Research Article
BibTex RIS Cite

GÖRSEL ŞİİR: AVAN GART ŞİİRDE BURJUVA ESTETİĞİN YIKIMI

Year 2020, Issue: 2020 Sonbahar Özel Sayı I/I, 93 - 99, 23.10.2020

Abstract

Bazen somut şiir ya da desen şiiri olarak da adlandırılan görsel şiir, en eski şiir türlerinden birisidir. Cizvit desenlerinden kaligrafik Çin metinlerine kadar uzanan tarihsel bir arkaplanda kendine yer bulan görsel şiir şairlere dil ve biçimi eğip bükerek denemeler yapma imkanı sağlamış ve kendilerine ait bir dil oluşturmalarına olanak sağlamıştır. Aynı zamanda, görsel şiir sanatçı ile okuru arasında daha önce eşi görülmemiş, kendiliğinden oluşan ve samimi bir bağ kurulmasına yardımcı olur. Burjuvanın öngördüğü ve dayattığı normların sanatı hayattan koparttığı ve kitleleri özgün sanatın üretim ve tüketim süreçlerine yabancılaştıran bu çağda böyle bir bağın kurulmasının elzem olduğu inkar edilemez. Görsel şiir farklı biçimleri, kalıpları ve dilsel yapıları bir araya getirir, böylelikle şiir tek bir görsel imgeye dönüşür ve okuyucuyu anlamın yaratılması sürecine dahil olmaya zorlar. Bu bağlamda, bu makale görsel şiirin, ve daha geniş bir çerçevede avantgart sanatın, burjuva estetiği normları ve değerlerini nasıl dönüştürdüğü ve ne ölçüde sanatın politik yönünü ve gündelik hayatın pratik yönlerini bir araya getirebildiği Avrupa avantgart akımları ve Amerika’da avantgardın gelişimi açısından değerlendirmeyi amaçlamaktadır

References

  • Works Cited Anesko, Michael. (1995) “Recent Critical Approaches”. The Cambridge Companion to American Realism and Naturalism: From Howells to London. Cambridge UP. p. 77-94
  • Baldick, Chris. (2014).Criticism and Literary Theory 1890 to the Present. Routledge.
  • Benjamin, Walter, (1999). “The Author as Producer”. Selected Writings V2 Part2. Ed. Michael W. Jennings, Howard Eiland, and Gary Smith. The Belknap Press Of Harvard UP. p. 768-782
  • Benjamin, Walter. (2019). Illuminations: Essays and Reflections. Houghton Mifflin Harcourt.
  • Bernstein.Charles. (1998). “Introduction”. Close Listening: Poetry and the Performed Word. Ed. Charles Bernstein. Oxford UP. 3-28
  • Bohn, Willard. (2001). Modern Visual Poetry. University of Delaware Press.
  • Bourdieu, Pierre. (1993). The Field of Cultural Production: Essays on Art and Literature. Columbia UP.
  • Bruns,Gerald L. (2005). The Material of Poetry: Sketches for a Philosophical Poetics V1. University of Georgia Press.
  • Bürger, Peter.(1984). Theory of the Avantgarde. Manchester UP.
  • Cook, Geoffrey (1979). “Visual Poetry As a Molting”. Precisely, 3/4. 141
  • Davidson, Ian (2004). Visual Poetry as Performance, Performance Research, 9:2, 99-107, DOI: 10.1080/13528165.2004.10872020
  • Denning, Michael. (1986). "’The Special American Conditions’: Marxism and American Studies”. American Quarterly, 38(3), 356-380. doi:10.2307/2712672
  • Derrida, Jacques. (1973). Speech and Phenomena, and Other Essays on Husserl's Theory of Signs. Northwestern UP.
  • Drucker, Johanna. (1998): “Visual Performance of the Poetic Text”. Close Listening: Poetry and the Performed Word. Ed. Charles Bernstein. Oxford UP. 131-161
  • Elleström, Lars. (2016). “Visual Iconicity in Poetry”. Orbis Litter, 71: 437-472. doi:10.1111/oli.12112
  • Greene, Roland. (1992). “The Concrete Historical”. Harvard Library Bulletin 3 (2), Summer 1992: 9-18.
  • Habermas, J., & Ben-Habib, S. (1981). “Modernity versus Postmodernity”. New German Critique, (22), 3-14. doi:10.2307/487859
  • Hassan, I.H. (2001). “From Postmodernism to Postmodernity: The Local/Global Context”. Philosophy and Literature 25(1), 1-13. doi:10.1353/phl.2001.0011.
  • Higgins, Dick (1987). Pattern Poetry: Guide to an Unknown Literature. State University of New York Press.
  • Hobbs, Stuart D. (2000) The End of the American Avant-garde. NYU Press.
  • Huisman, Rosemarry. (1998). The Written Poem: Semiotic Conventions from Old to Modern English. A&C Black.
  • Huyssen, A. (1984). “Mapping the Postmodern”. New German Critique, (33), 5-52. doi:10.2307/488352
  • Kostelanetz, Richard. (1979). Visual Literature Criticism: A New Collection. Southern Illinois UP.
  • Leitch, Vincent. B. (1989). American Literary Criticism from the 30’s to the 80’s. Columbia UP:
  • Martinez, Andrew (1993). “A Mixed Reception for Modernism: The 1913 Armory Show at the Art Institute of Chicago”. Art Institute of Chicago Museum Studies, 19(1), 31-105. doi:10.2307/4108763
  • Murphy, Richard. (1999). Theorizing the Avant-Garde: Modernism, Expressionism, and the Problem of Postmodernity. Cambridge UP.
  • Nelson, Carry (1989). Repression and Recovery: Modern American Poetry and the Politics of Cultural Memory, 1910-1945. University of Wisconsin Press.
  • Paz, Octavia.(2009) “Signs in Rotation”. The Bow and the Lyre: The Poem, The Poetic Revelation, Poetry and History. University of Texas Press. 233-262
  • Perloff, Marjorie. (2005). “Avant-Garde Tradition and Individual Talent: The Case of Language Poetry”. Revue Française d’études Américaines (no 103). 117-141 https://www.cairn.info/revue-francaise-d-etudes-americaines-2005-1-page-117.htm#
  • Perloff, Marjorie. (1998). “After Free Verse”. Poetry On and Off the Page: Essays for Emergent Occasions. Northwestern UP. 141-167
  • Polkinhorn, Harry. (1993a). “Introduction”. Visual Poetry: An International Anthology-Special Issue. Visible Language V27 N4 Autumn 390-393.
  • Polkinhorn, Harry. (1993b). “Visual Poetry in the US”. Visual Poetry: An International Anthology-Special Issue. Visible Language V27 N4 Autumn 482-493.
  • Solt, Mary Ellen. (1968). “New Visual Poetry”. Concrete Poetry: A World View. Indiana UP. http://www.ubu.com/papers/solt/new_vis_po.html
  • Volosinov, V.N. Marxism and The Philosopy of Language. Harvard UP.
  • Wiseman, Marry Bittner. (1990). “Photographs: Primitive and Postmodern” After the Future: Postmodern Times and Places. Ed. Gary Shapiro SUNY Press. 17-40.
  • Zafirovski, Milan. (2007). The Protestant Ethic and the Spirit of Authoritarianism: Puritanism, Democracy, and Society. Springer Science & Business Media.

VISUAL POETRY SUBVERSION OF BOURGEOIS AESTHETICS IN AVANTGARDE POETICS

Year 2020, Issue: 2020 Sonbahar Özel Sayı I/I, 93 - 99, 23.10.2020

Abstract

Visual poetry, sometimes named as concrete poetry or pattern poetry, has been one of the oldest genres in poetry. Ranging from Jesuit and Chinese calligraphic design to modern-avantgarde and contemporary media design, visual poetry inspired poets to experiment with language and form and provided a unique opportunity to create their own language. It also ensured an unprecedented, instant and intimate communication between the artist and the audience in an age when bourgeois ideology separated art from life and alienated the masses to the production and consumption processes of authentic art. Visual poetry assembles forms, frames, and linguistic structures so that the poem itself becomes one single visual sign and urges the reader to engage in the creation of meaning. This study , in this regard, will discuss how visual poetry, and avant-garde art in general, served to radically transform the norms and values of bourgeois aesthetics and to what extent it enabled to reunite politics of art and practicality of everyday life with particular references to European avant-garde as well as American avant-garde

References

  • Works Cited Anesko, Michael. (1995) “Recent Critical Approaches”. The Cambridge Companion to American Realism and Naturalism: From Howells to London. Cambridge UP. p. 77-94
  • Baldick, Chris. (2014).Criticism and Literary Theory 1890 to the Present. Routledge.
  • Benjamin, Walter, (1999). “The Author as Producer”. Selected Writings V2 Part2. Ed. Michael W. Jennings, Howard Eiland, and Gary Smith. The Belknap Press Of Harvard UP. p. 768-782
  • Benjamin, Walter. (2019). Illuminations: Essays and Reflections. Houghton Mifflin Harcourt.
  • Bernstein.Charles. (1998). “Introduction”. Close Listening: Poetry and the Performed Word. Ed. Charles Bernstein. Oxford UP. 3-28
  • Bohn, Willard. (2001). Modern Visual Poetry. University of Delaware Press.
  • Bourdieu, Pierre. (1993). The Field of Cultural Production: Essays on Art and Literature. Columbia UP.
  • Bruns,Gerald L. (2005). The Material of Poetry: Sketches for a Philosophical Poetics V1. University of Georgia Press.
  • Bürger, Peter.(1984). Theory of the Avantgarde. Manchester UP.
  • Cook, Geoffrey (1979). “Visual Poetry As a Molting”. Precisely, 3/4. 141
  • Davidson, Ian (2004). Visual Poetry as Performance, Performance Research, 9:2, 99-107, DOI: 10.1080/13528165.2004.10872020
  • Denning, Michael. (1986). "’The Special American Conditions’: Marxism and American Studies”. American Quarterly, 38(3), 356-380. doi:10.2307/2712672
  • Derrida, Jacques. (1973). Speech and Phenomena, and Other Essays on Husserl's Theory of Signs. Northwestern UP.
  • Drucker, Johanna. (1998): “Visual Performance of the Poetic Text”. Close Listening: Poetry and the Performed Word. Ed. Charles Bernstein. Oxford UP. 131-161
  • Elleström, Lars. (2016). “Visual Iconicity in Poetry”. Orbis Litter, 71: 437-472. doi:10.1111/oli.12112
  • Greene, Roland. (1992). “The Concrete Historical”. Harvard Library Bulletin 3 (2), Summer 1992: 9-18.
  • Habermas, J., & Ben-Habib, S. (1981). “Modernity versus Postmodernity”. New German Critique, (22), 3-14. doi:10.2307/487859
  • Hassan, I.H. (2001). “From Postmodernism to Postmodernity: The Local/Global Context”. Philosophy and Literature 25(1), 1-13. doi:10.1353/phl.2001.0011.
  • Higgins, Dick (1987). Pattern Poetry: Guide to an Unknown Literature. State University of New York Press.
  • Hobbs, Stuart D. (2000) The End of the American Avant-garde. NYU Press.
  • Huisman, Rosemarry. (1998). The Written Poem: Semiotic Conventions from Old to Modern English. A&C Black.
  • Huyssen, A. (1984). “Mapping the Postmodern”. New German Critique, (33), 5-52. doi:10.2307/488352
  • Kostelanetz, Richard. (1979). Visual Literature Criticism: A New Collection. Southern Illinois UP.
  • Leitch, Vincent. B. (1989). American Literary Criticism from the 30’s to the 80’s. Columbia UP:
  • Martinez, Andrew (1993). “A Mixed Reception for Modernism: The 1913 Armory Show at the Art Institute of Chicago”. Art Institute of Chicago Museum Studies, 19(1), 31-105. doi:10.2307/4108763
  • Murphy, Richard. (1999). Theorizing the Avant-Garde: Modernism, Expressionism, and the Problem of Postmodernity. Cambridge UP.
  • Nelson, Carry (1989). Repression and Recovery: Modern American Poetry and the Politics of Cultural Memory, 1910-1945. University of Wisconsin Press.
  • Paz, Octavia.(2009) “Signs in Rotation”. The Bow and the Lyre: The Poem, The Poetic Revelation, Poetry and History. University of Texas Press. 233-262
  • Perloff, Marjorie. (2005). “Avant-Garde Tradition and Individual Talent: The Case of Language Poetry”. Revue Française d’études Américaines (no 103). 117-141 https://www.cairn.info/revue-francaise-d-etudes-americaines-2005-1-page-117.htm#
  • Perloff, Marjorie. (1998). “After Free Verse”. Poetry On and Off the Page: Essays for Emergent Occasions. Northwestern UP. 141-167
  • Polkinhorn, Harry. (1993a). “Introduction”. Visual Poetry: An International Anthology-Special Issue. Visible Language V27 N4 Autumn 390-393.
  • Polkinhorn, Harry. (1993b). “Visual Poetry in the US”. Visual Poetry: An International Anthology-Special Issue. Visible Language V27 N4 Autumn 482-493.
  • Solt, Mary Ellen. (1968). “New Visual Poetry”. Concrete Poetry: A World View. Indiana UP. http://www.ubu.com/papers/solt/new_vis_po.html
  • Volosinov, V.N. Marxism and The Philosopy of Language. Harvard UP.
  • Wiseman, Marry Bittner. (1990). “Photographs: Primitive and Postmodern” After the Future: Postmodern Times and Places. Ed. Gary Shapiro SUNY Press. 17-40.
  • Zafirovski, Milan. (2007). The Protestant Ethic and the Spirit of Authoritarianism: Puritanism, Democracy, and Society. Springer Science & Business Media.
There are 36 citations in total.

Details

Primary Language English
Journal Section Articles
Authors

Murat Göç 0000-0002-4299-1776

Publication Date October 23, 2020
Submission Date July 18, 2020
Acceptance Date August 25, 2020
Published in Issue Year 2020 Issue: 2020 Sonbahar Özel Sayı I/I

Cite

APA Göç, M. (2020). VISUAL POETRY SUBVERSION OF BOURGEOIS AESTHETICS IN AVANTGARDE POETICS. Sosyal Bilimler Araştırmaları Dergisi(2020 Sonbahar Özel Sayı I/I), 93-99.
AMA Göç M. VISUAL POETRY SUBVERSION OF BOURGEOIS AESTHETICS IN AVANTGARDE POETICS. JSSR. October 2020;(2020 Sonbahar Özel Sayı I/I):93-99.
Chicago Göç, Murat. “VISUAL POETRY SUBVERSION OF BOURGEOIS AESTHETICS IN AVANTGARDE POETICS”. Sosyal Bilimler Araştırmaları Dergisi, no. 2020 Sonbahar Özel Sayı I/I (October 2020): 93-99.
EndNote Göç M (October 1, 2020) VISUAL POETRY SUBVERSION OF BOURGEOIS AESTHETICS IN AVANTGARDE POETICS. Sosyal Bilimler Araştırmaları Dergisi 2020 Sonbahar Özel Sayı I/I 93–99.
IEEE M. Göç, “VISUAL POETRY SUBVERSION OF BOURGEOIS AESTHETICS IN AVANTGARDE POETICS”, JSSR, no. 2020 Sonbahar Özel Sayı I/I, pp. 93–99, October 2020.
ISNAD Göç, Murat. “VISUAL POETRY SUBVERSION OF BOURGEOIS AESTHETICS IN AVANTGARDE POETICS”. Sosyal Bilimler Araştırmaları Dergisi 2020 Sonbahar Özel Sayı I/I (October 2020), 93-99.
JAMA Göç M. VISUAL POETRY SUBVERSION OF BOURGEOIS AESTHETICS IN AVANTGARDE POETICS. JSSR. 2020;:93–99.
MLA Göç, Murat. “VISUAL POETRY SUBVERSION OF BOURGEOIS AESTHETICS IN AVANTGARDE POETICS”. Sosyal Bilimler Araştırmaları Dergisi, no. 2020 Sonbahar Özel Sayı I/I, 2020, pp. 93-99.
Vancouver Göç M. VISUAL POETRY SUBVERSION OF BOURGEOIS AESTHETICS IN AVANTGARDE POETICS. JSSR. 2020(2020 Sonbahar Özel Sayı I/I):93-9.


Creative Commons Lisansı
Bu eser Creative Commons Atıf 4.0 Uluslararası Lisansı ile lisanslanmıştır.