic approach of literary political engagement
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Freitas, Mônica Cristina de Paula [UNESP]. "A poesia visual de Miguel de Frias: o universo da visualidade na poesia." Universidade Estadual Paulista (UNESP), 2010. http://hdl.handle.net/11449/86927.
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000627117.pdf: 2712721 bytes, checksum: cd0a33db73a0a7024414892abbf79c87 (MD5)Universidade Estadual Paulista (UNESP)
Esta pesquisa discute a trajetória da visualidade na poesia, tendo como foco principal as obras do artista Miguel de Frias. O trabalho buscou fontes de visualidade poética desde a Grécia Antiga, passando pelo movimento da Poesia Concreta, até a poesia visual da atualidade. Aborda com brevidade a história do design e como trabalha o profissional designer. Relaciona a construção do projeto de design gráfico e da poesia visual, mostrando até que ponto eles se aproximam e o que os distancia. Traz o conhecimento de um pouco da vida e trajetória profissional do artista Miguel de Frias, para chegar a suas poesias. Foram analisados seis poemas visuais do artista, com o olhar particular da autora. Justifica-se, assim, uma ampla pesquisa bibliográfica para a fundamentação teórica e uma entrevista realizada com Frias
This research discusses the history of visual poetry, focusing mainly on the works of artist Miguel de Frias. This work sought sources of visual poetry from Ancient Greece, throughout the movement of concrete poetry, until today’s visual poetry. Discusses briefly the design history and how the professional designer works. Relates the graphic design project construction and the visual poetry, showing how far they approach and what distances them. Brings the knowledge of the life and career of artist Miguel de Frias and arriving in his poetry. Six visual poems from the artist were analyzed with a particular look of the author. Justified, therefore, an ample literature search for the theoretical foundation and an interview with Frias
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Freitas, Mônica Cristina de Paula. "A poesia visual de Miguel de Frias: o universo da visualidade na poesia /." São Paulo : [s.n.], 2010. http://hdl.handle.net/11449/86927.
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Orientador: Omar KhouriBanca: Milton Terumitsu
Banca: Lóris Graldi Rampazzo
Resumo: Esta pesquisa discute a trajetória da visualidade na poesia, tendo como foco principal as obras do artista Miguel de Frias. O trabalho buscou fontes de visualidade poética desde a Grécia Antiga, passando pelo movimento da Poesia Concreta, até a poesia visual da atualidade. Aborda com brevidade a história do design e como trabalha o profissional designer. Relaciona a construção do projeto de design gráfico e da poesia visual, mostrando até que ponto eles se aproximam e o que os distancia. Traz o conhecimento de um pouco da vida e trajetória profissional do artista Miguel de Frias, para chegar a suas poesias. Foram analisados seis poemas visuais do artista, com o olhar particular da autora. Justifica-se, assim, uma ampla pesquisa bibliográfica para a fundamentação teórica e uma entrevista realizada com Frias
Abstract: This research discusses the history of visual poetry, focusing mainly on the works of artist Miguel de Frias. This work sought sources of visual poetry from Ancient Greece, throughout the movement of concrete poetry, until today's visual poetry. Discusses briefly the design history and how the professional designer works. Relates the graphic design project construction and the visual poetry, showing how far they approach and what distances them. Brings the knowledge of the life and career of artist Miguel de Frias and arriving in his poetry. Six visual poems from the artist were analyzed with a particular look of the author. Justified, therefore, an ample literature search for the theoretical foundation and an interview with Frias
Mestre
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Buoro, Thiago [UNESP]. "O texto pluricódigo da poesia visual." Universidade Estadual Paulista (UNESP), 2014. http://hdl.handle.net/11449/115608.
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000810174.pdf: 3335900 bytes, checksum: 3f5a6040039cff2dfe74c36d3d2ad1f4 (MD5)Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Le but de notre recherche est d’étudier le discours pluricode de la poésie visuelle. Au début, nous considérons qu’il est important discuter sur la difficulté à classifier cette poésie dans le système de genre puisqu’elle occupe un lieu intermédiaire entre la Littérature et les Arts Visuels. Nous essayons de défendre la consolidation du genre particulier, car cela peut éviter la division sans fondement et inutile entre le vers et après le vers. Puis, nous faisons des recherches sur la possibilité de spatialisation du texte poétique et sur la manière de construir l´image poétique à travers de la retorique et de la materialité de l’ecriture. Nous défendons la différence semiotique entre le texte linguistique et le texte visuel, une différence qui résulte de la spécification du canal physique. L´art visuel a la particulité d’occuper l’espace à deux ou trois dimensions. La poésie est liée à la linéarité du canal oral qui se déploie dans un espace à une dimension. Mais quand la poésie est écrite, elle devient une image visuelle. Cela ne figure pas dans la théorie de Lessing, soucieuse d’établir parfaitement les frontières entre la peintre el la poésie. Par conséquent, la langue écrite mobilise simultanément les deux canaux : l’oral et le visuel. Les mots écrites ou inscrites comme des hiéroglyphes égyptiens peuvent entrer dans la composition plastique, tantôt comme des signes grafiques même, tantôt par rapport à des autres images, en formant une unité poetique complexe. Au final, nous cherchons à appliquer la suggestion de belge Jean-Marie Klinkenberg d’une grammaire de l’interaction texte-image, car nous pensons qu’elle est fondamental dans la poésie visuelle
Nossa pesquisa tem o objetivo de refletir sobre o texto pluricódigo da poesia visual. Partimos, como nos parece necessário, da discussão acerca das dificuldades de situar essa poesia entre os gêneros estabelecidos, uma vez que ocupa um lugar intermediário entre a Literatura e as Artes Visuais. E decidimos pela defesa do estabelecimento de um gênero particular, o que parece evitar a infundada e desnecessária cisão entre verso e pós-verso. Depois investigamos as possibilidades de espacialização do texto poético e as formas de construção da imagem pelos recursos retóricos e pela exploração da materialidade da escrita. Nosso pressuposto é que a diferença entre o texto linguístico e o texto visual repousa, sobretudo, numa diferença semiótica decorrente do canal físico. A arte visual se especifica porque ocupa o espaço de duas ou três dimensões; a poesia, porque está ligada à linearidade própria do canal oral, unidimensional. Mas na medida em que a poesia enquanto linguagem é escrita, ela toma inevitavelmente o canal visual. Isso parece ter escapado à teoria de Lessing, preocupada em estabelecer bem as fronteiras entre pintura e poesia. Portanto, a língua escrita opera dois canais simultaneamente: o oral e o visual. Escrita, ou inscrita à maneira dos hieróglifos egípcios, a palavra pode ser submetida a todo tipo de operação plástica, como obedecer a uma sintaxe visual e associar-se a outras imagens gráficas, gerando uma expressão poética complexa.Além disso, procuramos desenvolver, por sugestão do semioticista belga Jean-Marie Klinkenberg, uma espécie de gramática da relação palavra-imagem, que nos parece fundamental para a compreensão desse texto particular da poesia visual
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Buoro, Thiago. "O texto pluricódigo da poesia visual /." Araraquara, 2014. http://hdl.handle.net/11449/115608.
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Orientador: Fabiane Renata BorsatoBanca: Omar Khouri
Banca: Maria de Lourdes Ortiz Gandini Baldan
Resumo: Nossa pesquisa tem o objetivo de refletir sobre o texto pluricódigo da poesia visual. Partimos, como nos parece necessário, da discussão acerca das dificuldades de situar essa poesia entre os gêneros estabelecidos, uma vez que ocupa um lugar intermediário entre a Literatura e as Artes Visuais. E decidimos pela defesa do estabelecimento de um gênero particular, o que parece evitar a infundada e desnecessária cisão entre verso e pós-verso. Depois investigamos as possibilidades de espacialização do texto poético e as formas de construção da imagem pelos recursos retóricos e pela exploração da materialidade da escrita. Nosso pressuposto é que a diferença entre o texto linguístico e o texto visual repousa, sobretudo, numa diferença semiótica decorrente do canal físico. A arte visual se especifica porque ocupa o espaço de duas ou três dimensões; a poesia, porque está ligada à linearidade própria do canal oral, unidimensional. Mas na medida em que a poesia enquanto linguagem é escrita, ela toma inevitavelmente o canal visual. Isso parece ter escapado à teoria de Lessing, preocupada em estabelecer bem as fronteiras entre pintura e poesia. Portanto, a língua escrita opera dois canais simultaneamente: o oral e o visual. Escrita, ou inscrita à maneira dos hieróglifos egípcios, a palavra pode ser submetida a todo tipo de operação plástica, como obedecer a uma sintaxe visual e associar-se a outras imagens gráficas, gerando uma expressão poética complexa.Além disso, procuramos desenvolver, por sugestão do semioticista belga Jean-Marie Klinkenberg, uma espécie de gramática da relação palavra-imagem, que nos parece fundamental para a compreensão desse texto particular da poesia visual
Résumé: Le but de notre recherche est d'étudier le discours pluricode de la poésie visuelle. Au début, nous considérons qu'il est important discuter sur la difficulté à classifier cette poésie dans le système de genre puisqu'elle occupe un lieu intermédiaire entre la Littérature et les Arts Visuels. Nous essayons de défendre la consolidation du genre particulier, car cela peut éviter la division sans fondement et inutile entre le vers et après le vers. Puis, nous faisons des recherches sur la possibilité de spatialisation du texte poétique et sur la manière de construir l'image poétique à travers de la retorique et de la materialité de l'ecriture. Nous défendons la différence semiotique entre le texte linguistique et le texte visuel, une différence qui résulte de la spécification du canal physique. L'art visuel a la particulité d'occuper l'espace à deux ou trois dimensions. La poésie est liée à la linéarité du canal oral qui se déploie dans un espace à une dimension. Mais quand la poésie est écrite, elle devient une image visuelle. Cela ne figure pas dans la théorie de Lessing, soucieuse d'établir parfaitement les frontières entre la peintre el la poésie. Par conséquent, la langue écrite mobilise simultanément les deux canaux : l'oral et le visuel. Les mots écrites ou inscrites comme des hiéroglyphes égyptiens peuvent entrer dans la composition plastique, tantôt comme des signes grafiques même, tantôt par rapport à des autres images, en formant une unité poetique complexe. Au final, nous cherchons à appliquer la suggestion de belge Jean-Marie Klinkenberg d'une grammaire de l'interaction texte-image, car nous pensons qu'elle est fondamental dans la poésie visuelle
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Books on the topic "Visual/concrete poetry"
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(Ljubljana, Slovenia) Bežigrajska galerija. Vizualna in konkretna poezija: Visual and concrete poetry. Ljubljana, Slovenija: Bežigrajska galerija, 1999.
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Museo storico navale di Venezia (Italy), ed. Visual poetry: L'avanguardia delle neoavanguardie : mezzo secolo di poesia visiva, poesia concreta, scrittura visuale. Milano: Skira, 2014.
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(Ljubljana, Slovenia) Bežigrajska galerija. Slovenska vizualna in konkretna poezija: Slovene visual and concrete poetry. Ljubljana, Slovenija: Bežigrajska galerija, 2002.
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L'avanguardia per tutti: Concretismo e poesia visiva tra Russia, Europa e Brasile. Macerata: EUM, 2008.
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Alopīprasāda, Caube, and India. Ministry of Human Resource Development., eds. Citrakāvyama. Bhāgalapura: Bhagavāna Pustakālaya, 1989.
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Sackner, Ruth. Ruth and Marvin Sackner archive of concrete and visual poetry. Miami Beach, Fla: [R. and M. Sackner], 1986.
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Beaulieu, D. A. Flatland: A romance of many dimensions. York, England: Information as Material, 2007.
Find full textBook chapters on the topic "Visual/concrete poetry"
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McMahon, Fiona. "Concrete/Visual Poetry." In A Companion to Poetic Genre, 330–47. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781444344318.ch23.
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"Nonintentional Poetry." In Experimental – Visual – Concrete, 203–10. Brill | Rodopi, 1996. http://dx.doi.org/10.1163/9789004449374_021.
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"Concrete and Neo-Concrete Poetry." In Experimental – Visual – Concrete, 263. Brill | Rodopi, 1996. http://dx.doi.org/10.1163/9789004449374_028.
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"Visual Poetry, Verbo-Visual Writing." In Experimental – Visual – Concrete, 233–37. Brill | Rodopi, 1996. http://dx.doi.org/10.1163/9789004449374_024.
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"Concrete Poetry: A Generic Perspective." In Experimental – Visual – Concrete, 287–302. Brill | Rodopi, 1996. http://dx.doi.org/10.1163/9789004449374_030.
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"Swedish Concrete Poetry in Focus." In Experimental – Visual – Concrete, 317–34. Brill | Rodopi, 1996. http://dx.doi.org/10.1163/9789004449374_033.
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"Theoretical Underpinnings of Experimental Poetry." In Experimental – Visual – Concrete, 381–87. Brill | Rodopi, 1996. http://dx.doi.org/10.1163/9789004449374_041.
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"Concrete Poetry: Critical Perspectives from the 90s." In Experimental – Visual – Concrete, 265–85. Brill | Rodopi, 1996. http://dx.doi.org/10.1163/9789004449374_029.
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"Under Cancellation: The Future Tone of Visual Poetry." In Experimental – Visual – Concrete, 309–16. Brill | Rodopi, 1996. http://dx.doi.org/10.1163/9789004449374_032.
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"Preface Experimental — Visual — Concrete Poetry and The Yale Symphosophia." In Experimental – Visual – Concrete, 9–16. Brill | Rodopi, 1996. http://dx.doi.org/10.1163/9789004449374_002.
Full textConference papers on the topic "Visual/concrete poetry"
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Pons Moreno, Álvaro Máximo. "EL RETO DE LA POESÍA GRÁFICA: ANÁLISIS DE LA OBRA DE BEGOÑA GARCÍA-ALÉN." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9597.
Full textAbstract:
La poesía gráfica se ha consolidado en los últimos años como uno de los campos de experimentación del cómic más activo y fructífero. La exploración de las posibilidades del cómic alejadas de la tradicional narratividad secuencial ha permitido entroncar la narración visual con la poesía concreta y caligramática, encontrando una relación cuya naturalidad y potencialidad resulta sorprendente (McHale, 2010). Aunque las primeras experiencias de la poesía gráfica pueden ser rastreadas en la obra de George Herriman y en la fundacional Poema en viñetas de Dino Buzzatti, en la última década se ha producido un desarrollo espectacular desde el espacio de libertad que representa la autoedición y el fanzinismo. Autores y autoras como Bianca Stone, Warren Craghead o Tom Hart han marcado un camino que en España ha sido seguido por una activa generación de jóvenes autores y autoras entre los que destacan Cynthia Alfonso, Klari Moreno, Julia Huete, María Medem, Óscar Raña, Begoña García-Alén, Andrés Magan o Roberto Masso, entre otros. En este trabajo, analizaremos la obra de García-Alén (Pontevedra, 1989), estudiando la evolución que se ha producido desde sus primeras publicaciones autoeditadas en su sello Noche Liquida, como Lujo Infinito (2015), La máscara de oro (2016), Orden y Forma (2016), Unha Gran Dama (2017) y Nueva Mística de Vigo (2018), a las publicadas por editoriales alternativas, como Perlas del Infierno (Fosfatina, 2014) o Nuevas estructuras (Apa Apa Cómics, 2017). Nos centraremos especialmente es esta última, examinando sus estrategias de narración visual a través del simbolismo, la composición espacial y cromática y el montaje analítico como estructura temporal interna de la página. McHale, B. (2010) Narrativity and Segmentivity, or, Poetry in the Gutter. En M. Grishakova y M.L Ryan (eds.), Intermediality and Storytelling, (p 27-48). Berlin: Walter de Gruyter.