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The meandering narrative : poetry and illustration engage in a moment of indiscipline : demonstrated in an analysis of Sara Fanelli’s illuminated poem - And all men kill the thing they loveKreuser, Carla Louise 04 1900 (has links)
Thesis (MPhil)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: This is
a
study
about
the
inner
workings
of
an
illuminated
poem
–
about
the
dialogue
that
develops
between
poetry
and
illustration
when
they
encounter
each
other
on
the
page.
However,
the
illuminated
poem
is
more
than
just
a
relation
between
words
and
images,
it
is
also
a
composite
art
in
its
own
right.
This
study
explores
the
dynamic
of
this
particular
type
of
imagetext
by
firstly
claiming
that
the
illuminated
poem
embodies
a
moment
of
indiscipline
and
secondly,
by
positing
that
illustration
should
contribute
to
this
pairing
by
acting
as
a
manifestation
of
illumination,
instead
of
posturing
as
merely
‘illustrative’
or
decorative.
The
inherent
indisciplinarity
of
the
illuminated
poem
as
an
imagetext
is
dissected
–
it
is
simultaneously
two
independent
art
forms
and
an
integrated
one;
it
can
therefore
be
seen
as
both
an
interdisciplinary
concern
and
a
new
art
form.
The
illuminated
poem
as
a
visual
art
blurs
the
boundaries
between
words
and
images,
upending
the
traditional,
rigid
boundaries
of
image-‐text
discourse.
Additionally,
a
meandering
narrative
is
set
in
motion
when
poetry
and
illustration
engage
in
an
illuminated
poem
–
a
slower,
involved,
cross-‐pollinating
reading
that
results
in
the
activation
of
a
reader’s
imagination.
The
idea
of
Illumination
is
thus
examined
as
both
an
orchestrated,
visual
choice
and
an
active,
conjuring
process.
Various
strategies
of
illumination
–
with
which
illustration
can
open
up
a
poem
to
new
conceptual
and
narrative
possibilities
–
are
also
discussed.
These
theories
of
interplay
and
interaction
are
then
applied
to
an
analysis
of
And
all
men
kill
the
thing
they
love,
an
illuminated
poem
by
Sara
Fanelli
and
Oscar
Wilde,
revealing
some
of
the
ways
in
which
illustration
and
poetry
act
as
co-‐conspirators
and
collaborators
when
they
engage
in
a
moment
of
indiscipline. / AFRIKAANSE OPSOMMING: Hierdie
is
‘n
ondersoekende
studie
na
die
dieperliggende
werking
van
‘n
“illuminated”
gedig.
Die
studie
fokus
op
die
dialoog
wat
ontstaan
wanneer
‘n
gedig
en
illustrasies
mekaar
op
papier
ontmoet.
Die
“illuminated”
gedig
is
egter
soveel
meer
as
net
die
saamgestelde
som
van
woord
en
beeld
–
dit
is
ook
‘n
verstrengelde
nuwe
kunswerk
in
eie
reg.
Hierdie
studie
verken
die
dinamiek
van
dié
besondere
soort
beeldteks
deur,
eerstens,
te
verklaar
dat
“illumination”
‘n
moment
van
ongedissiplineerdheid
behels
en,
tweedens,
deur
te
verwag
dat
die
illustrasies
bydra
tot
hierdie
verhoudingsdinamika
deur
‘n
manifestasie
van
“illumination”,
pleks
van
net
‘illustrerend’
of
dekoratief,
te
wees.
Die
inherente
ongedissiplineerdheid
van
die
“open-‐ended”
gedig
as
beeldteks
word
ondersoek
–
dit
vorm
tegelykertyd
twee
onafhanklike
kunsvorms
en
‘n
geïntegreerde
geheel;
dit
kan
dus
beskou
word
as
beide
‘n
interdissiplinêre
kunswerk
en
‘n
nuwe
kunsvorm.
Die
‘mengsel’-‐gedig
as
visuele
kunsvorm
oorskry
die
bekende
grense
tussen
woorde
en
beelde
en
gooi
alle
rigiede,
streng-‐tradisionele
riglyne
van
die
beeldteks-‐geding
omver.
Die
verhaaltrant
volg
kronkelpaaie
wanneer
digkuns
en
illustrasie
slaags
raak
op
papier
of
meedoen
aan
die
“open-‐ended”
gedig
–
‘n
stadiger,
meer
betrokke,
kruisbestuiwende
leestempo
word
afgedwing,
wat
sodoende
die
leser
se
verbeelding
aktiveer.
Die
idee
van
“illumination”
word
dus
ondersoek
as
beide
‘n
georkestreerde,
visuele
keuse
en
‘n
meelewende
(verwonderings)proses.
Verskeie
verhelderings-‐
moontlikhede
–
waardeur
illustrasie
‘n
gedig
kan
ontsluit
om
nuwe
konseptuele
en
vertellingsmoontlikhede
te
ontgin
–
word
ook
bespreek.
Hierdie
teoretiese
benadering
van
‘n
heen-‐en-‐weer-‐spel
se
wisselwerkende
interaksie
word
dan
toegepas
op
‘n
analise
van
And
all
men
kill
the
thing
they
love,
‘n
“illuminated”
gedig
deur
Sara
Fanelli
en
Oscar
Wilde.
Verskeie
wyses
waarop
illustrasie
en
digkuns
as
samesweerders
en
samewerkers
kan
optree
wanneer
hulle
hulself
in
‘n
oomblik
van
ongedissiplineerdheid
bevind,
word
aangetoon.
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Photopoetry : a critical history of collaborations between poets and photographers in the Anglophone world, 1845-2015Nott, Michael J. January 2015 (has links)
This thesis examines the history of collaborations between poets and photographers in the Anglophone world, from 1845 to 2015, and argues for a new form of art distinct from the photobook. It identifies a new body of work, ‘photopoetry', and develops this discovery into a critical exegesis of its forms and potentials. Proceeding chronologically, this thesis explores photopoetic history from its nineteenth-century roots to modern-day collaborations between renowned poets and photographers. Chapter I examines early experiments in photopoetic form, including scrapbooks and stereographs, and identifies two thematic trends characterising photopoetic history to the present day: the picturesque and the theatrical. The second chapter focuses on the identity politics of photopoetic books in the late-nineteenth and early-twentieth centuries, exploring how the relationship between poem and photograph can both perpetuate and subvert representations of the objectified other, from British India to the American South. Chapter III theorises Imagism from a photographic perspective, examining how, in the absence of any discernibly modernist photopoetry book, the most important dialogue between poem and photograph was enacted within Imagist verse. It proceeds to examine the introduction of urban environments into early-to-mid-twentieth-century photopoetry. Chapter IV analyses the reinterpretation of photopoetic topography in mid-to-late-twentieth-century collaborations, exploring how picturesque landscapes in nineteenth-century photopoetry were reinvented as immersive environments that echoed the rise of photopoetic co-authorship and the development of more symbiotic, less literal photopoetic relationships. The fifth chapter expands upon ideas analysed in Chapter IV, arguing how, in narrowing both poetic and photographic focus to objects rather than picturesque vistas, twenty-first-century photopoetry encourages a non-linear approach to reading and viewing, abandoning the ‘journey' paradigm of earlier photopoetry. Overall, this thesis represents the first book-length history of photopoetry, and expounds both a new area of analysis for scholars of text and image, and a new critical discourse for such analyses.
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