LA PALABRA IMAGEN: ESTUDIO SEMIÓTICO-COGNITIVO DE LA POESÍA VISUAL DE FERNANDO MILLÁN, FELIPE BOSO Y CLARA JANÉS

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.

Introducing the Visual Art through Concrete Poetry in the EFL Classroom: A Case Study

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

So Many Silenced, So Many Unnamed, an excerpt

So Many Silenced, So Many Unnamed (SMS/SMU) is part of the ‘Vispo Bible’, a life’s work I began in 2015 to translate every book, chapter and verse of the Bible into visual poetry. I have translated over 330 pages of the Old and New Testaments so far. The goals of SMS/SMU are to celebrate and centre women, their resilience and strength, their accomplishments and their lives, to grieve for and remember those who have been unnamed, murdered and those who are missing, to support and show solidarity with women who are currently the targets of online bullying and cyberstalking; challenging the hateful and harmful attitudes that continue to exist about women while foregrounding the textilic aspect of language; how language itself is material.

ENTREVISTA COM SÉRGIO MONTEIRO DE ALMEIDA

Em seu volume 10, a Revista Muitas Vozes apresenta uma conversa com o artista visual e poeta experimental Sérgio Monteiro de Almeida. Artista intermídia, Sérgio participa desde 1984, do movimento artístico do Paraná e do circuito internacional de arte postal. Como poeta visual, publicou em inúmeras antologias e revistas especializadas, tanto no Brasil como no exterior, por exemplo CULT (Brasil) e Rampike Magazine (Canadá). O artista participou de importantes exposições de poesia visual como Bienal Internacional de Poesia Visual e Alternativa no México (1987, 1990, 1992, 1996 e 2010); Post-Art International Exhibition of Visual/Experimental Poetry (San Diego State University - USA, 1988); Bienal de Veneza (2005 e 2009, curadoria de Caterina Davinio); Harvard’s Visual Poetry exhibition (Harvard University, USA, 2004, 2005); Biennale Internationale de Poesie Visuelle (França, 2015, 2017, 2019, 2021). Recentemente, teve poemas publicados nos livros Davinio C. Virtual Mercury House, Planetary & Interplanetary Events (Itália, 2012); Zúñiga A, Espinosa C. La mirada transgressora - literatura expandida(México, 2017); Dencker KP. ÜberViele/S- Begegnungen 1960–2020 (Alemanha, 2021).

L’oeuvre de Maurice Carême. Une poésie à lire et à voir

Maurice Carême (1899–1978) was a Belgian francophone poet. We present revisiting the appreciation that is sometimes assigned to a « poet of images » to deepen that « above all visual » of a poet who writes « with the gifts of observation » (Moremans 1930 : 19), and gives, in his poetic intuition, a content to see. The visual, in symbiosis with the tangible, manifests itself in the work of Maurice Carême through the fascination with the gestures of graphic, pictorial and even sculptural production. The passion for the imprints left by these gestures is expressed by the presence of a pictorial isotopy, by the frequent recurrence of words such as trace, draw, paint, sketch, model and other terms belonging to the same semantic field, as well as by the use of the presentative « there ». In this synthetic designation, the poet sums up, in a simulation of gestures und unique denomination, the landscape and its outlines. Explicitly referring to pictorial techniques is one of the most visible processes these expressions are part of a network of visual patterns that relate both to the gestures of writing and painting. This leads to anchoring in the reader the impression of visual poetry

A imaginação na série “Divertimento com sinais ortográficos”, de Alexandre O’Neill

This article discusses Alexandre O’Neill’s poetry series “Divertimento com sinais ortográficos”, analyzing the poetics of its graphic signs, and more specifically, how they both create visual poetry, and reflect surrealism’s focus on the imagination

A POESIA BRASILEIRA EM CONFLITO COM O TEMPO E O PENSAMENTO

RESUMO: A poesia brasileira produzida a partir da década de 1990 até os dias atuais caracteriza-se por uma “pluralidade de poéticas possíveis”, para citarmos Haroldo de Campos. Diferentes pesquisas são realizadas no campo da poesia visual, neobarroca, coloquial, minimalista, eletrônica, entre outras linhas criativas, revelando a ausência de uma estéril hegemonia em favor da diversidade, do diálogo criativo com a tradição moderna e a busca da experimentação, numa época em que o espírito utópico que animava as vanguardas históricas entrou em eclipse, após o final da Guerra Fria. Na poesia da “agoridade”, “pós-utópica”, não se tem como meta o planejamento do futuro, mas a criação poética necessária que responda aos desafios do presente. ABSTRACT Brazilian poetry produced from the 1990s to the present day is characterized by a "plurality of possible poetics", to quote Harald de Campos. Different researches are carried out in the field of visual poetry, neo-baroque, colloquial, minimalist, electronic, among other creative lines, revealing the absence of a sterile hegemony in favor of diversity, creative dialogue with modern tradition and the search for experimentation, at a time when the utopian spirit that animated the historical avant-garde swum eclipsed after the end of the Cold War. In the poetry of the here-and-now, "post-utopian", the goal is not the planning of the future, but the necessary poetic creation that responds to the challenges of the present.

How Poetry Matters

This chapter opens a discussion of how language’s vitality registers in and as material. It assesses the reception of material poetics in late twentieth century North America and compares the examples featured in this book with other investments in poetic materiality. The chapter offers a discussion of the term ‘concrete poetry’ which has lost some of the contextual specificity that historically adhered to it. This history is proved as a way of situating Brazilian concretism and as a way of distinguishing the term’s use from other names for sympathetic forms such as ‘visual poetry’. This chapter makes the case for the term ‘material poetics’ and demonstrates how many of the hybrid linguistic-material practices in the Americas built on early theorisations of language’s matter, which were undertaken with notable depth by the so-called ‘noigandres’ group of Brazilian concrete poets. Literary studies’ adoption of theories of objects and matter are explored along with debates within literary studies that investigate how we read. The introduction takes this book’s featured artists and poets to be its primary theorists and works to test and reframe contemporary thinking on objects by positing the matter of language as its object of study.