15 results on '"visual poetry"'
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2. Between paint and ink: Cy Twombly, Steve McCaffery and textual illegibility in North American art and poetry 1950s–1970s
- Author
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Mikey Rinaldo
- Subjects
Visual Arts and Performing Arts ,Poetry ,media_common.quotation_subject ,Visual art of the United States ,Visual poetry ,Art history ,Art ,Intermedia ,media_common - Abstract
Beginning from the late 1950s, interest in intermedium experimentation prompted North American avant-garde artists and poets to explore the visuality of writing at an unprecedented level. Thanks to...
- Published
- 2018
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3. Writing against neocolonial necropolitics: literary responses by Iraqi/Arab writers to the US ‘War on Terror’
- Author
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Mahmoud Arghavan and Katharina Motyl
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Literature ,Linguistics and Language ,History ,Literature and Literary Theory ,Torture ,business.industry ,media_common.quotation_subject ,Invocation ,Visual poetry ,Prison ,Performative utterance ,Witness ,The arts ,Language and Linguistics ,Politics ,business ,media_common - Abstract
This essay demonstrates that texts by Iraqi/Arab writers conceive the US invasion and occupation of Iraq as an assault on both biological and cultural life. It argues that in occupied Iraq, the very act of writing constitutes a performative survival of neocolonial necropolitics. Thus, Philip Metres’ abu ghraib arias employs visual poetry to bear witness to the suffering of Iraqi civilians subjected to torture at Abu Ghraib prison, by rendering visible what was repressed owing to trauma or silenced in the official investigation. Meanwhile, other literary works express distress about the destruction of Iraq’s cultural archive, since the arts have constituted a precious repository of Iraqi self-knowledge and spiritual nourishment throughout the country’s history of foreign domination and political tyranny. Reflecting on the bomb attack on Baghdad’s ‘Street of the Booksellers’ in 2007, poet Dunya Mikhail delivers a powerful invocation of literature’s longevity even after its material manifestations ha...
- Published
- 2018
- Full Text
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4. MothSutra: For Bicycle Delivery Men – translating across dual nations, cultures, and languages
- Author
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Xinqiu Xie and Russell C. Leong
- Subjects
Engineering ,Poetry ,business.industry ,media_common.quotation_subject ,Immigration ,Visual poetry ,Advertising ,Gender studies ,General Medicine ,Dual (grammatical number) ,Working class ,business ,China ,Chinese americans ,media_common - Abstract
This essay examines Mothsutra: For Bicycle Delivery Men, a visual composite poetic work in English with illustrations by Chinese American writer, Russell C. Leong, translated into Chinese by Xinqiu Xie. Leong and Xie describe and critique the nature of cross-cultural translation that embodies three dimensions: that of nation (US and China), culture (immigrant working class), and language (English and Chinese).
- Published
- 2017
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5. Technological Poetry: Interconnections between Impegno, Media and Gender in Gruppo 70 (1963–1968)
- Author
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Emanuela Patti and Giuliana Pieri
- Subjects
Cultural Studies ,Literature ,Linguistics and Language ,History ,Literature and Literary Theory ,Visual Arts and Performing Arts ,Poetry ,business.industry ,media_common.quotation_subject ,05 social sciences ,Visual poetry ,06 humanities and the arts ,Art ,Language and Linguistics ,0506 political science ,060104 history ,050602 political science & public administration ,0601 history and archaeology ,business ,Humanities ,media_common - Abstract
Gruppo 70 was an Italian neo-avant-gardist group of artists and critics, including Lamberto Pignotti, Eugenio Miccini, Lucia Marcucci, Luciano Ori, Ketty La Rocca, Giuseppe Chiari, Emilio Isgro, Ro...
- Published
- 2017
- Full Text
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6. Russian and East European Materials at the Sackner Archive of Concrete and Visual Poetry
- Author
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Tim Klähn
- Subjects
Literature ,Czech ,Linguistics and Language ,History ,business.industry ,Ukrainian ,Émigré ,Visual poetry ,Art history ,Library and Information Sciences ,Miami ,language.human_language ,language ,Avant garde ,business ,Serbian ,Constructivism (art) - Abstract
This article provides an overview of the Russian and East European holdings at the Sackner Archive of Concrete and Visual Poetry in Miami, Florida. Materials held at the archive include rare and unique modernist books, samizdat and emigre publications, mail art, conceptual art, and recent artists’ books, mainly in Russian, Ukrainian, Czech, Polish, Serbian, and Hungarian.
- Published
- 2015
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7. Decolonizing Literature
- Author
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Stella Santacatterina
- Subjects
Cultural Studies ,Literature ,Visual Arts and Performing Arts ,Poetry ,business.industry ,media_common.quotation_subject ,Visual poetry ,Art history ,Art ,Logos Bible Software ,Movie theater ,History of literature ,Situated ,business ,Liminality ,Decolonization ,media_common - Abstract
This interview is the first English language introduction to Stelio Maria Martini, whose works of visual poetry are embedded in the richly varied post-World War II avant-garde developments in Italian art, literature and cinema that remain virtually unknown in Britain.Martini's deployment of collage photo-images in poetry since the late 1950s is situated at the blurred and permeable thresholds of art and literature. The objective of Martini's poetic has always been the decolonization of Western literary history, which is firmly entrenched in the Logos, the Word, as sole privileged access to truth. His experiment in the liminality of the word-image have roots in Italian Futurism, Dada, Surrealism, Italian neo-figurative art of the 1950s, but also anticipate the concrete poetry evolving in France, Latin America and elsewhere.
- Published
- 2013
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8. Reconstructing the Old Masters: Hugo Claus and his inter-artistic poems
- Author
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Julien Vermeulen
- Subjects
Cultural Studies ,Literature ,Painting ,History ,Sociology and Political Science ,Poetry ,Punishment ,Distancing ,business.industry ,General Arts and Humanities ,media_common.quotation_subject ,Visual poetry ,Art history ,Postmodernism ,Baroque ,business ,media_common - Abstract
Hugo Claus is not only one of Flanders' most prominent writers, he also earned a solid reputation as a painter: as a young artist he worked together with the international COBRA group and continued painting for most of his life. Some of his poems reveal a complex inter-artistic dimension and show affinities with works by contemporary artists such as Corneille, Alechinsky, Appel and Raveel. In the early sixties his highly visual poetry borrowed a wide range of motifs from the baroque surrealism typical of some paintings by Brueghel, Bosch and their followers who had created an infernal world in which the themes of vice, seduction, guilt and punishment were closely connected. The poet was fascinated with the bizarre and the grotesque but reframed those symbols and allegorical figures in a personal way, distancing himself from their original moralistic intent. Long before the concept of postmodernism was coined, Claus already combined the canonized status of mediaeval art with the undermining registe...
- Published
- 2010
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9. Futurist images for your ear: or, how to listen to visual poetry, painting, and silent cinema
- Author
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Wanda Strauven
- Subjects
Painting ,Visual Arts and Performing Arts ,business.industry ,Communication ,media_common.quotation_subject ,Perspective (graphical) ,Visual poetry ,Art ,Visual arts ,Key (music) ,Movie theater ,Aesthetics ,Futurist ,Bourgeoisie ,Sensibility ,business ,media_common - Abstract
This paper discusses the crucial tension between expression and experience in the Futurist art-action programme, by focusing on its noisy dimension. In the 1910s, the Futurists shocked the bourgeois audience with clamorous happenings and educated their senses towards a new aesthetics of mixed sensations. Noise was a key ingredient in their avant-garde programme. The paper demonstrates how Futurist art even in its most visual expressions remains fundamentally an art for the ears. Three types of images – typographical, painterly, and cinematic – are analysed from an aural perspective, in order to highlight the synaesthetic mechanisms at work in the Futurist art experience. The main concern is to point out how the Futurists applied visual effects to actually enhance the auditory sensibility of people. This leads to the conclusion that Futurism does not need sound in order to be noisy, because even in its ‘silent’ forms it is noisy in its essence.
- Published
- 2009
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10. Polyaesthetics and mathematical poetry
- Author
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Kaz Maslanka
- Subjects
Visual Arts and Performing Arts ,Poetry ,General Mathematics ,media_common.quotation_subject ,Visual poetry ,Art ,Computer Graphics and Computer-Aided Design ,Visual arts ,Connection (mathematics) ,Term (time) ,Verbal language ,Visual language ,Aesthetics ,ComputerApplications_MISCELLANEOUS ,media_common - Abstract
Polyaesthetics is a term I use in connection with my artwork, as it embraces three different aesthetics; the aesthetics of verbal language, the aesthetics of visual language, and the aesthetics of ...
- Published
- 2007
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11. East Slavic Visual Writing: The Inception of Tradition
- Author
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Tatiana Nazarenko
- Subjects
Literature ,business.industry ,media_common.quotation_subject ,Ukrainian ,Visual poetry ,General Medicine ,Art ,Christianity ,language.human_language ,Eastern european ,Byzantine literature ,language ,Byzantine studies ,Slavic languages ,business ,Byzantine architecture ,Classics ,media_common - Abstract
The synthesis of the verbal and the visual message can be observed in many early literary works from various cultures. The earliest literary sources, with unconventional textual configuration, known as technopeignia,1 were created in the Hellenistic period (between 325 B.C.E. and C.E. 200) by individuals such as Simmias of Rhodos and Theocritus. These were followed by a few Byzantine pattern poems, tabuloe iliacce by the Rome-based Greek poet Theodoros (between 50 B.C.E. and C.E. 50), anonymous Greek and Latin samples from early Christian period, some shaped texts by two Latin poets Lavius (Ist century C.E.) and Optatian (fl. C.E. 325),2 and versus intexti invented by latter.3 The listing of the Eastern Slavic visual texts traditionally begins with the Baroque period. Ivan Velychkovskyi (seventeenth century) and Mytrofan Dovhalevskyi (eighteenth century) are usually referred to as the poets who made the most valuable contribution to the development of Ukrainian visual poetry; while the Russian court poet of Belarusian descent, educated in Ukraine, Samuil Petrovskii-Sitnianovich, known by his monastic name Simeon Polotskii (1629-1680), is credited as the author of Russian carmina figurata. Even though Ukrainian visual poetry was fully established within the framework of the Baroque period, and in Russia this poetic form originated in the Baroque era, Eastern Slavic visual writing has a longer tradition than it is commonly believed. It is difficult to establish exactly when Eastern Slavic visual writing originated. However, its introduction was unquestionably connected with the conversion of Kievan Rus' to Christianity. Christianity, which came from Greek Byzantium,4 bringing with it the verbal culture of Constantinople.5 The Greek Orthodox Church introduced Byzantine education, literature and art to its newly converted neighbour, thus setting grounds for a new literary activity in Kievan Rus'. The works, which reached the Eastern Slavs were exclusively religious texts, "oriented towards establishing proper monastic habits than toward serious systematic theology or philosophical inquiry."6 They met the Christian demands in the Kievan land, and therefore served their purpose. No doubt, they were not the finest part of the Byzantium literary tradition. However, the question of the existence of the Byzantine visual poetry (or visual literature in general) as a popular, or at least developed literary genre remains open. Visual poetry expert, Dick Higgins, who documented several Byzantine pieces of pattern poetry,7 doubts the potential of the Byzantine culture, which influenced the Kievan literature, to develop visual poetry as a specific poetic form. In his opinion, formally conservative Byzantine literature "is not notably visual" and thus "it is not the sort of milieu where one might expect to find much pattern poetry," although some pieces do exist.8 Nonetheless, Higgins suggests that the pillage of the Byzantine libraries in 1204 during the Fourth Crusade, as well as the collapse of Constantinople in 1453, might quite possibly have resulted in the destruction of many manuscripts.9 The question of the possible import of this intellectual product from Byzantium to the Kievan Rus' is more complex. Western and Eastern European scholars both share the opinion that Byzantine literature was represented in the diversity of genres and forms of both religious and secular writing. There is little plausibility, however, that Byzantium could direct secular literature to the newly converted lands. The literary works which continued "the antique practice in the most refined traditions of formalism and scholastic casuistry and which were created for the Byzantine nobility" had never been exported to the Kievan Rus' which was perceived as a Byzantine cultural colony.10 The works, which were sent to Kievan Rus', either met the most imperative needs of the Christian religious leaders or else they could promote by their specific features and content the Byzantine cultural hegemony over the "barbarians" who had to be "civilized. …
- Published
- 2001
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12. Apollinaire's ekphrastic 'Poésie-Critique' and Cubism
- Author
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Jennifer Pap
- Subjects
Linguistics and Language ,Literature and Literary Theory ,Visual Arts and Performing Arts ,Trope (literature) ,media_common.quotation_subject ,Visual poetry ,Art ,The arts ,Language and Linguistics ,Visual arts ,Power (social and political) ,Aesthetics ,Early writing ,Ideology ,Parallels ,Rivalry ,media_common - Abstract
Theoretical perspectives on the interrelation of visual and verbal art can highlight either parallels or rivalry between the arts. Ekphrasis, the description of spatial art in literature, defines a special category of word-image relations. It is a trope deeply marked with the rivalry between the arts, with writing's hopes for permanence, and with cultural premisses about various kinds of representational power. W. J. T. Mitchell's critique shows that definitions of the visual and verbal arts, and ekphrasis in particular, carry out ideological agendas. The image often serves as ‘other’ to literature, which fears and seeks to appropriate the visual image. Apollinaire's ekphrastic writing on art presents interesting examples of the trope: while his early writing adheres to the categories scholars have identified, the impact of Cubism on his later work requires a fresh consideration of the writer's approach to the image. Mter his own experimentation with visual poetry, which enlarged the role of the ...
- Published
- 1992
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13. Willard Bohn.Apollinaire, Visual Poetry, and Art Criticism
- Author
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Adrianna M. Paliyenko
- Subjects
Cultural Studies ,Literature and Literary Theory ,Art criticism ,media_common.quotation_subject ,Visual poetry ,Art history ,Art ,media_common - Published
- 1995
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14. Ezra Pound's visual poetry and the method of science
- Author
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Max Nänny
- Subjects
Literature ,Linguistics and Language ,Literature and Literary Theory ,business.industry ,media_common.quotation_subject ,Visual poetry ,Art history ,English studies ,Art ,Pound (mass) ,business ,media_common - Abstract
(1962). Ezra Pound's visual poetry and the method of science. English Studies: Vol. 43, No. 1-6, pp. 426-430.
- Published
- 1962
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15. Willard Bohn.The Aesthetics of Visual Poetry, 1914–1928. Cambridge University Press, 1986. 228 pp. B/w illus
- Author
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Gerald J. Janecek
- Subjects
Cultural Studies ,History ,Literature and Literary Theory ,Visual poetry ,Art history ,Theology - Published
- 1988
- Full Text
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