The Written Poem: Semiotic Conventions from Old to Modern EnglishA&C Black, 1 sep 1998 - 192 pagina's This text discusses the visual and graphic conventions in contemporary poetry in English. It defines contemporary poetry and its historical construction as a "seen object" and uses literary and social theory of the 1990s to facilitate the study. In examining how a poem is recognized, the interpretive conventions for reading it and how the spacial arrangement on the page is meaningful for contemporary poetry, the text takes examples from individual poems. There is also a focus on changes in manuscript conventions from Old to Middle English poetry and the change from a social to a personal understanding of poetic meaning from the late 18th through the 19th century. |
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Pagina 14
... traditional literary staple , but histories of reading and of literacy ( readily available for French , less so for English ) are equally relevant . Also relevant is the relation of writer or reader to the means of production , what has ...
... traditional literary staple , but histories of reading and of literacy ( readily available for French , less so for English ) are equally relevant . Also relevant is the relation of writer or reader to the means of production , what has ...
Pagina 17
... traditional metrical regularity or rhyme scheme , may encourage us to read in a certain way according to the line breaks . Certainly some twentieth - century poets , like Charles Olson and Allen Ginsberg , have theorized about the ...
... traditional metrical regularity or rhyme scheme , may encourage us to read in a certain way according to the line breaks . Certainly some twentieth - century poets , like Charles Olson and Allen Ginsberg , have theorized about the ...
Pagina 18
... traditional devices must provide a border between poetry and prose which is ' clearly discernible ' ( a means of classification ) so that the ' poetic consciousness ' of the reader is invoked ( so that the reader identifies the category ...
... traditional devices must provide a border between poetry and prose which is ' clearly discernible ' ( a means of classification ) so that the ' poetic consciousness ' of the reader is invoked ( so that the reader identifies the category ...
Pagina 19
... traditional phonological signals , with a standard verse with ' strong rhythmic elements ' . So we can give up conventional graphic signals if some traditional principles of versification , some phono- logical regularity , can be ...
... traditional phonological signals , with a standard verse with ' strong rhythmic elements ' . So we can give up conventional graphic signals if some traditional principles of versification , some phono- logical regularity , can be ...
Pagina 21
... traditional devices , the border between verse and prose ' must be clearly discernible ' . In distinguishing verse from prose , graphic indicators ' are not a technical means of fixing the text but a signal of a structural nature , in ...
... traditional devices , the border between verse and prose ' must be clearly discernible ' . In distinguishing verse from prose , graphic indicators ' are not a technical means of fixing the text but a signal of a structural nature , in ...
Inhoudsopgave
1 | |
5 | |
From Old English to Contemporary Poetry | 97 |
The Postmodern Subject and the New Media Poem | 160 |
Bibliography | 167 |
Index | 179 |
Overige edities - Alles bekijken
The Written Poem: Semiotic Conventions from Old to Modern English Rosemary Huisman Gedeeltelijke weergave - 1998 |
The Written Poem: Semiotic Conventions from Old to Modern English Rosemary Huisman Geen voorbeeld beschikbaar - 1999 |
Veelvoorkomende woorden en zinsdelen
alignment American Poetry Anglo-Norman Anglo-Saxon Anthology associated avant-garde Bernstein Black Riders Cambridge Chapter concrete poetry contemporary conventions couplet culture David Perkins described Dick Higgins discussion edition eighteenth century English poetry equated example framing free verse French function genre grammatical graphic display graphic realization graphology indentation Jerome McGann Latin layout lexicogrammar lineation linguistic literary literate literature London Lotman Mallarmé manuscript margin Marjorie Perloff meaning Media medieval metrical Middle English Mode modern Old English oral Oxford poetic discourse Press Princeton printed prose prose-poem punctuation punctus elevatus Radical Artifice reader reading practices relation relevant rhyme rhythm Romantic seen poem semantic semiosis semiotic of art spoken stanza Stéphane Mallarmé structure suggests syllable systemic functional grammar textual theory tion traditional twelfth century twentieth century typography vernacular versification Visible Language visual display visual object visual poetry voice William William Carlos Williams words writing written
Verwijzingen naar dit boek
From Sign to Signing: Iconicity in Language and Literature 3 Wolfgang G. Müller,Olga Fischer Gedeeltelijke weergave - 2003 |