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The Written Poem: Semiotic Conventions from Old to Modern English

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Overview

This text discusses the visual and graphic conventions in contemporary poetry in English. It defines contemporary poetry and its historical construction as a "seen object" and uses literary and social theory of the 1990s to facilitate the study. In examining how a poem is recognized, the interpretive conventions for reading it and how the spacial arrangement on the page is meaningful for contemporary poetry, the text takes examples from individual poems. There is also a focus on changes in manuscript conventions from Old to Middle English poetry and the change from a social to a personal understanding of poetic meaning from the late 18th through the 19th century.

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Editorial Reviews

Booknews
Huisman (English, U. of Sydney) draws on current literary and social theory to examine contemporary poetry and its historical construction as a seen object. She considers the use of graphic, visual conventions in contemporary English poetry and the strategies for recognizing and interpreting it, then explores such questions as the origin of the line as the primary generic sign of poetry, how the potential for seen rather than spoken meaning emerges, and the comparatively late significance of print for poetic discourse. Annotation c. by Book News, Inc., Portland, Or.
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Product Details

  • ISBN-13: 9780304707348
  • Publisher: Bloomsbury Academic
  • Publication date: 1/1/1999
  • Pages: 192
  • Product dimensions: 6.36 (w) x 9.22 (h) x 0.64 (d)

Meet the Author

Rosemary Huisman is senior lecturer in English and head of Semiotics at the University of Sydney.

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Table of Contents

Acknowledgements
Introduction 1
Ch. 1 Poetic Discourse and Genre 7
Ch. 2 The Seen Poem and Its Semiosis 33
Ch. 3 The Semiotic of Art and Music 41
Ch. 4 The Semiotic of the Body 58
Ch. 5 The Semiotic of Language 70
Ch. 6 The Origin of the English Line, 1100-1300 99
Ch. 7 The Transition to a Literate Subject, 1500-1800 127
Ch. 8 The Reading Subject and the Writing Subject, 1800-1990 143
Epilogue: The Postmodern Subject and the New Media Poem 160
Bibliography 167
Index 179
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