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THE PROBLEM OF SO-CALLED CONCRETE POETRY

100%

Zweiffel M.

Pamiętnik Literacki

2006

vol. 97

issue 1

189-196

The starting point of the article is the claim that poetry is a linguistic expression of subjective relationship to some selected events. Reading a poetical work, a receiver finds something that is self-governed and that is more or less unique entity. This uniqueness, however, is heavily restricted by the linguistic medium of poetry. After all, the sender achieves the individual expression by the most individual realization of the most typical elements of language. Concrete poetry, as the author sees it, is an attempt to break the aforementioned rule: it does not aim at a mere individual set of types, but more at a unique pattern of concrete realizations, i.e. the vehicles of word. It is in this way that a word receives clarity of color and sound. The clarity in question could be closely connected with the meaning of the poem, strengthen it with its picture, or considerably weaken the representing character of speech.

REPETÍCIA A VARIÁCIA V STROJOPISNEJ KONKRÉTNEJ POÉZII MILANA ADAMČIAKA

51%

Šrank J.

Slovenská literatúra (Slovak Literature)

2024

vol. 71

issue 1

28 – 45

The contribution deals with the typewritten concrete poetry of the intermedia artist Milan Adamčiak (1946 – 2017), which was created in the second half of the 1960s. It focuses on two characteristic forms of concrete poetry: verbal and sentence constellations. It observes how the principle of seriality is applied to these text-image compositions. Seriality, as a key compositional and meaning-generating principle, is particularly associated with repetition and variation. In the context of verbal constellations, the article emphasizes the function of visual composition in dealing with a word extracted from linguistic syntax. In sentence constellations, it concentrates on the meta-critical function of these forms, specified in the form of a critique of language as a means of communication and an instrument of power. Adamčiak’s repetitive-variation manipulation of linguistic material represents the application of visual techniques to literary creation. The contribution also points out the intermedia character of Adamčiak’s concrete poetry, highlights its parallels and connections with Czech experimental poetry, and selectively considers the socio-political circumstances of the time.

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THE PROBLEM OF SO-CALLED CONCRETE POETRY

REPETÍCIA A VARIÁCIA V STROJOPISNEJ KONKRÉTNEJ POÉZII MILANA ADAMČIAKA