Thesis--Cologne. / Bibliography: p.[115]-124.

This thesis explores the past and present of concrete poetry with the purpose of finding out whether concrete poetry is still being produced in its original form, or whether it has changed. Concrete poets were not the first ones to create picture poems and similar texts. In chapter I an overview of earlier picture poetry is given. It and other precursors of concrete poetry are discussed and their possible contributions evaluated. Chapters II and III deal with the definition of concrete poetry of the mid-fifties and sixties ( pure, classic c.p.). They focus primarily on German, Austrian and Swiss poets. Manifestos are examined and individual poems are discussed in detail. The many different kinds of concrete poetry that developed after 1970 are mentioned without any further discussion.

The design process demands comprehensive knowledge of visual signs and symbols with a focus on visual literacy; it is related to visual syntax, semantics, and the pragmatics of contexts. My work is an interdisciplinary investigation into how designers integrate polysemantic signs into their design process for particular and highly individualized audiences. By analyzing the role of signs in specific contexts across the spectrum of arts, society, literature, and semiotics, a designer's understanding of the cyclical nature of interpretation and reinterpretation in complex environments creates an avenue for cultivating a new schema that provides further levels of interpretations and different access points. By removing elements from their original context, and fusing these elements into new narratives, we implement new meanings and emphasize the value of interpretation.

The design process demands comprehensive knowledge of visual signs and symbols with a focus on visual literacy; it is related to visual syntax, semantics, and the pragmatics of contexts. My work is an interdisciplinary investigation into how designers integrate polysemantic signs into their design process for particular and highly individualized audiences. By analyzing the role of signs in specific contexts across the spectrum of arts, society, literature, and semiotics, a designer's understanding of the cyclical nature of interpretation and reinterpretation in complex environments creates an avenue for cultivating a new schema that provides further levels of interpretations and different access points. By removing elements from their original context, and fusing these elements into new narratives, we implement new meanings and emphasize the value of interpretation.

Ao atentar para os trabalhos de François Rastier (1976) e Antonio Vicente Pietroforte (2011) sobre a metalinguagem, observou-se, na poesia de Augusto de Campos, um interessante objeto de pesquisa sobre o assunto. Assim, é investigado como se dá a metalinguagem no decurso de sua obra, já que desde o concretismo o autor promoveu diversas mudanças em sua poesia, que investe massivamente na metalinguagem, proporcionando um rico material de pesquisa. A investigação se inicia pelo estabelecimento de uma sistemática das temáticas discursivas desenvolvidos por Rastier, em seguida, é promovida uma reflexão sobre a metalinguagem para chegar a uma formulação de uma tipologia metalinguística. A partir dessa tipologia, são analisadas poesias de Augusto de Campos, que foram eleitas por sua capacidade de representar um conjunto de poemas com características semelhantes. A hipótese que move as análises é a de que há um movimento de expansão metalinguística, orientada pela tipologia, ao longo da obra de Augusto de Campos. Ela possuiria uma relação com as escolhas da instância da enunciação, ou seja, as marcas enunciativas, omitidas e reveladas no discurso de Augusto de Campos, produziriam uma concentração ou uma expansão de seu campo metalinguístico. Essa tensão, metalinguística, é observada pelo viés da semiótica tensiva desenvolvida por Claude Zilberberg (2011). Desse modo, pelo uso da semiótica, como ferramenta de análise, é possível verificar os mecanismos operados na construção do sentido, na metalinguagem da poesia visual de Augusto de Campos. Porém, além de focar o uso da metalinguagem, esse trabalho tem como objetivo mostrar a engenhosidade linguística dos textos poéticos do autor, pois entender como se desenvolve diacronicamente suas mudanças poéticas e atentar de forma sincrônica para seu labor linguístico se torna importante tanto para o desenvolvimento de uma tipologia recémformulada quanto para a apreensão de uma obra tão inventiva. / By attending to the works of Rastier (1976) and Pietroforte (2011) on the metalanguage, it was observed, in the poetry of Augusto de Campos, an interesting object of research on the subject. It is investigated how does the metalanguage in the course of his work, since from the concrete poetry, the author made several changes in his poetry, which invests heavily in providing a rich metalanguage research material. The investigation begins by establishing a system of discursive themes developed by Rastier, then promoted a reflection on the metalanguage to reach a metalinguistic formulation of a typology. From this typology, we analyze the poetry of Augusto de Campos, who were elected by their ability to represent a set of poems, with similar characteristics. The hypothesis that drives the analysis is that there is a movement of expansion metalinguistic, guided by the typology, along the work of Augusto de Campos. It possess a relationship with the enunciative choices omitted and revealed in the discourse of Augusto de Campos producing a merger or an expansion of its field metalinguistic. This tension, metalinguistic, is anchored in tensive semiotics developed by Claude Zilberberg (2011). With the use of semiotics as a tool of analysis, it is possible to verify the mechanisms operated in the construction of meaning in the metalanguage of visual poetry of Augusto de Campos, but in addition to focusing on the use of metalanguage, this paper aims to show the linguistic ingenuity of the poetic texts of the author, because understanding how it develops its changes diachronically poetic, metalinguistic via thematic, and look synchronously language for his labor becomes important for the development of a typology newly formulated also for the apprehension of a work so inventive.

Ao atentar para os trabalhos de François Rastier (1976) e Antonio Vicente Pietroforte (2011) sobre a metalinguagem, observou-se, na poesia de Augusto de Campos, um interessante objeto de pesquisa sobre o assunto. Assim, é investigado como se dá a metalinguagem no decurso de sua obra, já que desde o concretismo o autor promoveu diversas mudanças em sua poesia, que investe massivamente na metalinguagem, proporcionando um rico material de pesquisa. A investigação se inicia pelo estabelecimento de uma sistemática das temáticas discursivas desenvolvidos por Rastier, em seguida, é promovida uma reflexão sobre a metalinguagem para chegar a uma formulação de uma tipologia metalinguística. A partir dessa tipologia, são analisadas poesias de Augusto de Campos, que foram eleitas por sua capacidade de representar um conjunto de poemas com características semelhantes. A hipótese que move as análises é a de que há um movimento de expansão metalinguística, orientada pela tipologia, ao longo da obra de Augusto de Campos. Ela possuiria uma relação com as escolhas da instância da enunciação, ou seja, as marcas enunciativas, omitidas e reveladas no discurso de Augusto de Campos, produziriam uma concentração ou uma expansão de seu campo metalinguístico. Essa tensão, metalinguística, é observada pelo viés da semiótica tensiva desenvolvida por Claude Zilberberg (2011). Desse modo, pelo uso da semiótica, como ferramenta de análise, é possível verificar os mecanismos operados na construção do sentido, na metalinguagem da poesia visual de Augusto de Campos. Porém, além de focar o uso da metalinguagem, esse trabalho tem como objetivo mostrar a engenhosidade linguística dos textos poéticos do autor, pois entender como se desenvolve diacronicamente suas mudanças poéticas e atentar de forma sincrônica para seu labor linguístico se torna importante tanto para o desenvolvimento de uma tipologia recémformulada quanto para a apreensão de uma obra tão inventiva. / By attending to the works of Rastier (1976) and Pietroforte (2011) on the metalanguage, it was observed, in the poetry of Augusto de Campos, an interesting object of research on the subject. It is investigated how does the metalanguage in the course of his work, since from the concrete poetry, the author made several changes in his poetry, which invests heavily in providing a rich metalanguage research material. The investigation begins by establishing a system of discursive themes developed by Rastier, then promoted a reflection on the metalanguage to reach a metalinguistic formulation of a typology. From this typology, we analyze the poetry of Augusto de Campos, who were elected by their ability to represent a set of poems, with similar characteristics. The hypothesis that drives the analysis is that there is a movement of expansion metalinguistic, guided by the typology, along the work of Augusto de Campos. It possess a relationship with the enunciative choices omitted and revealed in the discourse of Augusto de Campos producing a merger or an expansion of its field metalinguistic. This tension, metalinguistic, is anchored in tensive semiotics developed by Claude Zilberberg (2011). With the use of semiotics as a tool of analysis, it is possible to verify the mechanisms operated in the construction of meaning in the metalanguage of visual poetry of Augusto de Campos, but in addition to focusing on the use of metalanguage, this paper aims to show the linguistic ingenuity of the poetic texts of the author, because understanding how it develops its changes diachronically poetic, metalinguistic via thematic, and look synchronously language for his labor becomes important for the development of a typology newly formulated also for the apprehension of a work so inventive.

Birth Cage is a trilingual and genre-bending approach to poetry. It is a postmodernist blend of visual and concrete poetry inspired by Deconstructivist architecture. Through different languages and voices, Birth Cage investigates the evolution of an individual. The transformation of a body, the search for home and the need to communicate are themes in the journey of a fragmented self towards unity. With a visual and linguistic emphasis on the idea of borders and access, various possible reading paths are related to the immigrant experience of a new culture. Language is treated as a cultural construct shaping the self as it defines the experience of space, on pages or in material space surrounding us. The idea of the self as architecture is a poetic reflection on living space, whether that is body, building or city. Architecture’s double-coding is present as a metaphor and followed in the visual formats which further question the graphic possibilities of words. The different languages and shifting visual elements allow a multifaceted reading experience that is a playful challenge for the reader. As a hybrid book, Birth Cage is a multidisciplinary approach to poetry and a blueprint for a cognitive architecture.

Studying the diverse, experimental, and unconventional work—particularly poetry—of Canadian writer bpNichol requires a better understanding of the material characteristics he used to give his writing unique significance. Nichol’s poems call for a plurality of new analytical methods, since traditional editorial and critical approaches often overlook the importance of materiality. This thesis presents three different approaches to critically considering Nichol’s work and highlighting its material aspects: comparing Nichol’s poetry to Dada aesthetics, examining multiple versions of individual poems using genetic criticism, and looking at the changes and similarities between print and digital material characteristics from the even wider perspective of media archaeology. Additionally, the benefits of a digital edition are argued in relation to all three editorial approaches, as digital presentation augments the focus on the materiality that is so integral to reading Nichol.

This electronic version was submitted by the student author. The certified thesis is available in the Institute Archives and Special Collections. / Thesis: M.S.V.S., Massachusetts Institute of Technology, Department of Architecture, 1980 / Includes bibliographical references (p. 43-44). / Poetry is one of the oldest forms of communication. The poet is interested in finding new ways of expressing universal truths. Science and technology also are looking for new ways to communicate universal truths. Through the use of the computer and other technologies language can be transformed, so that it can be perceived as well as read. / by Joan K. Shafran. / M.S.V.S. / M.S.V.S. Massachusetts Institute of Technology, Department of Architecture

This thesis examines concrete poetry in England and Scotland from 1962 to 1975. Through the 1950s-70s, international concrete poetry evolved away from constructivist influenced, “classical” ideals of minimalism and iconic visual effect towards principles owing more to Dadaism and Futurism: spontaneity, maximalism, sonority and an emphasis on intermedial expression. Against this backdrop, using close textual analysis supported by primary research, I engage with four poets whose work collectively exemplifies the wide range of values which concrete poetry represented in England and Scotland during the period in question. A movement away from classical ideals can be tracked across the oeuvres of Finlay, Morgan, Houédard and Cobbing; but many aspects of their work cannot be accounted for by this general rubric. Finlay saw concrete poetry as a means of casting off Scottish literary tradition, but also of embodying an immutable vision of aesthetic and ethical order, using a marriage of the visual and linguistic to emphasise links between disparate ideas and things. However, his restless reconfiguration of poetry’s visual-physical aspects ultimately resulted in a re-separation of word and image which, together with an increasing historical-mindedness, ended his attachment to the style. Morgan, by contrast, used concrete poetry to redefine rather than repel Scottish literary culture, and was a more context-focused poet, using concrete grammar – whose sonic possibilities he exploited more than Finlay – to depict specific communicative scenarios, and thus to register ethical and political imperatives, often reflecting Scottish nationalist ideals. The emphasis on semantics common to Morgan and Finlay’s work, reflecting relative fidelity to classical principles, is overridden in Houédard’s concrete poetry, which came to employ a grammar of abstract visual motifs in which linguistic meaning was subsumed, related as much to apophatic theology as to classical concrete. For Cobbing too, concrete became a means of evading language, in his case to access a transcendent realm of “intermedial” poetry equally related to language’s sonic and visual dimensions, and influenced by various contemporary artforms, and by counter-cultural ideals. However, Cobbing’s emphasis on performing poems, and the reintegration of semantics into his work throughout this period, led by the early 1970s to an alternative poetic ideal of relativity.