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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.
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Telek, Márta Törteli. "Travelling into the World of Bilingual (Code-Switching) Concrete Poetry." Acta Universitatis Sapientiae, Philologica 9, no. 3 (December 1, 2017): 29–39. http://dx.doi.org/10.1515/ausp-2017-0026.
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AbstractThe paper examines the complex phenomenon of intermediality, “multimedial transgression”, and “culturally agitating hybridity” resonating and flashing over ages and cultures. It reviews concrete poetry, which may be considered as a real multimedial text with linguistic and pictorial coded aesthetic message, the poetic intention evolving from the mixture of verb and picture. Examining from the aesthetic of reception, code-switching of concrete poetry comes into the focus of the research. We may feel that for a recipient knowing both languages (for the recipient of concrete poetry), it is more advantageous for the speaker combining the expressions of the two languages since one with a mixed language always relates what he would like to say in the language he can express his thoughts more properly. In fact, this is such a code-switching that the recipient may perceive as a single code on the basis of simultaneity of text and picture.The study highlights reading alternatives that concrete poetry offers us as well as the travel it takes us on. By analysing the mode of interpretation, we can observe how visual poems overbalance the conventional linearity of writing, how figurativity becomes equivalent to the text in the course of creating meaning, while reading is guided by the sight of picture, which confirms the sight as well. Thus, language and picture are practically trapped by the calligram. Text (concrete poetry) understanding is described as integrative by the paper, coming into existence as a result of the constant correction and supplement of situational and ephemeral understandings. It considers the hermeneutical circle/spiral of understanding as a travel, which is always unique and not to be repeated.
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Van der Elst, J. "De miskenning van Theo van Doesburg; zijn bijdrage tot de ontwikkeling van de konkrete poëzie." Literator 8, no. 1 (May 7, 1987): 1–15. http://dx.doi.org/10.4102/lit.v8i1.856.
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More literary critics outside Belgium and the Netherlands have written about Theo van Doesburg than from inside these countries. The first important monograph on him appeared in English - Theo van Doesburg - Propagandist and Practitioner of the Avant-Garde, 1909-1923, by Hannah Hedrick. Van Doesburg’s poetry developed in the direction of concrete poetry - the type of poetry in which the spatial, acoustic and visual characteristics of language are maximally utilized towards the creation of the poem. Word as sound and as image is foregrounded in concrete poetry, while the imaging of persons and subjective experience is eliminated as far as possible. The anecdotal or the epic component of the concrete poem is minimal and the language of this sort of poem has been reduced to the minimum. In the spirit of the theory of concrete poetry Van Doesburg advocates the liberation of art from all the commitments imposed upon it. That with which Van Doesburg began was continued by other poets, especially in Germanic literature by poets of the so-called neo-realism.
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Pawłowska, Aneta Joanna. "Visual text or "words-in-freedom" from Futurism through concrete poetry to electronic literature." Text and Image: Essential Problems in Art History, no. 1 (2019): 90–101. http://dx.doi.org/10.17721/2519-4801.2019.1.06.
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The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. A vivid interest concerning the modern typography in the period which took place immediately after the end of the First World War and during the interwar period of the Great Avant-Garde, was shown by various artists who were closely related to Dadaism and the Polish art group called „a.r”. Here a special mention is desrved by the pioneer accomplishments in the range of lettering craft and the so-called „functional printing” of the famous artist Władysław Strzemiński (1893-1952). The next essential moment in the development of the new approach to the synesthesia of the printed text and fine arts is the period of the 1960s of the 20th century and the period of „concrete poetry” (Eugen Gomringer, brothers Augusto and Haroldo de Campos from Brazil, Öyvind Fahlström). In Poland, the undisputed leader of this movement was the artist Stanisław Dróżdż (1939-2009), the originator of the so-called „conceptual-shapes”. In the 21st century, the emanation of actions which endevour to join and link closely poetry with visual arts is the electronic literature, referred to as digital or html. Artists associated with this formation, usually produce their works only by means of a laptop or personal computer and with the intention that the computer the main carrier / medium of their work. Among the creators of such works of art, it is possibile to mention such authors of the young generation as Robert Szczerbiowski, Radosław Nowakowski, Sławomir Shuty.
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McBay, Arnold. "For." ti< 8, no. 1 (April 6, 2019): 32–35. http://dx.doi.org/10.26522/ti.v8i1.2169.
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For is an examination of the border between written and visual practices with a focus on the use of exclusion, constraint and form that establishes a play with language and visual structures in the tradition of concrete or visual poetry. While these works eschew the use of words they point directly to them through their absence.
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Bachmann, Pauline, and Jasmin Wrobel. "Redes da Poesia Experimental: Arquivos, Sítios, Coleções." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 7, no. 1 (November 17, 2019): 237–46. http://dx.doi.org/10.14195/2182-8830_7-1_13.
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Apresentação sumária de oito sítios web relacionados com o tema deste número "Redes da Poesia Experimental". Figuram na seleção os seguintes sítios web: Arquivo Digital da PO.EX: Poesia Experimental Portuguesa; poesia concreta: o projeto verbivocovisual; Archivo Guillermo Deisler (1940-1995); Arquivo Centro de Arte Experimental Vigo; Stephanie Strickland Papers, 1955-2016; Documents of 20th-century Latin American and Latino Art; Archiv Sohm e The Sackner Archive of Visual and Concrete Poetry.
DOI: https://doi.org/10.14195/2182-8830_7-1_13
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Pereira, Vinicius Carvalho. "Silva Freire: o barroco na poesia visual do Cerrado brasileiro." Caligrama: Revista de Estudos Românicos 23, no. 1 (May 24, 2018): 99. http://dx.doi.org/10.17851/2238-3824.23.1.99-120.
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Resumo: Os mais recentes estudos sobre a poesia visual brasileira da segunda metade do século XX têm reiteradamente ressaltado as influências barrocas nos textos de artistas como Haroldo de Campos, Augusto de Campos e Décio Pignatari. No entanto, o estudo das vanguardas poéticas dos anos 1950 aos anos 1970 ainda se limita excessivamente à produção literária do eixo Rio-São Paulo, com algumas exceções (como as dos estudos sobre Ferreira Gullar). Contudo, artistas de Mato Grosso, ainda que hoje pouco conhecidos pela academia fora do estado, tiveram participação ativa e intensa nas formulações teóricas e estéticas das imbricações entre o ler e o ver na poesia visual dessa época. Nesse contexto, o presente artigo destaca a obra do poeta mato-grossense Silva Freire, o qual releu os elementos neobarrocos e concretos da arte de sua época à luz de sua cultura local, evidenciando uma outra possibilidade de entender a poesia visual: sob a lente regional de Cuiabá. Para tanto, analisa-se aqui como o barroco se revela tema, figura retórica e até mesmo item lexical na poesia freireana, mas apartado do eixo Bahia-Minas Gerais do século XVII e transmutado para o Mato Grosso do século XX.Palavras-chave: Silva Freire; barroco; regionalismo; Cuiabá.Abstract: The most recent studies about Brazilian visual poetry from the second half of the twentieth century have highlighted baroque influences on poems by Haroldo de Campos, Augusto de Campos and DécioPignatari. However, research studies on poetic avant-gardes from the 1950 to the 1970 are still excessively limited to the poetry from Rio-São Paulo, with few exceptions (such as the studies on Ferreira Gullar). Nevertheless, artists from Mato Grosso, still disregarded by scholars from other states, actively and intensively contributed to the theoretical and aesthetical discussions on the reading and seeing of visual poetry at that time. This paper highlights the work of a poet from Mato Grosso, Silva Freire, who reinterpreted the neo-baroque and concrete elements of the poetry from his time under the lenses of his local culture. Thereby, he evidenced another way to understand visual poetry: from the regional perspective of Cuiabá. To do so, we herein analyze how baroque can be considered as a theme, a rhetorical figure and a lexical item in Freire’s poetry; and how that poetry detaches baroque from the seventeenth century in Bahia and Minas Gerais and brings it to the twentieth century in Mato Grosso.Keywords: Silva Freire; baroque; regionalism; Cuiabá.
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Tornatore-Loong, Maria (Connie). "Poesia Visiva: Italian Concrete and Visual Poetry of the 1960s and 1970s." International Journal of the Arts in Society: Annual Review 5, no. 6 (2011): 307–48. http://dx.doi.org/10.18848/1833-1866/cgp/v05i06/35959.
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Vos, Eric. "The Visual Turn in Poetry: Nominalistic Contributions to Literary Semiotics, Exemplified by the Case of Concrete Poetry." New Literary History 18, no. 3 (1987): 559. http://dx.doi.org/10.2307/469058.
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Bogalecki, Piotr. "Z ducha muzyki? Czternaście wariacji o Mieście: partyturze i innych „wierszach nadsłownych” Mariana Grześczaka." Przestrzenie Teorii, no. 29 (January 31, 2019): 87–125. http://dx.doi.org/10.14746/pt.2018.29.3.
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The article covers wiersze-nadsłowne [“supra-verbal” poems] by Marian Grześczak written in the period of 1959–1963, which was one of the first specimens of concrete poetry in Poland. The main part comprises an elaborate analysis of a work titled Miasto: partytura [City: score] (previously called: Miasto, parodia [City, parody]). The text becomes a springboard for the presentation of original literary theoretical ideas concerning the links between the literary text and musical notation, and in doing so refers to the findings of authors such as G. Agamben and J. Derrida, as well as G. Deleuze and F. Guattari, but predominantly to Grześczak’s own commentaries, as one of the first Polish commentators of the international concrete poetry movement. The article also mentions sixteen unpublished poems, which were found in an archive of visual poems by Grześczak, whose analysis provides a basis for rejecting the notion pervading relevant literature of the “sporadic” and “insignificant” character of the poet’s concrete works. Thus, the article is an attempt at literary historical revision and a contribution to the re-interpretation of the history of concrete and experimental poetry in Poland.
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Rajendra, Thusha Devi, and Surinderpal Kaur. "Visual elements in children’s concrete poems: A multimodal analysis of Rain and Ice Cubes." Journal of Modern Languages 31, no. 1 (July 31, 2021): 64–85. http://dx.doi.org/10.22452/jml.vol31no1.4.
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This study is based on the multimodal analysis of two children’s concrete poems from the poetry book, Splish Splash (1994) by Joan Bransfield Graham. It employs Kress and van Leeuwen’s (2006) Visual Grammar as the analytical tool to analyse the visuals in terms of compositional meaning. It investigates how visual elements (words and images) are represented in the poems. In addition, it focuses on the features of the images and how they cohere on a page. The findings suggest that the representations of images in the poems reproduce the dominant theme of water and its forms. Furthermore, the interrelated-systems of salience and framing are used extensively and they contribute to meaning-making. Words and images support each other and coexist to provide meanings in the poems. Therefore, the combination of words and images creates a meaningful whole and offers readers greater opportunities to create meanings.
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Sackner, Ruth. "The Avant-Garde Book: Precursor of Concrete and Visual Poetry and the Artist's Book." Journal of Decorative and Propaganda Arts 2 (1986): 60. http://dx.doi.org/10.2307/1503925.
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Klähn, Tim. "Russian and East European Materials at the Sackner Archive of Concrete and Visual Poetry." Slavic & East European Information Resources 16, no. 4 (October 2, 2015): 222–28. http://dx.doi.org/10.1080/15228886.2015.1082120.
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Meneses, Luis, and Enrique Mallen. "Semantic domains in Picasso’s poetry." Digital Scholarship in the Humanities 34, Supplement_1 (December 24, 2018): i123—i128. http://dx.doi.org/10.1093/llc/fqy078.
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Abstract The question of why Pablo Picasso dedicated a considerable amount of his time to writing around 1935 is open to speculation. Many have cited, among possible causes: the Spanish artist’s emotional crisis, the political turmoil in Europe in the period between the two wars, and the menace of a confrontation in Spain. All of these views are predicated on an assumed irreducible conflict between visual composition and verbal expression. However, we cannot forget that Picasso’s interest in alternative methods of expression might have started with his fascination for linguistic structure as a whole during his cubist period. In this article, we explore the possibility that the transition into poetry that we observe in Picasso is simply one more manifestation of his pursuit of alternative approaches to language as a means of representation. In this sense, one thing that remained to be determined was how concrete concepts in both languages cluster into representative semantic categories and how these categories interact with each other in semantic networks.
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Kuchumova, Galina V. "MODERN POETIC DISCOURSE: THE LINGUISTIC NATURE OF HERMETICISM." Вестник Пермского университета. Российская и зарубежная филология 13, no. 1 (2021): 99–108. http://dx.doi.org/10.17072/2073-6681-2021-1-99-108.
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The paper provides review of the monograph by Ekaterina Evgrashkina The Semiotic Nature of Semantic Uncertainty in Modern Poetic Discourse (based on German and Russian poetry), published in the Russian language as part of the series NEUERE LYRIK. Interkulturelle und interdisziplinäre Studien. Herausgegeben von Henrieke Stahl, Dmitrij Bak, Hermann Korte, Hiroko Masumoto und Stephanie Sandler. BAND 5. Berlin: Peter Lang, Internationaler Verlag der Wissenschaften, 2019. 173 s. ISBN 978- 3-631-78193-7. The monograph deals with the main trends of German and Russian poetry of the last decades. The focus is on the phenomenon of hermetic poetry. Modern authors consciously choose writing strategies such as literary improvisation, language play, and various intermedial inclusions. The first chapter ‘The problem of poetic meaning’ provides a theoretical framework for the field of research. It introduces the definitions of discourse, the concepts ‘language games’ (developed by L. Wittgenstein), ‘text / discourse’, ‘text / work’, dialogical dimensions of poetic text. The second chapter ‘Semiotics of modern poetry’ covers the concept ‘mobile semiosis’ (J. Baudrillard) and some others. In hermetic poetic discourse, generation of meaning is based on mobile semiosis, in which the relationship of stability between the signifier and the signified is called into question. In The Role of the Reader, Umberto Eco describes two models of the reader, different strategies for interpreting text. Susan Sontag denies the possibility of final interpretation of a text, she suggests eroticism of art instead of hermeneutics. The third chapter ‘Linguistic installations’ considers various manifestations of poetic Hermeticism in modern poetry, the experience of concrete and visual poetry in German: Timm Ulrichs (1940), Klaus Peter Dencker (1941), Barbara Köhler (1959), Werner Herbst (1943–2008), Anatol Knotek (1977), Herta Müller (1953). The final chapter ‘The self-reflexive discourse’ deals with the trend of modern poetry towards free verse and construction of new complex poetic forms. The process of occasional word formation is shown in the lyrical texts by German poets Thomas Kling (1957–2005), Lutz Seiler (1963), Konstantin Ames (1979), Lioba Happel (1957), Thomas Böhme (1955), and by Russian authors Polina Andrukovich (1969), Alexander Ulanov (1963), Dmitry Vorobyov (1979). In poetic discourse, the constitution of the poetic subject correlates with the introduction of new elements of culture into the poetic text. Such innovations do not lead to a mechanical increment of the elementary meaning, but to a structural transformation of the whole picture. The reviewed monograph is significant in that it provides theoretical understanding of individual poetic practices and the analysis of specific empirical material – the latest German and Russian poetry.
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Tornborg, Emma. "Sound And Stasis in Pictorial Poetry." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 2, no. 2 (December 31, 2012): 4–20. http://dx.doi.org/10.7146/se.v2i2.6262.
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In this article I investigate how various representations of sound influence temporality and imagery in pictorial poetry. Literary pictorialism can be defined as a phenomenon that occurs when the fictional reality, psychological or physical, in a text is represented as image. A pictorial poem often revolves around one single image and the poem’s subject matter, a scene or a landscape for example, is described as silent and static; the poem is composed in a way that can lead the reader to create a stable mental image of its subject matter. The introduction of sound into such a poem can have various effects; one being that the static mood of the poem is interrupted. It can have other results as well, depending on the kind of sound. Sound can, for example, be represented as a concrete and tangible object, in which case it becomes part of the visual scene represented in the poem. A cognitive approach is used to illustrate and explain the relation between sound and sight in pictorial poetry.
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Martins, Sérgio B. "“The Pulp of Color”: Toward a Notion of Expenditure in Ferreira Gullar's Neo-concrete Writings." October 152 (May 2015): 103–20. http://dx.doi.org/10.1162/octo_a_00219.
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Most scholarship on Neo-concretism tends either to ignore Ferreira Gullar's early poetry or simply reiterate the poet's own account of his book A Luta Corporal (1954) as concerned solely with the implosion of language. However, Gullar's book also engages with a sustained existential meditation on temporality and finitude through images of material expenditure, with pears and apples recurring throughout its pages as self-consuming entities that dramatize the inexorability of time. Fruit would later become a metaphor for the effect of color in the Neoconcrete production of painter Aluisio Carvão, with Gullar suggesting that the “resistance of the object” is overcome in his works by the way our vision is made to linger on “the pulp of color.” Can it be that expenditure returns within Neoconcrete theory in the guise of fruit? If so, then the movement's generally undisputed association with a redemptive phenomenology will have to be reviewed in order to accommodate a far more anxiety-ridden conceptual facet.
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Lee, Louisa. "‘A sculpture that has never been seen before’: the Advanced Sculpture Course, group crit and Silâns magazine at St Martin’s College of Art1." Sculpture Journal 30, no. 1 (January 1, 2021): 71–85. http://dx.doi.org/10.3828/sj.2021.30.1.5.
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Focusing on the magazine Silâns, produced by students and tutors Barry Flanagan, Rudy Leenders and Alistair Jackson on the Advanced Sculpture Course at St Martin’s College of Art between 1964 and 1965, this article explores the magazine as a collaborative space for students and tutors alike. Arguing that while the ‘group crit’ or discussion forum at St Martin’s offered students a verbal platform to describe, defend or critique their work (which increasingly relied on concepts and ideas over formal properties), it was the format of the art school magazine that offered a space for discourse and collaboration. By questioning the purpose of art and the role of the artist more generally, Silâns offered a site for critique of a rapidly changing art education system. In doing so, it prefigured later conceptual magazines that encompassed similar territory and preoccupations. I argue that although the content and form of Silâns are now identified in relation to concrete poetry, it is better situated in the context of early text-based conceptual art practice. The emphasis on the magazine as a means to disseminate concrete poetry tacitly avoids any of its political implications, in favour of its formal aspects. In concluding that the importance of Silâns, as an alternative platform for student collaboration and a precursor to later text-based conceptual art practice, has so far been overlooked and confined instead to a footnote in the sculptor Barry Flanagan’s biography, I argue that, more than group crit, this magazine is a manifestation of the verbal impulse in art colleges.
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Ómarsson, Kjartan Már. "Dansað á óplægðum akrinum. Tólf lík, níu staðir og í lokin eru allir glaðir." Kynbundið ofbeldi II 19, no. 1 (June 14, 2019): 79–97. http://dx.doi.org/10.33112/ritid.19.1.4.
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Literature has a long history of chastising women who defy ,traditional‘ gender roles. By turning a critical eye on the poem danse grotesque by the Icelandic poet Sjón, its staging and visual presentations, as well as fundamental interpretive keys such as trolls and dance, one senses a resistance to the prevailing manifestations of women in the Western media. The article shows how the poem reassesses the relationship between femininity and death in Western culture.Keywords: Concrete poetry, avant-garde, decadence, gender roles, death, dance, trollsKjartan Már ÓmarssonDoktorsnemi í almennri bókmenntafræði Hugvísindasviði Háskóla ÍslandsSæmundargötu 2 IS-101 Reykjavík, Íslandko@hi.is
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Borgen, Maibritt. "Fundamental Feedback: Öyvind Fahlström's Kisses Sweeter than Wine." ARTMargins 4, no. 3 (October 2015): 17–39. http://dx.doi.org/10.1162/artm_a_00121.
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The article analyzes Öyvind Fahlström's (1928–1976) performance Kisses Sweeter Than Wine, which took place as part of the festival 9 Evenings: art&engineering in New York (1966). It situates the performance's use of multimedia material as continuations of earlier investigations into manipulating language that played a central part in the artist's practice of both visual art and concrete poetry. It further argues that in Kisses Sweeter Than Wine such manipulations form a series of ruptures into the wider circulation of mass-media images, ruptures that locate Fahlström's use of media images in relation to both Pop Art and the beginning media activism under the Vietnam War.
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Wingate, Steven. "Watching Textual Screens Then and Now: Text Movies, Electronic Literature, and the Continuum of Countertextual Practice." CounterText 2, no. 2 (August 2016): 172–90. http://dx.doi.org/10.3366/count.2016.0051.
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Contemporary works of electronic literature that focus on the use of moving text are aesthetically related to the text movies that arose in the experimental film community, particularly in the 1960s, and both share much in common with concrete and visual poetry. Though criticism has traditionally placed a barrier between works of electronic literature and cinematic text movies on the basis of their perceived medium (cinema characterised by emulsion and electronic literature characterised by computer code), textual screen works originating from both media utilise similar techniques in the presentation and manipulation of text. Interactivity is potentially a differentiator between electronic literature and cinema, but this distinction is negated by the fact that not all works of electronic literature are interactive (that is, they do not require an interactor in order to function). The increasing digitisation and, to a lesser extent, interactivity of cinema also argues against placing a gap between electronic literature and cinematic works that utilise the textual screen. Text movies, visual poetry, and other digital works featuring moving text can be seen as belonging to the same family; they are united by the aesthetic experience of perceiving them, which derives from a dynamic tension between the act of reading and the act of watching. Taken together, they form a continuum of countertextual practice that involves the destabilisation of reading and the displacement of literary significance away from traditional means of sense-making and towards the use of text-as-objects that do not always achieve the status of language.
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Wettlaufer, Alexandra K. "THE SUBLIME RIVALRY OF WORD AND IMAGE: TURNER AND RUSKIN REVISITED." Victorian Literature and Culture 28, no. 1 (March 2000): 149–69. http://dx.doi.org/10.1017/s1060150300281096.
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Who cares whether Mr. Ruskin’s views on Turner are sound or not? What does it matter? That mighty and majestic prose of his, so fervid and fiery-coloured in its noble eloquence, so rich in its elaborate, symphonic music, so sure and certain, at its best, in subtle choice of word and epithet, is at least as great a work of art as any of those wonderful sunsets that bleach or rot on their corrupted canvases in England’s Gallery; greater, indeed, one is apt to think at times, not merely because its equal beauty is more enduring, but on account of the fuller variety of its appeal, soul speaking to soul in those long cadenced lines, not through form and colour alone, though through these, indeed, completely and without loss, but with intellectual and emotional utterance, with lofty passion and with loftier thought, with imaginative insight, and with poetic aim; greater, I always think, even as Literature is the greater art.—Oscar Wilde, The Critic as ArtistWHILE MUCH ATTENTION has been lavished upon the positive and ultimately profitable relationship between Ruskin and Turner, the closeness of their association has served to obscure a more subtle dynamic between the author and the painter in their respective quests for expression. Both Turner, who considered himself a poet as well as a painter, and Ruskin, an accomplished draughtsman who illustrated his own writings, were actively involved in forging new connections between word and image, and in breaking down the barriers between genres embraced by earlier generations. Turner and Ruskin each turned to the sister art both for inspiration, and importantly, for a means of supplementing what each perceived to be the insufficiencies of his own medium. For Turner, painting’s concrete, mimetic nature was at odds with his desire to communicate abstract ideas, while for Ruskin, language’s abstract and conventional nature fell short of our visual experience of the world and failed adequately to address our visual powers of thought, memory, and imagination. Yet as Turner tried to infuse his painting with poetry and Ruskin tried to render his prose visual, they nonetheless remained acutely aware of the gap between words and images. And if Turner and Ruskin readily acknowledged their intergeneric borrowings from the sister arts, implicit within their formulations of “poetic painting” and “painterly prose” is the subtext of the paragone, an age old rivalry between painters and poets for representational or expressive superiority.
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Bunga, Rosa Dalima, Hawiah Djumadin, and Maria Magdalena Rini. "Struktur Puisi Karya John Dami Mukese Serta Relevansinya Dalam Pembelajaran Sastra." Edunesia : Jurnal Ilmiah Pendidikan 2, no. 1 (January 1, 2021): 1–9. http://dx.doi.org/10.51276/edu.v2i1.62.
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Abstract: This study aims to describe the structure of the poem "Autumn" by John Dami Mukese which consists of physical and inner structures and their relevance to the study of literature in high school. This study uses a qualitative approach with qualitative descriptive methods. The data in this study are in the form of words that contain physical and inner structure in the poem "Autumn" by John Dami Mukese. The data source is a collection of books "Jelata Poel Jelata" by John Dami Mukese. Data collection procedures in this study are reading, identifying, modifying, and classifying in accordance with the focus of the study. Data analysis uses in-depth understanding techniques. Checking the validity of the data is done through triangulation techniques. The results of the poem builder research structure consisting of physical structures in the form of: connotative and denotative diction; visual imaging; concrete words; style of personification and repetition; rhyme; and typography. The inner structure of themes; feeling (taste); tone; and mandate. The structure of the builders of "Autumn" poetry by John Dami Mukese can be used as teaching material in the study of literature in high school specifically at KD 3.17 analyzing the elements of poetry builders. Abstrak: Penelitian ini bertujuan untuk mendeskripsikan struktur puisi “Musim Gugur” karya John Dami Mukese yang terdiri atas struktur fisik dan struktur batin dan relevansinya dengan pembelajaran sastra di SMA. Penelitian ini menggunakan pendekatan kualitatif dengan metode deskriptif kualitatif. Data dalam penelitian ini berupa kata-kata yang mengandung struktur fisik dan batin dalam puisi “Musim Gugur” karya John Dami Mukese. Sumber data adalah buku kumpulan “Puisi-Puisi Jelata” karya John Dami Mukese. Prosedur pengumpulan data dalam penelitian ini adalah membaca, mengidentifikasi, mengodifikasi, dan mengklasifikasikan sesuai dengan fokus penelitian. Analisis data menggunakan teknik pemahaman arti secara mendalam. Pengecekan keabsahan data dilakukan melalui teknik triangulasi. Hasil penelitian struktur pembangun puisi yang terdiri atas struktur fisik berupa: diksi konotatif dan denotatif; pengimajian visual; kata konkret; gaya bahasa personifikasi dan repetisi; rima; dan tipografi. Struktur batin berupa tema; feeling (rasa); nada; dan amanat. Struktur pembangun puisi “Musim Gugur” karya John Dami Mukese dapat digunakan sebagai bahan ajar dalam pembelajaran sastra di SMA secara khusus pada KD 3.17 menganalisis unsur pembangun puisi.
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Hasan-Rokem, Galit. "The Star of David and the Stars Outside: The Poetics and Semiotics of Jewish Folklore and of Zionism." Images 9, no. 1 (May 22, 2016): 78–89. http://dx.doi.org/10.1163/18718000-12340066.
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“The Star of David and the Stars Outside: The Poetics and Semiotics of Jewish Folklore and of Zionism” written in memory of Dov Noy by his disciple and successor, proposes the perspectives of folklore studies and semiotics as the basis for a critical reading of Gershom Scholem’s essay “Magen David”. The author of the present article reviews the various subsequent versions of Scholem’s essay that was first published in 1947 in Hebrew in an annual literary supplement of the daily Haaretz. The essay stated Scholem’s harsh criticism against the adoption of the Star of David as a Jewish national symbol by Zionist cultural and political institutions. Earlier scholarship has shown how “Magen David” digressed from the usual topics at the focus of Scholem’s magisterial oeuvre, especially the texts of Jewish mysticism interpreted in the light of the phenomenology of religion and historical philology. The present author suggests that the methodological tools that Scholem had honed for reading historical texts on mysticism may not have the same pertinence for analyzing the historical evolvement and transformations of a symbol like the Star of David that has often appeared in contexts of everyday life, magic customs and visual culture. Scholem’s strong rejection of the holistic picture of Jewish folk religion including mystical, magical and poetic expressions, isolating mysticism from all these as a separate, philosophical discourse and phenomenon, did not enable him to see the strong identification of Jews who practiced those more concrete forms of Jewish life sometimes using the symbol of Magen David. Scholem’s choice to publish this essay in Hebrew and in a literary organ, is here interpreted as his attempt to take part in the shaping of Zionist poetical discourse. The relevance of the symbol that he chose for participating in the poetics of the era is demonstrated by an analysis of the focus on stars in the poetry of two dominant poets of Hebrew Zionist culture who were both active in the years before and after the publication of Scholem’s “Magen David” essay, Natan Alterman and Haim Gouri.
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Deco Prados, Francisco Javier. "Algunas consideraciones sobre las vanguardias poéticas de la segunda mitad del siglo XX." Epos : Revista de filología, no. 22 (January 1, 2006): 253. http://dx.doi.org/10.5944/epos.22.2006.10518.
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En este trabajo me propongo esbozar algunas reflexiones sobre las neovanguardias partiendo de la observación de la evolución de la poesía experimental concreta y visual desde mediados del siglo xx. Es evidente que las raíces del fenómeno «concreto» están unidas a un movimiento global que afecta a todas las artes. No podría comprenderse la crítica que estos poetas realizan de las instituciones artísticas y literarias, de sus mitos formales y del sistema cultural en general, sin tener en cuenta sus orígenes inmediatos que se encuentran en el trabajo de las primeras vanguardias. Igualmente, ha sido necesario observar los puntos de contacto entre las diferentes manifestaciones artísticas y, en particular, entre la poesía y la plástica para llegar a algunas conclusiones válidas y sobre todo para poder formular algunas cuestiones sobre la creación poética actual.
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Spooner, Tom. "Resurrecting place: Visual representation and the poetic imagination." Journal of Illustration 7, no. 1 (August 1, 2020): 67–85. http://dx.doi.org/10.1386/jill_00025_1.
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With reference to an ongoing practice-based project, illustration in this article is considered for its capacity as an authorial practice able to complement and communicate ideas emanating from academic research. This article discusses the phenomenon of ‘place’, specifically, place as a lived concrete site comprising both physical and emotional phenomena and culminating in a meaningful experience of ‘being-in-the-world’. With particular reference to more marginal settings of everyday public experience, this article argues that as a result of current cultural phenomena relating to the economic and practical necessities of daily action, and historical developments in western thinking, place is an idea that is commonly obscured from daily experience. Through the teachings of phenomenology and early German romanticism, this article explores ideas that, through visual representation, meaningful notions of place can be resuscitated and transmitted between the illustrator and viewer. Further, through discussion of ideas emerging from postmodernism, conditions that affect our experience and expectations of place in the present are also addressed. Whilst place as a lived and meaningful totality is invariably informed by structures of subjectivity, visual representation is considered here, for its usefulness in appealing to meaningful, poetic dimensions of wider human experience.
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Guitart, Miguel. "Limit Geometries of Architectural Filters: Precise Rationality and Poetic Emotion." ZARCH, no. 15 (January 27, 2021): 222–33. http://dx.doi.org/10.26754/ojs_zarch/zarch.2020154648.
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An architectural filter is a porous material construction that regulates transverse visual relationships, and establishes degrees of connection through the intervention of light and gaze. Filtering boundaries display variable proportions of mass and air, which are instrumental to the production of the spatial experience behind the mediation of matter and geometry. A filter's structural system synthesizes geometric relations with the capacity to cause architectural atmospheres, as a result of the active border that is technically precise and sensorially ambiguous at the same time. The text sustains that the emerging atmospheres behind the filter cannot take place without a previous, precise geometric production; the poetic dimension of filtering strategies originates from its capacity to transform the concrete geometry of its contour conditions and controlled material execution into an unexpected atmosphere of emotional and incommensurable qualities.
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Goodblatt, Chanita. "Semantic Fields and Metaphor: Going beyond Theory." Empirical Studies of the Arts 14, no. 1 (January 1996): 65–78. http://dx.doi.org/10.2190/gqp6-tp8k-1j1y-0jp7.
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This study focused on metaphor comprehension in a poetic text in terms of the concepts of “semantic field,” “semantic restructuring,” and “perceptual restructuring.” Three poetic texts, differentiated in terms of the number of semantic fields and in the degree of their interaction, were given to readers of English language and literature. They were asked to analyze a number of metaphors appearing within the context of each text and also to rate them along a number of scales (such as Concrete-Abstract). Specific semantic fields could be derived from the written responses. Furthermore, consistent relationships were found between these ratings and the degree of interaction of these semantic fields. The results lend further support for a Gestalt-Interaction theory of metaphor.
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Zwicker, Heather, Kisha Supernant, and Erika Luckert. "Social Mobility: Charting the Economic Topography of Urban Space." Television & New Media 18, no. 4 (September 30, 2016): 375–88. http://dx.doi.org/10.1177/1527476416667821.
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This project on economic topographies is one of eight thematic ways in which the research group Edmonton Pipelines is remapping the neighborhood of Rossdale. The essay brings together poetry, data visualization, and technologies of mapping to analyze how the twin vectors of capitalism and colonialism have created Western Canadian cityspace. Rather than taking for granted the ups and downs of the built environment, the article muses on the possibilities of using haunting as an urban interface. Working through this metaphorical possibility concretely, this essay traces the contours of haunting in the case of Rossdale, a Canadian neighborhood that has undergone an emblematic form of gentrification. We develop literal topographical maps as a way of conceptualizing metaphorical hurdles to belonging to settler colonial cities. These socioeconomic topographical maps serve as a new form of urban cartography.
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Fernandes, Thiago Grisolia. "O poema//processo de Wlademir Dias-Pino: entre escritura e visualidade." POIESIS 20, no. 33 (June 8, 2019): 355. http://dx.doi.org/10.22409/poiesis.2033.355-374.
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O presente artigo apresenta o movimento do poema//processo, criado pelo poeta mato-grossense Wlademir Dias-Pino em 1967, que envolveu uma série de poetas e artistas e marcou uma passagem importante na história das vanguardas da literatura e da arte brasileiras. A partir dos principais conceitos do movimento, trataremos das imbricações entre poesia e artes visuais utilizando três abordagens inter-relacionadas na poesia de Dias-Pino: a separação entre as ideias de estrutura e de processo; a separação entre as ideias de língua e de linguagem; e a recusa radical à escrita alfabética. Também serão marcados os aspectos que aproximam e que separam o poema//processo da chamada poesia visual e da Poesia Concreta de Haroldo e Augusto de Campos e de Décio Pignatari.
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Fernandes, Thiago Grisolia. "O poema//processo de Wlademir Dias-Pino: entre escritura e visualidade." POIESIS 20, no. 33 (June 8, 2019): 355. http://dx.doi.org/10.22409/poiesis.v20i33.29015.
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O presente artigo apresenta o movimento do poema//processo, criado pelo poeta mato-grossense Wlademir Dias-Pino em 1967, que envolveu uma série de poetas e artistas e marcou uma passagem importante na história das vanguardas da literatura e da arte brasileiras. A partir dos principais conceitos do movimento, trataremos das imbricações entre poesia e artes visuais utilizando três abordagens inter-relacionadas na poesia de Dias-Pino: a separação entre as ideias de estrutura e de processo; a separação entre as ideias de língua e de linguagem; e a recusa radical à escrita alfabética. Também serão marcados os aspectos que aproximam e que separam o poema//processo da chamada poesia visual e da Poesia Concreta de Haroldo e Augusto de Campos e de Décio Pignatari.
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Jankovic, Ivana. "Vladan Radovanovic's "syntheѕic art"." Muzikologija, no. 3 (2003): 141–86. http://dx.doi.org/10.2298/muz0303141j.
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In the course of his artistic career, which has lasted for more than fifty years now, Vladan Radovanovic (b. Belgrade, 1932) has created works in the domains of electroacoustic music, mixed electronics, metamusic, visual arts artifugal projects, tactile art, literature, drawings of dreams, polymedial and vocovisual projects, as well as art theory. Central to his poetics is the theme of synthesic art. Based on a synthesis of the arts and a fusion of media, the flow of his opus disturbs the limitations of art. His synthesis of media-lines is neither a product of rational decision, nor is it inspired by the works of other artists. Its initial form appears in the mind of the artist as a sensation or a representation that emerges from sleep and dream or from his exploration of the mysteries of his inner being. In an attempt to create a classification of the arts that would suit his understanding of the nature of art, Radovanovic has suggested a basic division into single-media and multi-media arts. Single-media arts include music, poetry and painting, whereas the remaining arts belong to the multi-media group. The latter contains works created by an expansion of mixed forms such as theatre, opera and ballet, but in which the media involved accomplish greater integrity - mixedmedia (for example: happening, fluxus etc) multimedia (opera, film, environment) and intermedia (a term which possesses two meanings: a new media that is in-between media, or a new media in which all the elements are equal and integrated). Radovanovic prefers the second meaning, but he uses the term polymedia for such works. This term is analogous to polyphony, because Radovanovic has aimed to create a polymedia form in which separate media lines would be treated in counterpoint, in order to remain complementary and mutually dependant. In 1957, Radovanovic began to sketch his theoretical thesis, initiated by his concrete artistic output. Although he had distinguished his diverse artistic output according to formal and designative characteristics, later he subordinated his work to the term synthesis art. Synthesic art is, according to Radovanovic, one of the models of multi-medial arts. We have analyzed the works of Vladan Radovanovic, which do indeed belong to the category of synthesic art, on many levels. First of all we tried to locate his opus in the context of Serbian and European art. Radovanovic's avant-garde poetics was born in the context of Serbian art in the second half of the 20th century, which was dominated by 'moderate modernism'. His works did not fit into the existing world of art, and therefore were marginalized and underestimated. Despite his innovative spirit, hunger for novelty, and aim to transcend the materiality of materials, which are all characteristics of high-modern avant-garde poetics, Radovanovic claims autonomy. His latest works do not fit into the current world of art either, because he does not want to place his poetics in the domain of contemporary post-modern poetics and theories. His intentional evasion of fashionable currents is a product of his conscience, which asks that he remain faithful to himself and his inner artistic vision. Another theoretical challenge when addressing the works of this artist was to locate his synthesic art within the larger historical and contemporary manifestations of the total world of art, especially where his works compare with Richard Wagner's Gesamtkunstwerk. Radovanovic believes that his concept of synthesic art is similar to Gesamtkunstwerk, but in no way equal. Therefore, we have examined all the controversies about the usage of the term Gesamtkunstwerk, as well as different theoretical approaches to this concept and its evolution; then, we have analyzed it in terms of the theoretical and practical realization of synthesic art. By formulating in detail his theory of synthesic art, Radovanovic has given us a key for the understanding and analysis of his works of art. For example, we have analyzed several of his earlier multi-media works (Dreams, vocovisual works Desert (Pustolina), Polyaedar, Ball, Change and Vocovisual omages, and polymedia projects Electrovideoaudio, Building of Rooms-Signs, The Great Sounding Tactyzone, Polim 2, Polim 3, video-work Variations for TV) as well as one of his latest synthesic works, Constellations, in order to describe the practical realization of his theory, and to demonstrate how his poetic model is equally precise and flexible. Radovanovic both realizes and recognizes his artistic output and theoretical thought as a united product as they were both created in his synthesic mind.
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Schoone, Adrian. "Alternative education in Aotearoa New Zealand." New Zealand Annual Review of Education 26 (July 1, 2021): 109–15. http://dx.doi.org/10.26686/nzaroe.v26.6899.
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Secondary students who become disenfranchised from mainstream schools are directed to attend Alternative Education (AE) centres. AE was a grassroots’ initiative in the 1990s led by youth organisations, iwi, community social service agencies and churches to meet the education and pastoral needs of rangatahi. Due to the tenuous links held between AE and the mainstream system and with no government policy work occurring within the sector for the decade prior to 2009, the sector struggled for adequate resourcing and professional recognition. Through a poetic inquiry approach this paper explores three key AE government policy directions over a ten-year period, from 2009 to 2019. Unbuckling prose found within official documents, concrete (visual) poems were created to perform a critical reading of policy. The policy poems form a narrative arc that show the discrediting of AE providers and demonising of students in AE has recently given way to more hopeful directions in policy.
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Иванова, Ирина, and Irina Ivanova. "Embodyment of the idea of eternal feminity in the lyrics of A. Bely and his analysis of A. Block´s works." Servis Plus 9, no. 1 (March 6, 2015): 63–70. http://dx.doi.org/10.12737/7584.
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The article compares the representation of A. Bely and A. Block of eternal femininity. The author states that in the book "Gold in Azure " by A. Bely goes from a particular image of the World Soul and portrays it as an abstract eternity, but in the lyrics of Alexander Block, he appreciates its visual images of women and Russia, which are concretely sensuous embodiment of the idea of eternal femininity. Speaking at the dedicated to the memory of Alexander Block meeting of the Free Philosophical Association, A. Bely shows how this absolute idea dialectically evolved throughout his poetry, embodied in a number of ideas and their relative shaped forms. On the basis of submission, provided by A. Bely, the author demonstrates the denial law in relation to the idea of eternal femininity in the lyrics of Alexander Block. The article highlights that the understanding of the idea of eternal femininity by Bely and Block is teleological, eschatological and religious. The purpose of this idea is spiritual, and not related political revolution, it is an appeal to the moral standards of people and self improvement, to life in harmony with God.
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Müller, Dorit. "Transfers between Media and Mobility." Transfers 1, no. 1 (March 1, 2011): 50–72. http://dx.doi.org/10.3167/trans.2011.010104.
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The essay analyzes the interrelationship between media technologies and the development of mobility based on a concrete historical constellation—the emergence of automobilism and its representation in literature and film between 1900 and 1920. The focus lies on Western European countries and most notably on Italian and German literature as well as British, German, and French films. During that period, the portrayal of the automobile in these countries shows a dominant pattern: due to their speed, cars seem to embody a destructive power per se. This is expressed by numerous violence-related scenarios. However, the accentuation of destructive tendencies cannot only be described as a response to increased risks. Rather, they are a product of media technologies and media-specific aesthetics, too: film, establishing itself as a new media form experimenting with “dynamization“ and destruction; and literature, responding to the new visual media using dynamic language and the demolition of traditional poetic forms. Consequently, the noticeable surge in technology around 1900 created new and different types of mobility in the areas of transportation and media, influencing each other.
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Silva, Andréa Catrópa da. "Vozes de papel, tinta, luz." Remate de Males 39, no. 1 (July 10, 2019): 149–70. http://dx.doi.org/10.20396/remate.v39i1.8653997.
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A história da literatura costuma dar pouco destaque às produções textuais que erigem sua voz na fronteira entre as artes e as Letras. No entanto, desde fins do século XIX, a materialidade das palavras foi posta em relevo por Mallarmé e, posteriormente, expoentes da vanguarda europeia como Apollinaire, Zdanovitch e Marinetti. Essa ênfase no aspecto visual do texto foi recuperada, em solo nacional, pela poesia concreta. Ancorados na teorização de seus pressupostos, os poetas concretos foram alvo tanto de admiração quanto de rechaço por parte da crítica literária. Como estratégia de resistência a essa vocação polemista, seus próceres objetivaram suas ideias com a ajuda do conceito poundiano de paideuma, estabelecendo critérios para seu trabalho a partir da identificação de procedimentos criativos em um rol seleto de autores que os precederam. Devemos acatar essa linhagem autoestabelecida de uma poesia de invenção ou seria melhor inserí-los no legado de uma textualidade expandida, que caminhou em paralelo à história literária canônica e antecipou potencialidades intermidiáticas?
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Bolós, Fernando. "Caminar, habitar y percibir Espadán. Arte, patrimonio y cultura visual como herramientas didácticas en la reivindicación del paisaje rural y de montaña." eari. educación artística. revista de investigación, no. 10 (December 20, 2019): 64. http://dx.doi.org/10.7203/eari.10.14459.
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Resumen: A través del estudio de un entorno de montaña, la Sierra de Espadán (Castellón, España), se pretende indagar entre las relaciones que a través del arte, el patrimonio –material e inmaterial– y la cultura visual se generan entre este espacio concreto y el habitante o visitante. Fruto de esas relaciones se pone en valor el entorno y paisaje de montaña, al tiempo que se produce una aproximación cultural al mundo rural.
La idea fuerza es la de utilizar el arte, la educación artística, el patrimonio y la cultura visual como mediadores entre la ciudad y el entorno rural, entre el ambiente urbano y la naturaleza. Se trata de ver cómo estos elementos mediadores refuerzan la percepción del paisaje de montaña desde múltiples ángulos. Desde lo más poético –conectado con ideas y conceptos filosóficos–, a lo más pragmático –relacionado con aspectos etnológicos–, pasando por sencillas analogías visuales, no por obvias menos fascinantes.
Se intenta contribuir a una nueva idea de ruralismo, rompiendo con posturas cerradas, prejuicios y clichés establecidos en ambas direcciones: ciudad-campo y campo-ciudad.
Finalmente, el concepto “andar como práctica estética” presenta una forma de tomar conciencia del espacio y apropiarse de él que adquiere una importancia transcendental. Plantea un modo de entender el entorno desde la observación y la experimentación, favoreciendo la creación de vínculos a partir de los que conectar con el paisaje.
Palabras clave: arte, naturaleza, montaña, patrimonio, caminar, rural
Abstract: By the study of a mountain environment, Sierra de Espadán (Castellón, Spain), the aim is to explore relationships that through art, heritage -material and immaterial- and visual culture are generated between this particular space and the inhabitant or visitor. The result of these relationships is the value of the mountain environment and landscape, as well as a cultural approach to the rural world is produced.
The main idea is to use art, artistic education, heritage and visual culture as intermediaries between the city and the rural environment, between the urban surroundings and nature. It is about seeing how these mediating elements reinforce the perception of the mountain landscape from multiple angles. From the most poetic -connected with ideas and philosophical concepts-, to the most pragmatic -related with ethnological aspects-, going through simple visual analogies, not by obvious less fascinating.
We try to contribute to a new idea of ruralism, breaking with closed positions, prejudices and clichés established in both directions: city-countryside and countryside-city.
Finally, the concept of "walking as an aesthetic practice" presents a way of becoming aware of space and appropriating it, which acquires a transcendental importance. It presents a way to understand the environment from observation and experimentation, favoring the creation of links from which to connect with the landscape.
Keywords: art, nature, mountain, heritage, walk, rural
DOI: http://dx.doi.org/10.7203/eari.10.14459
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Mazouer, Charles. "Marguerite de Navarre et le mystère médiéval." Renaissance and Reformation 38, no. 4 (January 1, 2002): 51–64. http://dx.doi.org/10.33137/rr.v38i4.8838.
Full textAbstract:
This article examines the relationship between Marguerite de Navarre’s biblical plays and the genre of the fifteenth- and sixteenth-century medieval mystery play by focusing on three dramatic elements: staging, characters, and language. While, with respect to staging, Marguerite recaptures the structure of the mystery play, she takes less interest in the representation of the movements of the characters and in the realistic scenes, which were central to this medieval genre; as she reduces the dramatic events and their dynamics, she concedes little to the performance, privileging hearing over seeing. Regarding the characters, Marguerite also moves away from the conventions of the mystery play, according to which characters were endowed with familiar, concrete, human traits. Except for a few conspicuous cases, the queen of Navarre shows a preference for symbolic, abstract entities, or for human characters so disembodied that their faith or holiness takes them away from the human world and closer to the heavens. As for the language of her plays, Marguerite creates a poetic rhythm that almost depletes the life and suppleness of the dialogue. Thus the vivacity of the verbal exchanges is transcended to the advantage of other styles that are less suited to the genre of theater, with the exception of the sermon and spiritual lyricism. In conclusion, Marguerite, in her four biblical plays, undermines the medieval form of the mystery play, which, however, she also recaptures.
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Drikker, Alexander S., and Oxana A. Koval. "Horizons of memory: childhood memoriesas an experience of figurative comprehension of timein the philosophy of Walter Benjamin." Philosophy Journal, no. 3 (2021): 52–67. http://dx.doi.org/10.21146/2072-0726-2021-14-1-52-67.
Full textAbstract:
The article outlines Walter Benjamin’s philosophical theory of time, which formed the basis of his conception of history. It is a famous alternative to a number of existing models. Benjamin’s approach to understanding time is characterized by a unique methodology. It is based on artistic images and not on abstract categories and linear patterns of a philosophical and historical discourse. On the one hand, such images allow Benjamin to capture the characteristic properties of a concrete time, which are often difficult for historical science to grasp, and on the other hand, they make a strong impression on the reader because they require an emotional involvement in the text. The book “Berlin childhood around 1900”, often attributed to the genre of a poetic prose, is a visual representation of Benjamin’s philosophical ideas. The fragmentary style of narration and its metaphorical nature are intended to demonstrate a different way of experiencing the present moment – when the signs of the future clearly appear in the fragments of the past. The fusion of all three temporal modes in an instant he calls “Jetztzeit” (just now), which is difficult to articulate in the language of rational metaphysics, is embodied in the allegories of “Berlin childhood”. Selected fragments of this work are analyzed in the present paper. They capture each of the three time dimensions in the current “now” mode: the fragment “The otter” symbolizes the past, “Loggias” symbolizes the future and “The sock” symbolizes the present. Childhood memories, which do not usually appear in philosophical reflections, serve as a source of the birth of images: on the one hand, they supply sensual material from personal experience, on the other hand, they suggest a synthesizing principle, because a child is more sensitive to the unity of fiction and reality. Benjamin’s “memorial letter”, seen from this angle, turns out to be a strategy to think poetically about the world, time, and history.
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Ivanenko, Iryna. "Notions “association”, “associativity” in modern linguo-stylistics." Terminological Bulletin, no. 5 (2019): 84–89. http://dx.doi.org/10.37919/2221-807-2019-5-10.
Full textAbstract:
Charles Bally’s works laid the basis for the linguistic interpretation of the conceptions of association and associativity and understanding of associative mechanisms with regard to the fundamentals of psychology and systemacy of semantic links in thinking and language. The foundation of the modern theory of associativity is the classification of associations (mnemonic and necessary, close and distant, internal and external) developed by Charles Bally in his works. In linguo-stylistics the conception of association and associativity are associated with understanding of the psycholinguistic mechanisms of figurative use of language units and the realization of the aesthetic function of a literary language (S.Ya. Yermolenko, A.A. Moisiienko, L.V. Tailor, O. Malenkov, H.M. Siuta). Among the mechanisms for the formation of linguistic associations are the following factors: objective, social and intellectual experience, dependence on cultural and historical traditions, the gender identity of the speaker, etc. One of them dominates in each specific communicative situation. Currently known classifications of types of associative links take into account the basic positions of psycholinguistics, and the needs of lexicology and stylistics, etc. General differentiation is carried out: 1) for contiguity, similarity and contrast, 2) according to the scheme “word-stimulus, word-reaction”, 3) according to the type of relationship between the stimulus and the associate). Deep differentiation of associations according to the type of relationship between stimulus and associate) determines the allocation of several associative types: paradigmatic (food – bread) / syntagmatic (food – consume); thematic (friend – childhood > childhood friend); empirical (associated with the subjective experience of the speaker); social (associated with the social experience of the speaker), etc. The use of other criteria motivates the allocation of these types of associations: a) audio, visual, adorational, tangential; b) the usual and unexpected; c) direct and indirect, mediated; d) positive and negative; e) cultural, ethnic and author’’s individual. Understanding the connection between associativity and imagery is a primary issue in the modern literary language theory. Being a basis of concrete and sensual perception of the literary text, associations serve as a basis of creation of character in literature (S.Ya. Yermolenko, L.O. Pustovit, L.O. Stavitska, V.A. Chabanenko). It is necessary to consider the ideas of Franko’s treatise according to the history of the formation of the associativity theory. In particular, the proposed division of poetic associations by content (“ordinary”, that is, simple, and “linked by force”, that is, complex), remains undeniable. During the twentieth century the understanding of the mechanisms of implementation of associativity significantly deepened. One of the main subjects of intensive processing was the paradigmatic ordering of words in language and in human memory, the presence of clear mental connections between certain objects, realities on the basis of commonality or adjacency of their individual traits, features, etc. (compare.: spring – green, light, sun, warmth, flowers, feelings). This motivates the associative grouping of words into semantic fields. From linguo-stylistics point of view the associative-semantic field is a text structure, the model of the functional and stylistic implication of lexical-semantic units. The core of such a field, as a rule, are the keywords – the semantic and estimated coordinates of the entire work. Another type of lexicon combination, taking into account the associative links between the components, is an associative and imaginative field. It arises on the basis of associative and semantic or lexical and semantic association due to the identity of the denotative properties of linguistic signs, the general tradition of common language and poetic usage. Its center is the most active unit (dominant) – the core component of the series, which organizes the relationship of all other components. Associative-figurative series (lexical-thematic lines) go from this dominant, which work together semantically with the center for associative and creative field. Associativity is one of the key concepts of modern linguistic style. Terminological functionality of the conception of association and associativity is associated with the activity of cognition of the problems of “language association”, “artistic association”, “associativity and creative work”.
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Ivanenko, Iryna. "Notions “association”, “associativity” in modern linguo-stylistics." Terminological Bulletin, no. 5 (2019): 84–89. http://dx.doi.org/10.37919/2221-8807-2019-5-10.
Full textAbstract:
Charles Bally’s works laid the basis for the linguistic interpretation of the conceptions of association and associativity and understanding of associative mechanisms with regard to the fundamentals of psychology and systemacy of semantic links in thinking and language. The foundation of the modern theory of associativity is the classification of associations (mnemonic and necessary, close and distant, internal and external) developed by Charles Bally in his works. In linguo-stylistics the conception of association and associativity are associated with understanding of the psycholinguistic mechanisms of figurative use of language units and the realization of the aesthetic function of a literary language (S.Ya. Yermolenko, A.A. Moisiienko, L.V. Tailor, O. Malenkov, H.M. Siuta). Among the mechanisms for the formation of linguistic associations are the following factors: objective, social and intellectual experience, dependence on cultural and historical traditions, the gender identity of the speaker, etc. One of them dominates in each specific communicative situation. Currently known classifications of types of associative links take into account the basic positions of psycholinguistics, and the needs of lexicology and stylistics, etc. General differentiation is carried out: 1) for contiguity, similarity and contrast, 2) according to the scheme “word-stimulus, word-reaction”, 3) according to the type of relationship between the stimulus and the associate). Deep differentiation of associations according to the type of relationship between stimulus and associate) determines the allocation of several associative types: paradigmatic (food – bread) / syntagmatic (food – consume); thematic (friend – childhood - childhood friend); empirical (associated with the subjective experience of the speaker); social (associated with the social experience of the speaker), etc. The use of other criteria motivates the allocation of these types of associations: a) audio, visual, adorational, tangential; b) the usual and unexpected; c) direct and indirect, mediated; d) positive and negative; e) cultural, ethnic and author’’s individual. Understanding the connection between associativity and imagery is a primary issue in the modern literary language theory. Being a basis of concrete and sensual perception of the literary text, associations serve as a basis of creation of character in literature (S.Ya. Yermolenko, L.O. Pustovit, L.O. Stavitska, V.A. Chabanenko). It is necessary to consider the ideas of Franko’s treatise according to the history of the formation of the associativity theory. In particular, the proposed division of poetic associations by content (“ordinary”, that is, simple, and “linked by force”, that is, complex), remains undeniable. During the twentieth century the understanding of the mechanisms of implementation of associativity significantly deepened. One of the main subjects of intensive processing was the paradigmatic ordering of words in language and in human memory, the presence of clear mental connections between certain objects, realities on the basis of commonality or adjacency of their individual traits, features, etc. (compare.: spring – green, light, sun, warmth, flowers, feelings). This motivates the associative grouping of words into semantic fields. From linguo-stylistics point of view the associative-semantic field is a text structure, the model of the functional and stylistic implication of lexical-semantic units. The core of such a field, as a rule, are the keywords – the semantic and estimated coordinates of the entire work. Another type of lexicon combination, taking into account the associative links between the components, is an associative and imaginative field. It arises on the basis of associative and semantic or lexical and semantic association due to the identity of the denotative properties of linguistic signs, the general tradition of common language and poetic usage. Its center is the most active unit (dominant) – the core component of the series, which organizes the relationship of all other components. Associative-figurative series (lexical-thematic lines) go from this dominant, which work together semantically with the center for associative and creative field. Associativity is one of the key concepts of modern linguistic style. Terminological functionality of the conception of association and associativity is associated with the activity of cognition of the problems of “language association”, “artistic association”, “associativity and creative work”.