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Visual poetics: Meaning space from ...

Prohm, Alan.

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Visual poetics: Meaning space from Mallarme to "Metalheart" (Stephane Mallarme, France, David Arnold).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Visual poetics: Meaning space from Mallarme to "Metalheart" (Stephane Mallarme, France, David Arnold)./
Author:	Prohm, Alan.
Description:	166 p.
Notes:	Source: Dissertation Abstracts International, Volume: 65-09, Section: A, page: 3375.
Contained By:	Dissertation Abstracts International65-09A.
Subject:	Literature, Comparative. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3145600
ISBN:	0496045989

Visual poetics: Meaning space from Mallarme to "Metalheart" (Stephane Mallarme, France, David Arnold).
Prohm, Alan.

Visual poetics: Meaning space from Mallarme to "Metalheart" (Stephane Mallarme, France, David Arnold). - 166 p.

Source: Dissertation Abstracts International, Volume: 65-09, Section: A, page: 3375.

Thesis (Ph.D.)--Stanford University, 2004.

This project develops a theory of visual poetries in terms of the perceptual and technological resources at their disposal, in particular elaborating the potentials of spatiality as a body-referent language resource for meaning and poetry. The first chapter examines Mallarme's spatialization of the poetic text in Un coup de des (1897) as the effective starting point of modern visual poetry; it exposes the formulaic poetics of its visual design, and situates Mallarme's visual practice in relation to his literary metaphysics. The second chapter examines the graphic design artists of Metalheart (2001) as culminating a century of integrating the media, and spatializing the design idioms of text design. The third chapter confronts "visual poetics" as a conceptual challenge, examines a book by David Arnold, Situations (1984), as a case study concerning spatial reading, and finally lays out a basic empirical aparatus (attention tracking) for addressing the experiential questions of visual (poetic) meaning making on phenomenological grounds, and suggests the beginnings of a reception theory for visual and spatial poetries based on the notion of the wandering viewpoint. While circumventing 20th Century visual poetry as the actual literary historical corpus that this theory is meant to serve, the project aims to reframe discussion of visual poetry in two principal directions: expanding the medial scope of the work considered, and grounding theoretical discussion in a theory of experience, one that sees semiosis as continuous with perception.

ISBN: 0496045989Subjects--Topical Terms:

530051
Literature, Comparative.

Visual poetics: Meaning space from Mallarme to "Metalheart" (Stephane Mallarme, France, David Arnold).
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245 1 0 $a Visual poetics: Meaning space from Mallarme to "Metalheart" (Stephane Mallarme, France, David Arnold).
300 $a 166 p.
500 $a Source: Dissertation Abstracts International, Volume: 65-09, Section: A, page: 3375.
500 $a Adviser: Hans Ulrich Gumbrecht.
502 $a Thesis (Ph.D.)--Stanford University, 2004.
520 $a This project develops a theory of visual poetries in terms of the perceptual and technological resources at their disposal, in particular elaborating the potentials of spatiality as a body-referent language resource for meaning and poetry. The first chapter examines Mallarme's spatialization of the poetic text in Un coup de des (1897) as the effective starting point of modern visual poetry; it exposes the formulaic poetics of its visual design, and situates Mallarme's visual practice in relation to his literary metaphysics. The second chapter examines the graphic design artists of Metalheart (2001) as culminating a century of integrating the media, and spatializing the design idioms of text design. The third chapter confronts "visual poetics" as a conceptual challenge, examines a book by David Arnold, Situations (1984), as a case study concerning spatial reading, and finally lays out a basic empirical aparatus (attention tracking) for addressing the experiential questions of visual (poetic) meaning making on phenomenological grounds, and suggests the beginnings of a reception theory for visual and spatial poetries based on the notion of the wandering viewpoint. While circumventing 20th Century visual poetry as the actual literary historical corpus that this theory is meant to serve, the project aims to reframe discussion of visual poetry in two principal directions: expanding the medial scope of the work considered, and grounding theoretical discussion in a theory of experience, one that sees semiosis as continuous with perception.
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650 4 $a Literature, Comparative. $3 530051
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650 4 $a Design and Decorative Arts. $3 1024640
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710 2 0 $a Stanford University. $3 754827
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