Argument
After Stéphane Mallarmé transformed the page into “a poetic category” and made the poem itself into a “specific organization of silence” (Dessons 2001), Guillaume Apollinaire dreamed in L’Esprit nouveau et les poètes (1917) of a “synthesis of the arts, of music, painting and literature” (quoted in Bertrand 2002), of an ideal renewal of language incarnated in part in the lyrical ideogram. Does not visual poetry, which we can define as “poetry meant to be seen” (Bohn 1986, 2), respond to this invitation?
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