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8.
The Reception of Ideograms in Early
20th Century European Poetry
Edited by Enrico Monti |
APOLLINAIRE, G.
1995 (1918). Calligrammes, Paris: Gallimard.
AUBERT, N.
«Les Logogrammes de Christian Dotremont», French Studies, vol. 40, n. 1, p. 49-62.
BARTHES, R.
2005 (1970). Empire des signes, Paris: Seuil.
BOHN, W.
2001. Modern Visual Poetry, Newark: University of Delaware Press.
BOUBY, J.
2001. «Le Poème et la Page: Essai sur la poésie visuelle», Boutures, vol. 1, n. 4 (mars-août 2001), http://www.lehman.cuny.edu/ile.en.ile/boutures/0104/bouby.html
CHISOLM, L.
1963. Fenollosa: The Far East and American Culture, New Haven: Yale University Press.
CLAUDEL, P.
1957 (1896). Connaissance de l’Est, in Œuvre poétique, Paris: Gallimard.
2006 (1926). Positions et propositions, in Œuvres en prose, Paris: Gallimard.
1957 (1942). Cent phrases pour éventail, in Œuvre poétique, Paris: Gallimard.
DOTREMONT, C.
2004. Œuvres poétiques complètes, Paris: Mercure de France.
EISENSTEIN, S.
1929. «The cinematographic principle and the ideogram», in Film Form, p. 28-44.
ETIEMBLE, R.
1973 (1961). L’Ecriture, Paris: Gallimard.
FENOLLOSA, E.; E. POUND,
1936 (1920). The Chinese Written Character as a Medium for Poetry, San Francisco: City Lights.
FRYE, N.
1957. Anatomy of Criticism, Princeton (NJ): Princeton University Press.
GEFIN, L. K.
1982. Ideogram: History of a Poetic Method, Austin: University of Texas Press.
GENETTE, G.
1976. Mimologiques, Paris: Seuil.
GOVONI, C.
2006 (1915). Rarefazioni e parole in libertà, Genova: San Marco dei Giustiniani.
JIN, S.
2002. The Poetics of the Ideogram, Bern: Peter Lang.
KENNER, H.
1971. The Pound Era, Berkeley and Los Angeles: University of California Press.
KIRCHER, A.
1667. China Monumentis, qua sacris qua profanis.
LAPACHERIE, J.-G.
1990. «Henri Michaux et les idéogrammes», Textyles, vol. 7, novembre 1990, p. 203-211
LONGREE, G. H. F.
1984. L’Expérience idéocalligrammatique d’Apollinaire, Liège: Noël.
MERIANO, F.
1916. “Dall’ideogramma al simbolo e più in là”, La Brigata, anno I, fascicolo 02, giugno 1916, p. 27-31.
MICHAUX, H.
1933. Un Barbare en Asie, Paris: Gallimard.
1975. Idéogrammes en Chine, Montpellier: Fata Morgana.
ORAZI, V.
1990. “Avanguardia e scrittura calligrammatica: per una riflessione
teorica con spunti ispanici”, Actas de la AISPI: http://cvc.cervantes.es/literatura/aispi/pdf/13/13_165.pdf
PARISH, N.
2007. «An Oriental Imaginary: The Forms and Functions of Chinese Characters in Michaux’s Signs», in Henri Michaux: Experimentation with Signs, Amsterdam/New York: Rodopi.
POUND, E.
1915. Cathay, London: Elkin Mathews.
1951 (1934). ABC of Reading, London: Faber.
1948. The Cantos, New York: New Directions.
QIN, H.
«Victor Segalen et la calligraphie chinoise», Europe, n° 696, avril 1987, p. 44-53.
SEGALEN, V.
1922 (1912). Stèles, Paris: Crès (Pékin: Presses du Pei-t’ang).
WEBB, J.
1669. An Historical essay endeavouring the probability the language of the empire of China is the primitive language.
YEE, C. D. K.
«Discourse on Ideogrammic Method: Epistemology and Pound’s Poetics», American Literature, Vol. 59, No. 2. (May, 1987), p. 242-256.
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