This study aims at clarifying and defining the development of visual poetry movement through the term, postmodernism. Moreover, it tries to focus on the major features of postmodernism applied in some modern visual poems written or designed by contemporary and modern visual poets. These features are iconoclasm, groundlessness, formlessness, populism, intertextuality (pastiche), hyper reality, and techno-culture. Then, it moves to give a detailed account of the features of post-postmodernism in the genre, especially in Fluxes visual poems which are also known as performance poems.
Table of Contents
1. Introduction
2. Defining Visual poetry
3. A Postmodern Reading of Visual Poetry
3.1 Intertextuality (pastiche)
3.2 Hyper reality and Techno-culture
3.3 Iconoclasm
3.4 Formlessness
3.5 Populism
3.6 Groundlessness
3.7 Postmodernism decadence and the appearance of post-post modernism
4. Conclusion
Objectives and Topics
This work aims to clarify the development of the visual poetry movement through the lens of postmodernism, investigating how contemporary visual poets utilize various artistic techniques to transcend traditional textual boundaries. It examines how poetry adapts to a digital and fragmented society by incorporating visual and multimedia elements, ultimately positioning visual poetry as a multi-cultural, adaptive movement that survives by embracing postmodern sensibilities.
- The transition from traditional literature to the intermedia form of visual poetry.
- Key postmodern features applied to visual poems, including iconoclasm, groundlessness, and formlessness.
- The relationship between visual poetry, modern technology, and the concepts of hyper-reality and techno-culture.
- The role of intertextuality and pastiche in shaping modern visual poetic expression.
- The influence of avant-garde movements and the emergence of post-postmodern performance poetry.
Auszug aus dem Buch
Iconoclasm
Iconoclasm, in general, can be defined as the deliberate destruction within a culture of the culture's own religious icons and other symbols or monuments (Betracchini 33). However, iconoclasm has another literary term, which keeps the characteristics of the general term. In literature, iconoclasm is defined as the deliberate destruction of all traditional forms, themes, and structures of the literary works. Dario Gamboni highlighted the French symbolist writer, Alfred Jarry's quotation about iconoclasm in the cover of his book, The Destruction of Art: Iconoclasm and Vandalism since the French Revolution to give the reader a clue about the main purpose and effect of iconoclasm:
We shall not have demolished everything unless we demolish even the ruins! Now I cannot think of another way than making beautiful, well arranged buildings out of them. (Jarry, qtd. in Gamboni 1)
Then, Gamboni adds:
As has been noticed by those few authors who have dealt at some length with iconoclasm, the destruction of art is a subject that most art historians prefer to ignore: Louis Reau saw it as a kind of taboo; Peter Moritz Pickshaus as a ‘none-theme'. David Freedberg, who considered that ‘in this case lack of interest is the same repression', explained that this was because iconoclasm ‘sears away any lingering notion that we may still have of the possibility of an idealistic or internally formalist basis for the history of art', that is, the belief in an absolute autonomy of art (which, as we shall see, benefited much from iconoclasm). (13)
Summary of Chapters
Introduction: This chapter provides an overview of how poetry has evolved from romanticism to postmodernism and introduces visual poetry as an intermedia form that blends text with visual arts.
Defining Visual poetry: This section explores the definition of visual poetry as a medium meant to be seen rather than read, highlighting the use of spatial relations and visual arrangements.
A Postmodern Reading of Visual Poetry: This central chapter investigates the core features of postmodernism—such as iconoclasm, populism, and groundlessness—within the context of modern visual poetry.
Intertextuality (pastiche): This section analyzes how visual poetry shapes meaning through the integration of images and paintings, defining these elements as pastiche.
Hyper reality and Techno-culture: This chapter discusses the impact of modern technology and digital media on the emergence of hyper-reality as a major theme in contemporary visual poetry.
Iconoclasm: This chapter defines the deliberate destruction of traditional literary structures in visual poetry as a form of linguistic and artistic iconoclasm.
Formlessness: This section explains how visual poetry abandons traditional poetic structures, adopting a formless approach that prioritizes visual arrangement over standard rules.
Populism: This chapter explores how visual poetry incorporates elements of popular culture and everyday life to make the art form more accessible and democratic.
Groundlessness: This section addresses the absence of traditional fixed mediums in visual poetry, illustrating how it exists in an intermediate state between various art forms.
Postmodernism decadence and the appearance of post-post modernism: This chapter reflects on the limits of postmodernism and introduces the emergence of post-postmodern features in contemporary performance poetry.
Conclusion: This final section summarizes the study, reiterating that visual poetry is an essential, adaptive evolution of literature in the digital age.
Keywords
Anti-Poetry, Concrete Poetry, De-aestheticizing, Formlessness, Groundless, Iconoclasm, Minimalism, Pastiche, Populism, Post-Postmodernism, 3D Poetry, Electronic Poetry, Intertextuality, Postmodernism, Socio-culture
Frequently Asked Questions
What is the central focus of this work?
This study focuses on analyzing the visual poetry movement through the lens of postmodern theory, exploring how the genre destroys traditional literary boundaries to adapt to the digital age.
What are the primary themes discussed in the book?
The central themes include iconoclasm, formlessness, populism, intertextuality, groundlessness, and the impact of technology on poetic expression.
What is the main objective of the author?
The primary objective is to define the development of visual poetry as a modern, multi-cultural movement that maintains relevance by reflecting the chaotic and fragmented nature of contemporary society.
Which scientific methodology does the author employ?
The author uses a qualitative, analytical approach, examining historical and literary texts, avant-garde movements (like Fluxus and Futurism), and specific visual poetry examples to substantiate the postmodern reading of the genre.
What does the main body of the work cover?
The main body systematically explores how visual poets utilize techniques like word rearrangement, image integration, and multimedia to challenge conventional poetry, while mapping these techniques against postmodernist concepts.
Which keywords best characterize the research?
The research is best characterized by terms such as Concrete Poetry, Postmodernism, Iconoclasm, Pastiche, and Intertextuality.
How does the author define "Iconoclasm" within the literary context?
The author defines literary iconoclasm as the deliberate destruction of traditional forms, themes, and structures, intended to strip away idealistic or formalist expectations of art.
What is the distinction between "Visual Poetry" and "Concrete Poetry" according to the text?
While often used interchangeably, the text suggests that visual poetry is a broader category that incorporates various media and intermedia elements, whereas concrete poetry is often specific to the arrangement of words on a page.
How does modern technology contribute to the concept of "Groundlessness"?
Technology contributes to groundlessness because it removes the poem from the traditional "ground" of the paper page, allowing for digital, 3D, and intermedia representations that lack a fixed physical reference.
Why is "Populism" considered a feature of visual poetry?
Populism is considered a feature because visual poetry integrates popular visual materials, avoids elitist or overly complex linguistic structures, and aims to be accessible to a broader, modern audience.
- Citar trabajo
- Mahmoud Sokar (Autor), 2016, A Postmodern Reading of Visual Poetry, Múnich, GRIN Verlag, https://www.grin.com/document/535117
