Visual poetry

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Visual poetry is a collective term for all types of poetry or poetry in which the visual presentation of a text is an essential element of the artistic conception. Visual poetry must be distinguished from calligraphy and typographic art forms, in which a new visual form is found for existing texts.

development

Hrabanus , dedication to Ludwig the Pious: highlighted versus intexti coincide with the figure of Ludwig

The technique of the figure poem (Greek technopaignion , Latin carmen figuratum ) comes from the Greek late antiquity , in which the text is designed in such a way that the arrangement of the letters and, if necessary, additional verses inscribed in the text as acrostic , mesostichon or telestichon ( versus intexti ) at the same time an object, e.g. B. an altar is represented figuratively, which is related to the content of the text. The Latin authors of the Middle Ages adopted this technique, Porfyrius and Venantius Fortunatus in patristic times, and then especially Hrabanus Maurus in Carolingian times , who wrote his 28 figure poems In Praise of the Cross ( De laudibus sanctae crucis ) at the same time a detailed commentary on the explanation of the structure and the symbolic numbers Foundations of the work attached. The Greek Middle Ages, on the one hand, take up the ancient form of techno-pegnion, on the other hand, it expands the Latin models and presents itself in so-called "cubes" and "woven verses".

At the time of the Baroque , the figure poem was revived and cultivated in Germany, especially in the shepherd poems of the Pegnesian Order of Flowers , and new combinations of image, word and writing were tried out in other genres (see symbol ). The poetics of the Enlightenment, on the other hand, which, in France in particular, Nicolas Boileau , propagates the poetic form not as a mistress but as a servant of thought, and also the poetics of sensitivity with its search for the immediacy of emotional expression represent such techniques that necessarily emphasize the character of the poem and also relate the content reflexively to it, under the verdict of the forced and artificial. In doing so, you have also given the position under which conservative literary historiography has tended to judge the figure poem and related techniques as aesthetically inferior since the 19th century.

In particular, self-referentiality and reflexivity form the point of contact for the avant-garde modernity since Mallarmé , who, in his poem Un coup de dés, illustrates the "shipwreck" and the path to the "abyss" addressed in the text by distributing the words on the pages their arrangement and typeface also take account of the syntactic and semantic polyvalences sought. The poets of Futurism , Dadaism and Surrealism continue this development, best known is Guillaume Apollinaire with his calligrams . One of the guiding intentions is to raise awareness of the unconscious or traditionally hidden materiality and writing of the poetry. In addition, there is already a fascination with the aleatoric and combinatory aspects of poetry, already given by Mallarmé, which was then also expressed in so-called potential literature such as the aleatoric sonnets by Raymond Queneau .

Encouraged by Eugen Gomringer and the poets of the Noigandres group from Brazil, a special interest in visual poetry arose within Concrete Poetry in the 1950s , which also led to the academic study of this topic and the inclusion of non-European traditions, in particular the Japanese "Shikakushi" ( Text for the eye) or "Shishi" (visual text), has promoted sustainably. In Austria, the Viennese group , founded in 1954, took up approaches from visual poetry.

The artists, whose works are counted as visual poetry today, mostly work in the border area between poetry and fine arts, e.g. B. Klaus Peter Dencker , Gerhard Rühm or, more recently, the visual artist Rupprecht Matthies , who in his word sculptures and “word portraits” also includes the viewer or client himself as a text supplier in the creation process. The work on “word images” that are designed with the help of the PC is also gaining in importance.

Visual poet

See also

Movie

  • Visual poetry. The way from poem to action. A production by Hessischer Rundfunk / Fernsehen, 30´, 1972. Script and direction: Klaus Peter Dencker
  • Visual poetry. Pictures to read and texts to look at. A production by Saarländischen Rundfunks / Fernsehen, 60´, 1985. Script and direction. Klaus Peter Dencker

literature

  • Jeremy Adler , Ulrich Ernst: Text as a figure. Visual poetry from ancient times to modern times. (= Exhibition catalogs of the Herzog August Library. Volume 56). 3. Edition. VCH, Acta Humaniora, Weinheim 1990, ISBN 3-527-17823-6 .
  • Willard Bohn: The Aesthetics of Visual Poetry, 1914–1928. Cambridge University Press, Cambridge et al. 1986, ISBN 0-521-30697-3 .
  • Theo Breuer: Visual Poetry & Mail Art in Japan . In: From the hinterland. Poetry after 2000 . Edition YE, Sistig / Eifel 2005, ISBN 3-87512-186-4 , pp. 289-300.
  • Theo Breuer (Ed.): Word rocket. Visual poetry. Anthology. edition bauwagen, Itzehoe 2002.
  • Safiye Can and Jürgen Krätzer (eds.): They hear . Take your word for it. Concrete and other forms of play of poetry 1 and 2. 271st and 272nd edition. Göttingen 2018, ISBN 978-3-8353-3280-5 / ISBN 978-3-8353-3378-9 .
  • Klaus Peter Dencker : Text-Images. Visual poetry international. From antiquity to the present (= DuMont documents ). DuMont-Schauberg, Cologne 1972, ISBN 3-7701-0664-4 .
  • Klaus Peter Dencker: Visual Poetry. A TV production by ARD / SR. Krüger Druck & Verlag, Dillingen / Saar 1984 (Ed. SR, Saarbrücken)
  • Klaus Peter Dencker: Visual Poetry from Japan. Verlag Neco Design Advertising / Ichiro Nakamura, Hamburg 1997, ISBN 3-00-001521-3 .
  • Klaus Peter Dencker: Visuelle Poesie 1. Verlag Bibliothek der Provinz, Weitra 2006, ISBN 3-85252-646-9 .
  • Klaus Peter Dencker: Optical Poetry. From the prehistoric characters to the digital experiments of the present. de Gruyter, Berlin et al. 2011, ISBN 978-3-11-021503-8 .
  • Klaus Peter Dencker: Visual poetry 2nd publishing house library of the province. Weitra / A 2015, ISBN 978-3-99028-526-8 .
  • Klaus Peter Dencker: Optical Poetry. In: Klaus Schenk, Anne Hultsch, Alice Stašková (eds.): Experimental poetry in Central Europe. Texts - contexts - material - space. Göttingen 2016, ISBN 978-3-8471-0364-6 , p. 17 ff.
  • Jochen Dubiel: Intermedial varieties of visual poetry. Attempt of a deductive analysis of potential text-image relations. Tectum-Verlag, Marburg 2004, ISBN 3-8288-8614-0 (also: Mainz, University, Master's thesis, 2003).
  • Ulrich Ernst: Carmen figuratum. History of the figure poem from its ancient origins to the end of the Middle Ages (= Pictura et Poesis. Volume 1). Böhlau, Cologne et al. 1991, ISBN 3-412-03589-0 .
  • Ulrich Ernst: Intermediality in the European cultural context. Contributions to the theory and history of visual poetry. (= General Literary Studies - Wuppertaler Schriften. Volume 4). Erich Schmidt, Berlin 2002, ISBN 3-503-06150-9 .
  • Michael Glasmeier (Ed.): Literally literally, literally literally. A collection of concrete and visual poetry from the sixties in the Nationalgalerie Berlin. Staatliche Museen Preussischer Kulturbesitz, Berlin 1987, ISBN 3-88609-209-7 .
  • Michael Glasmeier, Lucius Grisebach (Hrsg.): Literally Nürnberger Literal Days. Documentation of actions and lectures on the occasion of the exhibition “Literally Wörtlich - Literally Literally” in the Kunsthalle Nürnberg in June and July 1989. Verlag für moderne Kunst, Nürnberg 1990, ISBN 3-922531-77-6 .
  • Eugen Gomringer (ed.): Visual poetry. Anthology. (= Reclams Universal Library. No. 9351). Reclam, Stuttgart 1996, ISBN 3-15-009351-1 .
  • Dick Higgins : Pattern Poetry. Guide to an Unknown Literature. State University of New York Press, Albany NY 1987, ISBN 0-88706-413-2 , with two appendices: Herbert Franke : Chinese Patterned Texts. P. 211ff .; Kalānāth Jhā: Sanskrit Citrakāvyas and the Western Pattern Poems. P. 221ff.
  • Alex Marquardt, Thomas Deecke, Sigrid Steinigeweg (eds.): Languages ​​beyond poetry. Westphalian Art Association, Münster 1979.
  • Uwe Warnke (Ed.): Entwerter / Oder . No. 32, 1988, No. 37, 1989, No. 42, 1991, No. 49, 1992, No. 70, 1998. (All editions specifically on visual poetry)
  • Uwe Warnke (ed.): Visual poetry in / from the GDR. An anthology. (= Experimental texts. No. 23). Siegen 1990, ISSN  0178-7802 .
  • Uwe Warnke (ed.): Visual poetry. Kühlungsborn 1993.
  • Uwe Warnke (ed.): Visual poetry. A castle, a park, a lake and art. Rheinsberg 1997.
  • Michael Webster: Reading Visual Poetry after Futurism. Marinetti, Apollinaire, Schwitters, Cummings (= Literature and the Visual Arts. Volume 6). Lang, New York NY et al. 1995, ISBN 0-8204-1292-9 .
  • Emmett Williams (Ed.): An Anthology of Concrete Poetry. Something Else Press , New York NY et al. 1967.
  • Angelika Janz: TEXT PICTURE. Selected Works 1: Visual Works and Essays . With an introduction by Michael Gratz, freiraum-verlag, Greifswald 2012, ISBN 978-3-943672-09-1 .
  • Renaat Ramon: Vorm & Visie. Geschiedenis van de Concrete en Visuele Poëzie in Nederland en Vlaanderen. Poëziecentrum, Gent, 2014, ISBN 978-90-5655-085-1 .

Web links

Individual evidence

  1. ↑ Lilia Diamantopoulou: Lilia Diamantopoulou: Greek visual poetry. From antiquity to the present. Studies on the history of Southeast Europe. In: Maria A. Stassinopoulou, Olga Katsiardi-Hering, Andreas E. Müller (Hrsg.): Studies on the history of Southeast Europe . No. 18 . Peter Lang Verlag, Frankfurt am Main / Berlin / Bern / Bruxelles / New York / Oxford / Vienna 2016, ISBN 978-3-631-69583-8 .