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 17
... poem to its sound patterning . The interrelating of sound pattern and visual line is so well established that modern poetry , even when without traditional metrical regularity or rhyme scheme , may encourage us to read in a certain way ...
... poem to its sound patterning . The interrelating of sound pattern and visual line is so well established that modern poetry , even when without traditional metrical regularity or rhyme scheme , may encourage us to read in a certain way ...
Pagina 18
... visual display of a text , that I wish particularly to draw attention . He observes ' that in the consciousness of author and reader there is a clear - cut division between the structures of poetry and prose ' . A text which does not ...
... visual display of a text , that I wish particularly to draw attention . He observes ' that in the consciousness of author and reader there is a clear - cut division between the structures of poetry and prose ' . A text which does not ...
Pagina 22
... poem , with its right - justification like modern printed prose and its paragraph indentation , is patently a reaction against the usual graphic or visual conventions of poetry . At the same time , in nice demonstration of Lotman's ...
... poem , with its right - justification like modern printed prose and its paragraph indentation , is patently a reaction against the usual graphic or visual conventions of poetry . At the same time , in nice demonstration of Lotman's ...
Pagina 25
... visual recognition of context . We read Paradise Lost as poetry because it looks like poetry , and Woodford attempts to demonstrate that we would also read the unpoetically titled Apology in Answer to the Modest Confutation of a Libel ...
... visual recognition of context . We read Paradise Lost as poetry because it looks like poetry , and Woodford attempts to demonstrate that we would also read the unpoetically titled Apology in Answer to the Modest Confutation of a Libel ...
Pagina 26
... poetry ought to have particular generic features of sound patterning , whereas Yeats ( I infer ) assumes that a text may be classified as poetry through its visual display . In Radical Artifice : Writing Poetry in the Age of Media ...
... poetry ought to have particular generic features of sound patterning , whereas Yeats ( I infer ) assumes that a text may be classified as poetry through its visual display . In Radical Artifice : Writing Poetry in the Age of Media ...
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 |