2024-03-29T05:41:51Z
https://rivisteclueb.it/index.php/rilune/oai
oai:ojs.pkp.sfu.ca:article/1
2013-09-26T16:02:26Z
rilune:ART
v2
https://rivisteclueb.it/index.php/rilune/article/view/1
2013-09-26T16:02:26Z
RILUNE Review of Literature of the European Union
Vol. 8
Présentation
Monti, Enrico; Università di Bologna
2013-09-20
fr_CA
Les premiéres descriptions systematiques de l’écriture chinoise paraissent en Europe à partir de la deuxième moitié du XVIe siècle et elles soulignent le caractère «universel» des idéogrammes; dans ces derniers on entreverrait en effet la «naturalité» de la langue parfaite, la langue universelle prébabelique.
oai:ojs.pkp.sfu.ca:article/2
2013-09-26T16:02:26Z
rilune:ART
v2
https://rivisteclueb.it/index.php/rilune/article/view/2
2013-09-26T16:02:26Z
RILUNE Review of Literature of the European Union
Vol. 8
About Ideography and its Implications in Poetry
Lapacherie, Jean-Gérard; Université de Pau
2013-09-20
fr_CA
Ideography was born in writing, although it largely overcomes these boundaries. Ideography is related to texts, which, once printed, are not homogeneous in either signs or formatting. They may be composed of signs of different languages. Ideography has the same power that poetry is supposed to have: can words written according to the ideographic rules have a grasp on the things of the world, besides simply representing them? These implications are apparent in the passionate criticism that ideography received in linguistics, and, if we are to provide a coherent overview of this issue, ideography needs to be thought beyond the frames of modern linguistics, recovering the old linguistics from the 18th and 19th century, the works of printers and typographers from the 19th century, and also considering the crisis that poetic language underwent at the end of the 19th century, to which ideography provided an answer.Keywords: ideography; typography; history of writing; linguistics
oai:ojs.pkp.sfu.ca:article/3
2013-09-26T16:02:26Z
rilune:ART
v2
https://rivisteclueb.it/index.php/rilune/article/view/3
2013-09-26T16:02:26Z
RILUNE Review of Literature of the European Union
Vol. 8
Three Spanish Ultraist Poets
Bohn, Willard; Illinois State University
2013-09-23
en_US
The Ultraist movement flourished in Spain from 1919 to 1921. This article examines visual poetry composed by three individuals, who differed widely in their approaches to this fascinating genre. Depicting an imaginary villa, the design created by Pedro Raida was essentially realistic. Containing eight visual analogies, Andrés Nimero’s poem retraced the route taken by a streetcar in Seville. By contrast Eliodoro Puche’s composition utilized a single visual analogy, which was juxtaposed with a surprising metaphor.Keywords: Ultraism; visual poetry; Raida, Pedro; Nimero, Andrés; Puche, Eliodoro
oai:ojs.pkp.sfu.ca:article/4
2013-09-26T16:02:26Z
rilune:ART
v2
https://rivisteclueb.it/index.php/rilune/article/view/4
2013-09-26T16:02:26Z
RILUNE Review of Literature of the European Union
Vol. 8
The Avant-garde calligram’s Reception in Spain: The Discourse of the New and the Sentimental Past
Thaidigsmann, Jaime Barón; Université Bordeaux-3
2013-09-23
en_US
The matrix of the present in Apollinaire’s calligram does not exclude sentimental and Symbolist subjects. However, its reception in Spain, together with that of Futurism, tends to play this down, emphasizing a discourse of the New that precludes the ancienne musique. Nevertheless, this unilateral strategy reveals connections with the literary past. In contrast, Larrea’s calligrams («Estanque», «Sed») make use of sentimental figurations, which become the polemic historic content of the calligramatic action, and propose a modernity in dialogue with literary history.Keywords: calligram; Apollinaire, Guillaume; Larrea, Juan; Ultraism; literary history
oai:ojs.pkp.sfu.ca:article/5
2013-09-26T16:02:26Z
rilune:ART
v2
https://rivisteclueb.it/index.php/rilune/article/view/5
2013-09-26T16:02:26Z
RILUNE Review of Literature of the European Union
Vol. 8
Reading within the Lines: Henri Michaux and the Chinese Art of Writing
D. K. Yee, Cordell; St. John's College (Annapolis, Maryland)
2013-09-24
Michaux Henri
ideogram
writing
poetics
artistic media
en_US
Linguistic theory since the early twentieth century has been marked by a split in response to Chinese writing. In linguistics writing has often been regarded as parasitic on speech, an effort to represent the spoken word. In the area of poetics the response has been somewhat different. Ezra Pound, for example, found a structural method for constructing meaning in the composition of Chinese characters. Similar features interested Henri Michaux early in his career, but later Chinese graphs came to have extralinguistic significance. The locus of meaning for Michaux shifted from sign to line. Chinese writing helped Michaux to recover what had been lost in Western writing as a result of the modernization of textual production. The result is the need for a revision in interpretive practice. Interpreting a text becomes not a matter of reading between the lines, but within the lines.
oai:ojs.pkp.sfu.ca:article/7
2013-10-08T16:19:30Z
rilune:ART
v2
https://rivisteclueb.it/index.php/rilune/article/view/7
2013-10-08T16:19:30Z
RILUNE Review of Literature of the European Union
Vol. 8
Between Text and Image, East and West: Henri Michaux’s Signs and Christian Dotremont’s «Logogrammes»
Parish, Nina; Bath University
2013-10-08
Michaux
Henri
Dotremont
Christian
Logogrammes
signs
ideograms
en_US
From their material manifestation on the page or canvas, it is evident that Henri Michaux’s signs and Christian Dotremont’s «logogrammes» are influenced by ideographic forms and calligraphy. Like many artists and writers, both Michaux and Dotremont were interested in this signifying system, which functions in a radically different manner to the Western alphabetic system. Many practitioners, although mesmerised by the formal aesthetic qualities of the ideogram, had little or no knowledge of how this signifying system actually worked. In this article, the reasons behind Michaux’s and Dotremont’s attraction to the creative possibilities offered by the ideogram and their respective appropriations of it will be analysed.
oai:ojs.pkp.sfu.ca:article/8
2013-10-08T16:35:28Z
rilune:ART
v2
https://rivisteclueb.it/index.php/rilune/article/view/8
2013-10-08T16:35:28Z
RILUNE Review of Literature of the European Union
Vol. 8
BILD-DING-GEDICHTE: Mörike - C. F. Meyer - Nietzsche - Rilke - Morgenstern
Bloch, Peter André; Université de Haute-Alsace
2013-10-08
German lyrical poetry
representation
subjectivity
form
en_US
This essay sets out to highlight problems and possibilities arising in some German lyrical poets, within the frame of the European traditions and the different poetical conceptions of the 20th century. Already by the end of the 19th century, Mörike et Meyer practised poetical meditation: they described the energy of artistic creation in order to show the polyvalent relations among word, form and meaning. In a few poems, Nietzsche tried to show the tension between the perspective of the external world and the virtual fullness of the creative moment; so did Rilke, who tried to represent the great, troubling complexity of his vision of the real world, calling upon his memories, his aesthetical reflection, and the objectivising force of his imagination. Morgenstern parodied the illusory appearance of the concrete world playing, in a humourous way, on the first and figurative meanings of the words, as well as on the ambiguity of all apparently plausible definitions.
oai:ojs.pkp.sfu.ca:article/9
2013-10-08T16:52:23Z
rilune:ART
v2
https://rivisteclueb.it/index.php/rilune/article/view/9
2013-10-08T16:52:23Z
RILUNE Review of Literature of the European Union
Vol. 8
“Il ne peut pas être tout dans une seule langue”: La Poésie et le langage “verbivocovisuel” chez Joyce et Pound
Sabatini, Federico; Università di Torino
2013-10-08
musique
visuel
art
phonétique
étymologie
en_US
Cette étude analyse la relation entre musique, langage verbal et langage visuel dans les innovations littéraires de Joyce et Pound. Les deux auteurs préconisaient une nouvelle conception de poésie, une nouvelle façon de décrire le temps et l’espace dans leurs aspects fragmentés de simultanéité et de juxtaposition. On met en relation certains des premiers poèmes de Pound avec Chamber Music de Joyce, en soulignant la combinaison de melopoeia, phanopoeia et logopoeia qui trouve son écho naturel dans la catégorie du «verbivocovisual» chez Joyce. Enfin, la technique idéogrammatique de Pound, dérivée des idéogrammes chinois, est comparée à la méthode étymologique de Joyce, puisque les deux sont utilisées pour accomplir ce que Joyce appelait une concreation, et Pound un compendius, de significations et de cultures.
oai:ojs.pkp.sfu.ca:article/10
2013-10-09T12:03:17Z
rilune:ART
v2
https://rivisteclueb.it/index.php/rilune/article/view/10
2013-10-09T12:03:17Z
RILUNE Review of Literature of the European Union
Vol. 8
The Orientation Principle: Surrealism and Poetry
Bazin, Laurent; Université de Versailles-Saint-Quentin
2013-10-09
surrealism
ideography
poetry
sign
symbol
fr_CA
In its quest for new forms capable of reinventing the relation between world and language, Surrealism (conceived as a movement beyond the differences among its members) sought in the dialogue between text and image new interactions towards a regenerated symbolisation. Thus it recovered older codes, in particular ideography, which provided both a conceptual and an aesthetical model, orienting its choices of representation. This essay sets out to retrace the history of that encounter, investigating the theoretical and poetical activity of the movement in search of any signs of the influence that ideograms – notably Chinese ideograms – had on the artistic avant-gardes at the beginning of the twentieth century.
oai:ojs.pkp.sfu.ca:article/11
2013-10-09T12:16:18Z
rilune:ART
v2
https://rivisteclueb.it/index.php/rilune/article/view/11
2013-10-09T12:16:18Z
RILUNE Review of Literature of the European Union
Vol. 8
Ideogrammaticity in <em>Stèles</em> and Plasticity in <em>Cent Phrases pour éventails</em>
Yongda, Yin; Université de Pau
2013-10-09
ideogrammaticity
plasticity
gestuality
Claudel
Paul
Segalen
Victor
fr_CA
Chinese ideograms have two main properties. The first one, which consists mainly in the structurality, the dynamism and the rationality of Chinese ideograms, may be named “ideogrammaticity”, while the second one, grouping together palpable or visual effects of the ideogrammatic structure and movement that the ideogrammatic structure needs and produces, may be called “plasticity”. This essay sets out to analyze how these two properties emerge from Victor Segalen’s Stèles and Paul Claudel’s Cent Phrases pour éventails. In Stèles the first property is prominent, while in Cent Phrases pour éventails the second property is more apparent.
oai:ojs.pkp.sfu.ca:article/12
2013-10-09T12:50:42Z
rilune:ART
v2
https://rivisteclueb.it/index.php/rilune/article/view/12
2013-10-09T12:50:42Z
RILUNE Review of Literature of the European Union
Vol. 8
The Ideographic Poetry of Pierre Albert-Birot
Simon-Oikawa, Marianne; Université de Tokyo
2013-10-09
Albert-Birot
Pierre
visual poetry
ideography
fr_CA
A pioneer of French visual poetry, Pierre Albert-Birot (1876-1967) discovered the word «ideogram», which was a synonym for «calligram» to him, through his relations with Apollinaire. He liked the term, and wrote himself «ideogrammatic poems» for a short period, before giving up. Yet, the ideogram was not mere fancy to him. Even though he abandoned the word itself, he did not dismiss the principles of the ideogram itself. The paper discusses the forms and the meanings of the ideogram in the works of a poet who was not interested in the Chinese writing as such, but found an original way, under other names and inside the alphabetic system itself, to go back to the very principles of the ideogram as a form of visual writing.