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This article argues for the advantage of applying the analytical perspective of “visual iconicity in poetry,” rather than trying to delimit the problematic category of “visual poetry,” which has been understood to be a type of poetry that deviates from normal poetry in and through its visual characteristics (for instance, poems looking like physica...
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... The word associations then opened up the individual responses to a wider and more communal interpretation of the soundtracks while also returning us to the verbal plane. The listening, mark-making, and word association exercises aimed at making the simultaneities and interactions between modes and media (Elleström 2016) visible and focusing our research participants' awareness on how they negotiated the multimodality of perception and expression in making translations. After the workshop, participants were given four weeks to make a translation of Dib's poem in any language or medium and post this on the Padlet. ...
This article investigates the role of affective perception in the development of translation and experiential literacy through the medium of a multimodal translation workshop held with twelve arts practitioners, academics, and translators. Both the rationale for the workshop format and the interpretation of workshop outputs draw on a transdisciplinary framework spanning theories of intermediality and multimodality, the study of acousmatic sound, acoustic atmospheres, and corporeal music/sound reception. Adopting a phenomenographic approach, we discuss the role of the body and the senses in communication and how the sensory exercises developed for our workshop can provide access to the prenoetic nature of perception from both a cognitive and affective standpoint. Recognizing the narrative quality of participants’ comments, a deductive approach was taken to analyze their translations and reflections through the lens of narrative modes of acousmatic music. The article concludes with pedagogical implications on the basis of participants’ reflections. Our findings support the use of a multimodal online translation workshop as both a research method to investigate meaning-making and a pedagogical resource to develop experiential literacy for both practitioners and developing translators.
... Kaur's artistic expression amalgamates various elements such as forms, frames, and linguistic structures to create a remarkable visual sign, transcending the boundaries of traditional verse (Göç, 2020). The historical backdrop of visual poetry reveals its enduring presence, dating back to ancient human cultures, where the visualization of texts and textualization of images blurred the boundaries between the written and the visual, offering a holistic understanding of the medium (Elleström, 2016). The resurgence of visual poetry in recent times owes much to design principles employed in mass media and commercial advertisements, principles integral to Kaur's work. ...
... The evolution of visual poetry in the modern era incorporates avant-garde movements and integrates mass media commercial design and electronic technology, resulting in a multifaceted art form exemplified by Kaur's work (Higgins, 1987;Bradford, 1990;Smock, 2003). While visuality is a defining characteristic of visual poetry, iconicity truly distinguishes it, emphasizing the creation of meaning through resemblance (Elleström, 2016). The theoretical framework of semiotics, particularly Roland Barthes' examination of signs and signification, resonates in contemporary poetry like Kaur's. ...
This research delves into the captivating fusion of semiotics and visual representation in contemporary poetry, focusing specifically on the exceptional contributions of Rupi Kaur in her collection "The Sun and Her Flowers." Employing a qualitative research methodology grounded in Ferdinand de Saussure's theoretical framework, the study explores the intricate layers of meaning within Kaur's poetic works. Through innovative integration of visual and semiotic elements, Kaur transcends conventional literary boundaries, captivating her audience with the power of iconicity and symbolism. Departing from traditional modes of expression, her poetry forges a profound connection with readers, enriching the process of creating meaning and inviting personal interpretation. By scrutinizing the semiotic and visual elements within Kaur's art, this study sheds light on the dynamic landscape of contemporary visual poetry and how it resonates with modern audiences. Through an exploration of Kaur's unique approach to language and imagery, this research seeks to uncover the enduring popularity of her work and its enriched layers of meaning, offering new dimensions to the art of expression in contemporary literature.
... In recent years, contemporary perceptions of iconology-as identified by Barbara Baert (Baert et al. 2012, p. 17)-and the theoretical foundations proposed by William John Thomas Mitchell 1 and Lars Elleström (Elleström 2016) have revealed a different representation of the gazelle to the imagination, which uncovers an existing dialogue between Franz Marc's painting titled Gazelles and Rainer Maria Rilke's Die Gazelle. The zoomorphic trope prompts a profound reflection on a modern subject provided with aspirations of world knowledge and communication. ...
... Recent contributions by Kari Driscoll (Driscoll 2014, p. 81), Eva Hoffmann (Hoffmann 2017), Daniel Dahlstrom 3 , Tony Ullyatt 4 , Claudia Ohlschlager 5 , Eberhard Jürgen Wormer (Wormer 2005), Luke Fischer (Fischer 2013), and Cathrin Klingsöhr-Leroy (Klingsöhr-Leroy 2022) are deployed to identify similarities in the literal and symbolical meanings embedded in the figure of this animal. This article compares Franz Marc's painting and Rilke's poem 6 allows a fusion between subjective interiority and the objective world, and prompts us to reflect beyond outward similarities that do not necessarily imply comparable levels of iconicity (Elleström 2016). Consequently, this article will present a novel comparison between the two artists, one that I hope will yield a connection deeper than both authors' overt relationship to pantheism and partial adherence to expressionism (Fischer 2013). ...
The article explores the curious landing of the gazelle in Franz Marc’s pictorial text (1913) and Rainer Maria Rilke’s poem (1907). An analysis of the iconographic and pictorial apparatus sets the foundations for a comparison to the poetic restitution of the same zoomorphic trope. Concepts from Visual Studies and recent iconological-anthropological schools of thought support a hypothesis of migration across time and medium of the gazelle’s symbolism and iconicity. Further, the critical iconology method reveals the possibility of autonomous expression for the zoomorphic trope in the idiosyncrasy produced by her torsion and gaze direction. Consequently, the gazelle offers a new path for decoding a precise historical and artistic attitude beyond expressionist pantheism. The implications of her alienating Orphic gaze are clarified when considered in contextual works and concern the visual projection towards a necessary turning point regarding Rilke’s and Marc’s ontological-aesthetic position. Beyond traditional symbolism, the gazelle depicts a transition toward formal experimentalism in the face of the impending First World War. It outlines the capacity of animal physicality to describe its genesis. Moreover, it illustrates the modern attitudes held towards culturally constructed change by distancing herself from hermeneutic overwriting while moving between precise ontological-aesthetic coordinates.
... Pats vizualiosios poezijos terminas -nevienareikšmis, įvairiai apibrėžiamas, sulaukiantis ir kritikos (pvz., Elleström 2016). Nemažai teorijų, tarp jų ir semiotinių, yra linkusios į vizualiąją poeziją žiūrėti kaip į dviejų skirtingos prigimties komponentųatvaizdo ir žodžio -sąjungą, kuri pateikia naują meninės išraiškos modelį (Mucci 1979: 799). ...
The article explores the ways in which the Greimasian method of semiotics can be applied to the analysis of contemporary Lithuanian poetry texts, specifically visual poetry. Bearing in mind the nature of visual poetry, I consider a semiotic approach, which allows explaining the strategies of meaning making in visual poetry. The methodological question goes back to the origins of Algirdas Julius Greimas’ semiotics, in particular the works of Louis Hjelmslev. I draw attention that based on Hjelmslev’s approach, it is important not only to treat any unit of meaning as a certain relationship between the plane of content and the plane of expression, but in the case of visual poetry, also to supplement it with a more detailed description of Hjelmslev’s levels of language (form–substance–purport) and their interrelations. It calls attention to the plane of expression, which has a special status in visual poetry. I argue that one of the most important conditions for the emergence of signification in visual poetry is the phenomenon of unstable correlation, which is a semiotic relationship between the plane of expression and the plane of content that appears as a process of production of reciprocal presupposition, which, in turn, is dependent on the focus point of reader’s gaze. In the first part of the article, in which I address theoretical considerations regarding all the above-mentioned topics, I examine how the model of structural linguistics can assist in complementing the semiotic analysis of visual poetry. In the second part, I analyze two works by contemporary Lithuanian visual poets using the proposed model of meaning creation: “PASTAZENKLAS ISLEISTAS KREPSINIO CEMPIJONATUJ” (“A POSTALSTAMP ISSUED FOR THE FOOTBALL CHEMPIONSHIP”) by Gytis Norvilas (2006) and “om rekonstrukcija I“ (“om reconstruction I”) by Donaldas Apanavičius from his three-poem cycle (1999). The analysis reveals the points of unstable correlation and various reading possibilities.
... Lafuente (2014:17) habla de manera más general de "poesía experimental" como "un fenómeno plural y heterogéneo que, aun centrándose en las prácticas de la poesía, la desbordó para extenderse por otras artes". Por su parte, Elleström (2016) argumenta en contra del término de poesía visual que su especificidad no se basa en lo visual sino en lo icónico. De cualquier forma, será este término el que utilice, dada su carga convencional, para definir, las prácticas de poesía plurales y heterogéneas que tengan en común, como analiza Tsur (2000), una especial disposición grafémica que trascendería la dimensión puramente textual para ser transmedial. ...
El presente trabajo propone un estudio de la llamada poesía visual mediante un método integrado que hará confluir las herramientas de análisis de la teoría semiótica con las consideraciones de la Poética Cognitiva respecto a este tipo de objetos intermediales. De esta manera, de un estudio teórico inicial que permitirá extraer estas herramientas cognitivo-semióticas de análisis, se pasará a un estudio práctico, mediante el método previamente desarrollado, de obras concretas y variadas de poesía visual, seleccionadas entre la creación de Fernando Millán, Felipe Boso y Clara Janés. Abstract: The present work develops a study on the so-called visual poetry by means of an integrated method which will fuse the analytical tools of the semiotic theory with considerations of Cognitive Poetics about this kind of intermedial objects. Therefore, from a theoretical study which will provide us with this cognitive-semiotic analytical tools, a practical study will follow with the analysis of specific and varied works of visual poetry, which will be selected within the works of Fernando Millán, Felipe Boso and Clara Janés.
... A star is a sign on an officer's shoulder strap (in Ancient Greece a star was associated with Ares (Mars), the God of War, who, according to the legend, was born in a lily flower, resembling a five-pointed star; a celestial body in the sky; a geometric figure, which is often used on obelisks as the basis for eternal flames; a creative man, who succeeds in any sphere (pop star, ballet star, etc.). As Elleström (2016) 309 Focusing on the polycoded discourse, one cannot but admit that the original semantic plurality of the lexeme "star" is narrowed due to the fact that Rukavishnikov's isoverb is a six-pointed star or otherwise -the Star of David (see Figure 1 However, this form does not exclude the possibility of interpreting it in terms of military affairs. In particular, the Star of David not only determines the shape of the shields of royal soldiers, but also acts as a kind of amulet, called the "seal of Solomon". ...
... Theoretically, onomatopoeia can be seen as "words that are considered by convention to be imitative of nature, acoustically similar to the thing to which it refers (e.g. the bowwow of a dog or the tick-tock of a clock) or the sound made by the thing to which it refers (e.g. a buzz saw)" [12]. It can be also formulated as the textual representation resembling with the natural sound [13]. Slightly different with onomatopoeia, direct speech can be defined as "a style used to report what a speaker actually said, without introducing any grammatical changes" [12]. ...
... It must be noted that there are many studies of iconicity in prosody and sound symbolism (Blasi et al. 2016;Bidaud 2016;Diatka & Milička 2017;Hinton, Nichols & Ohala 1994;Nuckolls 1999;Pršir & Simon 2013), as well as lexical iconicity (Waugh 1994), sign languages (Demey et al. 2008;Baus, Carreiras & Emmorey 2013), poetry (Elleström 2016;Grimm 2008;White 2007), grammatical class structure (Glynn 2007), markedness (Jakobson 1971), irregular forms of verb tenses (Monneret 2003) among other areas (including synaestesia and the interactions between language and the senses). 7 Some European structuralists (including, notably, Jakobson 1965) rejected some aspects of the Saussurean principle of arbitrariness of the linguistic sign (Saussure 1959: 67, ff., conceptualised as a nonmotivated relation between form and meaning), later on reworked by Benveniste (1971) as system-external. ...
Linguistic iconicity has been studied since ancient times (e.g., Plato’s Cratylus, see Cooper & Hutchinson 1997). Within modern grammatical description, this notion was mostly developed by Jakobson and Benveniste; nowadays, iconicity in language is even being experimentally tested (e.g., Blasi et al. 2016; Diatka & Milička 2017). However, most studies on linguistic iconicity pertain to prosody, sound symbolism, or morphology; syntactic iconicity has been vastly underexplored. In this paper, we present two hypotheses concerning syntactic iconicity: (1) syntactic descriptions of natural language strings have an inherent structure which is isomorphic to that of representations in some other component of grammar or a non-grammatical system; or (2) linear order imposed on phrase structure is isomorphic to that in some other component of grammar or a non-grammatical system. We will argue in favour of the former, which constitutes a novel perspective on iconicity in grammar. We furthermore discuss the place that iconicity may have in the architecture of a generative system.
... Due to these characteristics, there is some correspondence to the orality and the visual-kinesthetic iconicity of SLs. In fact, the iconicity of concrete poetry is met in the mimetic character of the poem's visual form (Ellestrom, 2016) and in the sound symbolism (cf. Hinton et al., 1994) of its words. ...
Concrete poetry creates meaning by relying primarily on visual iconicity likewise sign languages (SLs). As they are visual-gestural languages, their modality allows a more transparent relation between the form of the sign and its meaning. Due to this common characteristic, the paper introduces the construction of SL literary material on the basis of the visual stimuli (mainly written) of concrete poetry. In this process, both languages (written and signed) are equal, since the reconstruction of the original text requires the close reading of their grammar and literary traditions.
Keywords: concrete poetry; sign language; philology.
ou Apollinaire grammaturge Ce texte a été présenté au Congrès « Apollinaire, 100 ans et après » à Stavelot (2018), puis repris dans EDELINE F. (2020) Entre la lettre et l'image, Louvain-la-Neuve : ACADEMIA-L'HARMATTAN, chapitre 3. Première partie-LES VARIÉTÉS FORMELLES DE LA POÉSIE VISUELLE On groupe sous le nom de poésie visuelle toutes les activités poétiques qui ne se contentent pas de demander au canal visuel la simple transmission d'énoncés linguistiques. Depuis que la poésie peut être écrite, d'ailleurs, elle comporte de facto un aspect visuel qui signale une duplicité dans la chaîne linéaire des signifiants. Ode, sonnet ou pantoum ont une forme saisissable par l'oeil, et c'est cette disposition en colonne dont se moquait Cummings en l'appelant « chimney ». Ceci est cependant encore bien timide au regard des possibilités du canal visuel, dont les dimensions (forme, couleur, texture, mouvement et césie) sont toutes exploitables et seront mises à contribution. Il ne s'agit pas de remplacer le texte, encore moins de le redoubler par un renforcement redondant, mais bien d'en faire un support mixte, fonctionnant à la fois selon le code linguistique et selon le code visuel, et lisible sur ces deux plans en produisant des signifiés qui se combinent.
