Concrete poetry

Concrete Poetry (Latin concretus " dense, firm ," Greek ποίησις ( poiesis ) - the seal ) refers to seal a particular approach to the language. The language is not the description of a situation, a thought or a mood, but it is itself the purpose and object of the poem. The language therefore arises dar. itself

Definition

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The Concrete poetry uses the phonetic, visual, and acoustic dimensions of language as a literary agent. This form of literature may want to refer only to their own resources: words, letters, or punctuation marks are removed from the context of the language and take the viewer "concrete", ie, standing for themselves against. This linguistic demonstration is supposed to be the antithesis of linguistic overstimulation. Language has "concrete poem" no longer referenced function. The method of concrete poetry is an anti- poetic meditation on the condition of the possibility of poetic design manner. There is no " poem about ", but only a reality of linguistic product itself.

History

The term concrete poetry comes from the fine arts, by Theo van Doesburg's journal Art concret (1930 ), after which the Concrete Art is named. As the concrete an image he described the picture elements of point, line, surface, color. This definition of "concrete" was transferred to poetry and photography. Regardless, Pierre Schaeffer coined the term musique concrète. Allen concrete art directions in common the release of the ( postulated ) is elements of the arts and their representation as a distinct reality.

Eugen Gomringer call from the verse to the constellation (1954 ) is considered the founding manifesto of concrete poetry, but the artist, art theorist and writer Öyvind had already come across the term.

The words are for Gomringer no longer a carrier of meaning, but they are (ie, seeing in question ) is used as a visual and phonetic design elements. This is to underline, or ironically with the graphical arrangement of the text in terms of content significance. The crucial poetic activity is the design, the new composition of the individual language elements. Gomringer calls his poems "Constellations ". This approach solves out words, letters, or punctuation from the context of language.

Many German -speaking representatives of concrete poetry belonged to the circle of the Vienna group and the Stuttgart group / school to Max Bense.

Game with the content meaning:

Cloud cloud cloud cloud cloud cloud cloud cloud cloud cloud cloud cloud cloud cloud cloud cloud B B L Lb I I l t z T T i Z Z tz

Brazil

In São Paulo, concrete poetry was largely independent of European developments in the context of the artist group Noigrandes: Augusto de Campos, Haroldo de Campos and Décio Pignatari however, appealed to the authority of the avant-garde of Mallarmé to James Joyce, Ezra Pound and EE Cummings. Important were the concrete painting, Piet Mondrian's Boogie - woogie Series and Alexander Calder's mobiles, Anton Webern Klangfarbenmelodie and Ezra Pound's theory of the ideogram with which he followed Ernest Fenollosa daring theory of Chinese character. Max Bill 1951 received the International Prize of the first Biennial of São Paulo and was on the jury two years later. When designer Pignatari looked at the Ulm School of Design in 1955, he met Max Bill's secretary Eugene Gomringer know.

In 1956/57, the First National Exhibition of Concrete Art in Sao Paulo and Rio de Janeiro was shown. 1958 published the manifesto Noigrandes Plano piloto para poesia concreta. The word should not be perceived as a mere carrier of meaning, but in its entirety. It should poetically as an artifact (the separation of signifier and signified should be repealed in poetry ).

The Concrete poetry led to a transformation of the Brazilian seal. However, there were already ahead of the military dictatorship (1964-1985) criticism of their ostensible indifference towards social events, especially the political left demanded instead a seal, which calls attention to the social ills in the country. Great influence developed concrete poetry to the artists of the Tropicalia ( Caetano Veloso, Gilberto Gil, Gal Costa, Chico Buarque, José Carlos Capinam, yards Macalé among others ) in the late 60s. The Tropicalia succeeded in overcoming the grave ideological struggles among the poets. At the same time the concrete poetry flowed in modern Brazilian music.

The Brazilian concrete poetry led especially since the 70's to become a graphic of the word renewal at all levels of society, their innovations were also used in advertising, as in the political propaganda. The influence of concrete poetry is felt to the present day, artists such as Arnaldo Antunes continue the tradition.

Presence

The funnel ( Christian Morgenstern 1905) Two funnels walk through the night. Through its body constricted shaft flowing white moonlight calm and serene on their forest road U.S. w.

( Reinhard Döhl 1965)

(Joseph Felix Ernst 2011)

(Wolfgang Lauter 1978)

Groups or " representatives " of concrete poetry, there are today no longer as in the past decades. In place of the groups very few individual representatives are entered, which - helped by the development of media and advertising - have become bolder in their designs and works. In place of rigid dogmas of creative literature (eg, concrete poetry exclusively represents himself represents ) is the play on the word and the letter came. It involves mainly

  • The game with meanings
  • The game with the spatial dimension of the font (eg different font sizes )
  • The game with the spatial positioning of the letters / words

There is now also the concept of " word picture" as the name for this language product - next to the label "visual" or " concrete " poetry. Gomringer has its museum, other representatives of this poetry anthologies have noticed made ​​(see E. Williams ), the development of the visual aspect in written language but continues. This speaks for its dynamics - even if it remains almost unnoticed in the literary world. Concrete poetry is the passion of the intellectuals among the poets. The times when great anthologies were published concrete poetry, seem to be over for now.

Poet concrete poetry

  • Friedrich Achleitner ( Austria )
  • Guillaume Apollinaire (France)
  • Alain Arias - Misson (Belgium )
  • H. C. Artmann ( Austria )
  • Carlo Belloli (Italy )
  • Max Bense (D)
  • Chris Bezzel (D)
  • Bill Bissett (Canada)
  • Carl Friedrich Claus (D)
  • Claus Bremer (D)
  • Joan Brossa (Catalonia )
  • Augusto de Campos (Brazil, Noigandres )
  • Haroldo de Campos (Brazil, Noigandres )
  • Henri Chopin ( France)
  • Caterina Davinio (Italy )
  • Paul de Vree (Belgium )
  • Reinhard Döhl (D)
  • Joseph Felix Ernst ( D)
  • Öyvind (Sweden)
  • Ian Hamilton Finlay (Scotland )
  • Heinz Gappmayr ( Austria )
  • Eugen Gomringer ( Switzerland )
  • Gullar Ferreira (Brazil )
  • Helmut Heißenbüttel (D)
  • Sylvester Houédard (England)
  • Ernst Jandl ( Austria )
  • Kitasono Katue (Japan)
  • Jiří Kolář (Czech Republic)
  • Ferdinand Kriwet (D)
  • Wolfgang Lauter ( D)
  • Jackson Mac Low (USA)
  • Kurt Marti ( Switzerland )
  • Kurt A. Mautz (D)
  • Hansjörg Mayer ( D)
  • Eugenio Miccini (Italy )
  • Franz Mon (D)
  • Edwin Morgan ( Scotland)
  • Christian Morgenstern ( D)
  • Niikuni Seiichi (Japan)
  • Tom Phillips ( England)
  • Décio Pignatari (Brazil, Noigandres )
  • Carl Frederik Reuterswärd (Sweden)
  • Diter Roth ( Switzerland )
  • Gerhard Ruhm ( Austria )
  • Konrad Balder Schäuffelen (D)
  • Siegfried J. Schmidt ( D)
  • Kurt Schwitters (D)
  • André Thomkins ( Switzerland )
  • Timm Ulrichs (D)
  • Wolf Wezel (D)
  • Emmett Williams ( USA)
  • Jonathan Williams ( poet ) (USA)
Lyric poetry Mobile (sculpture) Edwin Morgan (Poet) Dieter Roth Sound poetry Language-game (philosophy) Something Else Press Jeremy Adler
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