Jean-Gérard Lapacherie (Université
de Pau)
De
l’Idéographie et de
ses enjeux en poésie
- Abstract
›Title
in English:About Ideography
and its Implications in Poetry
Willard Bohn (Illinois State University)
Three
Spanish Ultraist Poets
- Abstract
Jaime Baron Thaidigsmann (Université
Bordeaux 3)
La
recepción del caligrama vanguardista
en España: el argumento de
lo nuevo y el pasado sentimental
- Abstract
›Title
in English: The Avant-garde
calligram’s reception in Spain:
the discourse of the New and the
sentimental past
Cordell D. K. Yee (St. John’s
College)
Reading
within the Lines: Henri Michaux
and the Chinese Art of Writing
- Abstract
Nina Parish (Bath University)
Between
Text and Image, East and West: Henri
Michaux’s Signs and Christian
Dotremont’s “Logogrammes”
- Abstract
Peter André Bloch (Université
de Haute-Alsace)
BILD-DING-GEDICHTE:
Mörike – C. F. Meyer
– Nietzsche – Rilke
– Morgenstern
- Abstract
Federico Sabatini (Università
di Torino)
“It
can’t be all in one language”:
Poetry and “Verbivocovisual”
Language in Joyce and Pound
- Abstract
Laurent Bazin (Université
de Versailles-Saint-Quentin)
Le
Principe d’orientation:
Surréalisme et idéographie
- Abstract
›Title
in English: The Orientation
Principle: Surrealism and Poetry
Yin Yongda (Université de
Pau)
L’Idéogrammaticité
de Stèles
et la plasticité de Cent
Phrases pour éventails
- Abstract
› Title in English: Ideogrammaticity
in Stèles and Plasticity
in Cent phrases pour éventails
Marianne Simon-Oikawa (Université
de Tokyo)
La
Poésie idéographique
de Pierre Albert-Birot
- Abstract
› Title in English: The
Ideographic Poetry of Pierre Albert-Birot
Jean-Gérard Lapacherie (Université
de Pau)
De
l’Idéographie et de
ses enjeux en poésie
›Title
in English:About Ideography
and its Implications in Poetry
Abstract
Ideography was born in writing,
although it largely overcomes these
boundaries. Ideography is related
to texts, which, once printed, are
not homogeneous in either signs
or formatting. They may be composed
of signs of different languages.
Ideography has the same power that
poetry is supposed to have: can
words written according to the ideographic
rules have a grasp on the things
of the world, besides simply representing
them? These implications are apparent
in the passionate criticism that
ideography received in linguistics,
and, if we are to provide a coherent
overview of this issue, ideography
needs to be thought beyond the frames
of modern linguistics, recovering
the old linguistics from 18th and
19th century, the works of printers
and typographers from the 19th century,
and also considering the crisis
that poetic language underwent at
the end of the 19th century, to
which ideography provided an answer.
Keywords: ideography;
typography; history of writing;
linguistics
Willard Bohn (Illinois State University)
Three
Spanish Ultraist Poets
Abstract
The Ultraist movement flourished
in Spain from 1919 to 1921. This
article examines visual poetry composed
by three individuals, who differed
widely in their approaches to this
fascinating genre. Depicting an
imaginary villa, the design created
by Pedro Raida was essentially realistic.
Containing eight visual analogies,
Andrés Nimero’s poem
retraced the route taken by a streetcar
in Seville. By contrast Eliodoro
Puche’s composition utilized
a single visual analogy, which was
juxtaposed with a surprising metaphor.
Keywords: Ultraism;
visual poetry; Raida, Pedro; Nimero,
Andrés; Puche, Eliodoro
Jaime Baron Thaidigsmann (Université
Bordeaux 3)
La
recepción del caligrama vanguardista
en España: el argumento de
lo nuevo y el pasado sentimental
›Title
in English: The Avant-garde
Calligram’s Reception in Spain:
The Discourse of the New and the
Sentimental Past
Abstract
The matrix of the present in Apollinaire’s
calligram does not exclude sentimental
and Symbolist subjects. However,
its reception in Spain, together
with that of Futurism, tends to
play this down, emphasizing a discourse
of the New that precludes the ancienne
musique. Nevertheless, this unilateral
strategy reveals connections with
the literary past. In contrast,
Larrea’s calligrams («Estanque»,
«Sed») make use of sentimental
figurations, which become the polemic
historic content of the calligramatic
action, and propose a modernity
in dialogue with literary history.
Keywords: calligram;
Apollinaire, Guillaume; Larrea,
Juan; Ultraism; literary history
Cordell D. K. Yee (St. John’s
College)
Reading
within the Lines: Henri Michaux
and the Chinese Art of Writing
Abstract
Linguistic theory since
the early twentieth century has
been marked by a split in response
to Chinese writing. In linguistics
writing has often been regarded
as parasitic on speech, an effort
to represent the spoken word. In
the area of poetics the response
has been somewhat different. Ezra
Pound, for example, found a structural
method for constructing meaning
in the composition of Chinese characters.
Similar features interested Henri
Michaux early in his career, but
later Chinese graphs came to have
extralinguistic significance. The
locus of meaning for Michaux shifted
from sign to line. Chinese writing
helped Michaux to recover what had
been lost in Western writing as
a result of the modernization of
textual production. The result is
the need for a revision in interpretive
practice. Interpreting a text becomes
not a matter of reading between
the lines, but within the lines.
Keywords: Michaux,
Henri; ideogram; writing; poetics;
artistic media
Nina Parish (Bath University)
Between
Text and Image, East and West: Henri
Michaux’s Signs and Christian
Dotremont’s “Logogrammes”
Abstract
From their material manifestation
on the page or canvas, it is evident
that Henri Michaux’s signs
and Christian Dotremont’s
«logogrammes» are influenced
by ideographic forms and calligraphy.
Like many artists and writers, both
Michaux and Dotremont were interested
in this signifying system, which
functions in a radically different
manner to the Western alphabetic
system. Many practitioners, although
mesmerised by the formal aesthetic
qualities of the ideogram, had little
or no knowledge of how this signifying
system actually worked. In this
article, the reasons behind Michaux’s
and Dotremont’s attraction
to the creative possibilities offered
by the ideogram and their respective
appropriations of it will be analysed.
Keywords: Michaux,
Henri; Dotremont, Christian; Logogrammes;
signs; ideograms
Peter André Bloch (Université
de Haute-Alsace)
BILD-DING-GEDICHTE:
Mörike – C. F. Meyer
– Nietzsche – Rilke
– Morgenstern
Abstract
This essay sets out to highlight
problems and possibilities arising
in some German lyrical poets, within
the frame of the European traditions
and the different poetical conceptions
of the 20th century. Already by
the end of the 19th century, Mörike
et Meyer practised poetical meditation:
they described the energy of artistic
creation in order to show the polyvalent
relations among word, form and meaning.
In a few poems, Nietzsche tried
to show the tension between the
perspective of the external world
and the virtual fullness of the
creative moment; so did Rilke, who
tried to represent the great, troubling
complexity of his vision of the
real world, calling upon his memories,
his aesthetical reflection, and
the objectivising force of his imagination.
Morgenstern parodied the illusory
appearance of the concrete world
playing, in a humorous way, on the
first and figurative meanings of
the words, as well as on the ambiguity
of all apparently plausible definitions.
Keywords: German
lyrical poetry, representation;
subjectivity; form
Federico Sabatini (Università
di Torino)
“It
can’t be all in one language”:
Poetry and “Verbivocovisual”
Language in Joyce and Pound
Abstract
My essay examines the relationship
between music, verbal language and
visual language in Joyce’s
and Pound’s literary innovations.
Both authors advocated a new conception
of poetry, a new way of describing
time and space, both interpreted
in their fragmented aspects of simultaneity
and juxtaposition. Some of Pound’s
early poems are here compared to
Joyce’s Chamber Music by focusing
on the combination of melopoeia,
phanopoeia and logopoeia which are
echoed in Joyce’s category
of «verbivocovisual».
Finally, Pound’s ideogrammatic
technique derived from Chinese ideograms
is linked to Joyce’s etymological
method, since both are used to achieve
what Joyce called a concreation,
and Pound a compendious, of meanings
and cultures.
Keywords: music, visuality,
arts, phonetics, etymology
Laurent Bazin (Université
de Versailles-Saint-Quentin)
Le
Principe d’orientation:
Surréalisme et idéographie
›
Title in English: The Orientation
Principle: Surrealism and Poetry
Abstract
In its quest for new forms capable
of reinventing the relation between
world and language, Surrealism (conceived
as a movement beyond the differences
among its members) sought in the
dialogue between text and image
new interactions towards a regenerated
symbolisation. Thus it recovered
older codes, in particular ideography,
which provided both a conceptual
and an aesthetical model, orienting
its choices of representation. This
essay sets out to retrace the history
of that encounter, investigating
the theoretical and poetical activity
of the movement in search of any
signs of the influence that ideograms
– notably Chinese ideograms
– had on the artistic avant-gardes
at the beginning of the twentieth
century.
Keywords: surrealism;
ideography; poetry; sign; symbol
Yin Yongda (Université de
Pau)
L’Idéogrammaticité
de Stèles
et la plasticité de Cent
Phrases pour éventails
›
Title in English: Ideogrammaticity
in Stèles and Plasticity
in Cent Phrases pour éventails
Abstract
Chinese ideograms have two main
properties. The first one, which
consists mainly in the structurality,
the dynamism and the rationality
of Chinese ideograms, may be named
“ideogrammaticity”,
while the second one, grouping together
palpable or visual effects of the
ideogrammatic structure and movement
that the ideogrammatic structure
needs and produces, may be called
“plasticity”. This essay
sets out to analyze how these two
properties emerge from Victor Segalen’s
Stèles and Paul
Claudel’s Cent Phrases
pour éventails. In Stèles
the first property is prominent,
while in Cent Phrases pour éventails
the second property is more apparent.
Keywords: ideogrammaticity;
plasticity; gestuality; Claudel,
Paul; Segalen, Victor
Marianne Simon-Oikawa (Université
de Tokyo)
La
Poésie idéographique
de Pierre Albert-Birot
›
Title in English: The Ideographic
Poetry of Pierre Albert-Birot
Abstract
A pioneer of French visual poetry,
Pierre Albert-Birot (1876-1967)
discovered the word «ideogram»,
which was a synonym for «calligram»
to him, through his relations with
Apollinaire. He liked the term,
and wrote himself «ideogrammatic
poems» for a short period,
before giving up. Yet, the ideogram
was not mere fancy to him. Even
though he abandoned the word itself,
he did not dismiss the principles
of the ideogram itself. The paper
discusses the forms and the meanings
of the ideogram in the works of
a poet who was not interested in
the Chinese writing as such, but
found an original way, under other
names and inside the alphabetic
system itself, to go back to the
very principles of the ideogram
as a form of visual writing.
Keywords: Albert-Birot,
Pierre; visual poetry; ideography
Bibliography
Presentation
of Issue n. 8
