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Trans-pictives: Image as cognitive ...

Mickle, Mildred R.

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Trans-pictives: Image as cognitive medium in African American poetry.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Trans-pictives: Image as cognitive medium in African American poetry./
Author:	Mickle, Mildred R.
Description:	260 p.
Notes:	Source: Dissertation Abstracts International, Volume: 63-03, Section: A, page: 0946.
Contained By:	Dissertation Abstracts International63-03A.
Subject:	Literature, American. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3047040
ISBN:	049361012X

Trans-pictives: Image as cognitive medium in African American poetry.
Mickle, Mildred R.

Trans-pictives: Image as cognitive medium in African American poetry. - 260 p.

Source: Dissertation Abstracts International, Volume: 63-03, Section: A, page: 0946.

Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 2002.

This dissertation examines the trans-pictive process by analyzing specific trans-pictives of transportation, sculpture/art, shelter, and color in poems by Yusef Komunyakaa, Robert Hayden, Rita Dove, Angela Jackson, Carolyn Rodgers, Jaki Shelton Green, Gwendolyn Brooks, and Anne Spencer. Trans-pictives can be applied to any type of poetry; however, this project will focus only on African American poetry. Trans-pictives are what the combined power of catalytic imagery and the reader's imagination can do. They are images in a poem that describe and initiate a creative act involving the imagination of the reader. As such, they have the potential to spark questions in the reader's mind about levels of agency and set him/her on a path of critical engagement within the geographic and temporal spaces of the poem that can be potentially transformative for the reader. Trans-pictives of transportation in Yusef Komunyakaa's "Fog Galleon," Robert Hayden's "Middle Passage," and Rita Dove's Thomas and Beulah can be viewed as vehicles that assist the human mind in traversing difficult historical questions and events, harsh geographical regions, or heart-wrenching emotional territory. Trans-pictives of sculpture in Angela Jackson's "Carve/n" and Carolyn Rodgers' "Breakthrough" enable the reader to engage the temporal, emotional, and physical face of the poem. Trans-pictives that sculpt are figurations of art, manipulations of punctuation, capital and lower case letters, and art imagery that can be interpreted by both the reader and the author to be artwork that illustrates points of consciousness, history, and emotion. Trans-pictives of shelter in Jaki Shelton Green's "Masks," Gwendolyn Brooks' "In the Mecca;" Gwendolyn Brooks' "the mother", and Rita Dove's "Geometry" enable the reader to author concepts that harbor the human frame. And as figurations of the colors black, white and green, trans-pictives of color demonstrate how people have used color to (mis)shape and displace the figurative and physical human form. Perhaps in engaging trans-pictives, readers and scholars may devise other ways to read black poetry or any other type of poetry written by non-blacks.

ISBN: 049361012XSubjects--Topical Terms:

1017657
Literature, American.

Trans-pictives: Image as cognitive medium in African American poetry.
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245 1 0 $a Trans-pictives: Image as cognitive medium in African American poetry.
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500 $a Source: Dissertation Abstracts International, Volume: 63-03, Section: A, page: 0946.
500 $a Adviser: Trudier Harris-Lopez.
502 $a Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 2002.
520 $a This dissertation examines the trans-pictive process by analyzing specific trans-pictives of transportation, sculpture/art, shelter, and color in poems by Yusef Komunyakaa, Robert Hayden, Rita Dove, Angela Jackson, Carolyn Rodgers, Jaki Shelton Green, Gwendolyn Brooks, and Anne Spencer. Trans-pictives can be applied to any type of poetry; however, this project will focus only on African American poetry. Trans-pictives are what the combined power of catalytic imagery and the reader's imagination can do. They are images in a poem that describe and initiate a creative act involving the imagination of the reader. As such, they have the potential to spark questions in the reader's mind about levels of agency and set him/her on a path of critical engagement within the geographic and temporal spaces of the poem that can be potentially transformative for the reader. Trans-pictives of transportation in Yusef Komunyakaa's "Fog Galleon," Robert Hayden's "Middle Passage," and Rita Dove's Thomas and Beulah can be viewed as vehicles that assist the human mind in traversing difficult historical questions and events, harsh geographical regions, or heart-wrenching emotional territory. Trans-pictives of sculpture in Angela Jackson's "Carve/n" and Carolyn Rodgers' "Breakthrough" enable the reader to engage the temporal, emotional, and physical face of the poem. Trans-pictives that sculpt are figurations of art, manipulations of punctuation, capital and lower case letters, and art imagery that can be interpreted by both the reader and the author to be artwork that illustrates points of consciousness, history, and emotion. Trans-pictives of shelter in Jaki Shelton Green's "Masks," Gwendolyn Brooks' "In the Mecca;" Gwendolyn Brooks' "the mother", and Rita Dove's "Geometry" enable the reader to author concepts that harbor the human frame. And as figurations of the colors black, white and green, trans-pictives of color demonstrate how people have used color to (mis)shape and displace the figurative and physical human form. Perhaps in engaging trans-pictives, readers and scholars may devise other ways to read black poetry or any other type of poetry written by non-blacks.
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773 0 $t Dissertation Abstracts International $g 63-03A.
790 1 0 $a Harris-Lopez, Trudier, $e advisor
790 $a 0153
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