Appendix B: Concrete Poetry

2021 ◽  
pp. 331-332
Keyword(s):  
2020 ◽  
Vol 39 (62) ◽  
pp. 145
Author(s):  
Thadeu C. Santos

Resumo: Desde Roda lume (1969), de Ernesto M. de Melo e Castro, o videopoema português perpassou décadas de experimentação ao largo da história da poesia editada em livros e impressos. Nos últimos anos, novidades tecnológicas como a câmera de celular e plataformas de compartilhamento de vídeos como o YouTube modificaram a maneira com que um videopoema pode ser feito, distribuído e lido/assistido. Essas novidades mostram-se imprescindíveis para analisar os videopoemas de Patrícia Lino e Matilde Campilho publicados recentemente. Na tentativa de propor um debate paralelo à crítica que se dedica ao estudo do videopoema em termos de expansão e de hibridismo em poesia, são apresentados tópicos sobre palavra e imagem presentes no ensaio “A reinvenção da leitura”, de Ana Hatherly (1981). A simplificação da feitura de vídeos e a facilidade de hospedá-los em plataformas como o YouTube parecem interferir propositivamente nos vídeos de Lino e Campilho e apontam para um caminho oportuno a esta e a novas gerações de poetas portugueses.Palavras-chave: escrita; leitura; poesia portuguesa contemporânea; poesia concreta; videopoema; videopoesia; YouTube.Abstract: Since Roda lume (1969) by Ernesto M. de Melo e Castro, Portuguese video poem has gone through decades of experimentation along the history of poetry edited in books. In recent years, technological innovations such as the mobile camera and video sharing platforms like YouTube have changed the way that a video poem can be made, hosted and read/watched. These novelties are essential to analyze the recently published video poems by Patrícia Lino and Matilde Campilho. In an attempt to propose a debate parallel to the criticism of the study of video poem in terms of expansion and hybridism in poetry, important topics on word and image are presented in Ana Hatherly’s essay “The Reinvention of Reading” (1981). The simplification of video-making and the ease of hosting them on platforms such as YouTube demonstrate a purposeful interference and seem to point to an advantageous path for this and new generations of Portuguese poets.Keywords: writing; reading; contemporary Portuguese poetry; concrete poetry; videopoem; videopoetry; YouTube.


2021 ◽  
Vol 3 (4) ◽  
pp. 143-153
Author(s):  
Chahra Beloufa

Teaching poetry offers the teacher of literature some basic and active ways to engage students in learning English because of poetry’s rich language which represents an opportunity for learners to explore meanings and be able to formulate creative responses. One must be aware of the fact that poetry includes various types which differ in forms, and each one of these may have a particular influence on students? learning literature; that is why one centralized the research area on concrete poetry or what is called visual poetry too. This study aims to teach students not only to read and listen to a poem but to develop the skill of creativity through rewriting and this ability would be provoked by the visual shape of the concrete poem. One is trying to bring fun in the EFL classroom and particularly during the literature lecture where students are probably bored by analyzing every line and stanza. So, all these aims were to be concrete via a test, observation and questionnaire. These scientific tools confirmed one’s hypotheses about how positive is concrete poetry for the group of the third-year English L.M.D. students at the University of Djilali Liabes, Sidi Bel Abbes


2001 ◽  
Vol 6 (3) ◽  
pp. 171-176 ◽  
Author(s):  
Philip Sherburne

K-k-k-k-k-k. Boof. Chhhhhhh. Hiss, whirr, pfing: 12k's is an onomatopoeic music. The audio equivalent of concrete poetry perhaps, where the sign (there, a letter or a word; here, a click or thud or tone) is elephantised, blown out of proportion, simultaneously stripped of reference and fraught with multivalent meaning. (Is it any coincidence that 12k founder Taylor Deupree is a graphic designer? You can almost hear the flip of a serif in 12k's grainy whoosh, or the nuzzling of kiss-kerned type in the cool brush of two bleeps.) In the releases of this Brooklyn label, notes, pulses, textures bear no immediate relation to the world around them, to a language of melody or tonal narrative, but in their careful melding of pulse and grain, they sketch an abstracted narrative of the development of several phenomena: electronic music, desktop DIY, and -especially -minimalism.


2008 ◽  
Vol 24 (1) ◽  
pp. 56-66
Author(s):  
PAULO FRANCHETTI
Keyword(s):  

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