Görsel-Yazınsal Eser Olarak Şiir

Yıl 2024, Cilt: 41 Sayı: 2, 676 - 690, 30.12.2024

Memet Metin Barlık , Merve Betül Görmez

https://doi.org/10.32600/huefd.1411738

Öz

Geleneksel söz-dizim kurallarını en aza indirgeyerek gelişmiş görsel yöntemlerle okuyucuya hitap eden ‘görsel şiir,’ edebi ve görsel sanat dalları arasındaki iletişim ve etkileşimi özgürleştiren bir tarz olarak tanımlanmaktadır. Şiirde, belirli bir temanın görselliğini ön plana çıkaran bir yaklaşım ve hassasiyetle zemine yansıtılması öncü (avant-garde) gelenekle ortaya çıkan önemli bir yeniliktir. Şiirin yazıldığı zemin üzerindeki ‘etkisiz’ alanı etkinleştiren ‘görsel şiir,’ şairin yetisel ve anlatı dilini kullanmadaki ustalığının yansıması olan yapısal, teknik ve semantik niteliklerin bir kenara bırakılarak, tercih edilen temanın, basılı, çizilmiş veya boyanmış bir görsellikle okuyucuya sunulmasını hedefler. Bu anlamda ‘görsel şiir’, minimalist yansımalar ve neo-barok çizimler gibi anlatı ve kompozisyon stratejilerinin tüm repertuarından yararlanarak şiir diline yeni bir yöntem kazandırır. Bu çalışma, Amerikan şiirinde 20. yüzyılın başlarından itibaren ortaya çıkan görsel şiiri incelemeyi ve görselliğin şiir diline olası katkılarını irdelemeyi amaçlamaktadır.

Anahtar Kelimeler

Görsel şiir, görsel şiirin eleştiri ilkeleri, resimsel şiir

Poetry as Visual-Literary Work

Öz

Visual Poetry, which appeals to the reader with advanced visual methods by minimizing traditional syntax rules, is defined as a school that liberates communication and interaction between literary and visual arts. This important innovation, which emerged with the avant-garde tradition, aims to reflect a certain theme on a space with such an approach and sensitivity that brings visuality to a poem. The feature of activating the ‘inactive’ area on the ground on which the Visual Poetry is written, allows the preferred theme to be presented to the reader with a printed, drawn, or painted image, leaving aside the structural, technical, and semantic qualities that the poet gained from his mastery in using his talent and expressive language. In this sense, Visual Poetry brings a new method to the language of poetry by making use of the entire repertoire of narrative and compositional strategies such as minimalist reflections and neo-baroque drawings. This study aims to examine the Visual Poetry that has emerged in American poetry since the beginning of the twentieth century and to examine the possible contributions of visuality to the language of poetry.

Anahtar Kelimeler

Visual poetry, principles of visual criticism in poetry, pictorial poetry

Kaynakça

• Adorno, T. W. (1984). Aesthetic theory. Routledge.
• Altieri, C. (2006). The art of twentieth-century American Poetry: modernism and after. Blackwell Publishing.
• Baldick, C. (2001). The concise Oxford dictionary of literary terms. Oxford University Press.
• Bohn, W. (1990). Theory and practice of visual poetry. Neohelicon, 17(2), 229-237.
• Bohn, W. (2011). Reading Visual Poetry. Fairleigh Dickinson University Press.
• Boylan, A L. (2020). Visual culture MIT Press.
• Bradford, R. (1993). A linguistic history of English Poetry. Routledge.
• Bradford, R. (1993). The look of it: a theory of visual form in English Poetry. Cork University Press.
• Birch, D. (1989). Language, literature and critical practice. Routledge.
• Bürger, P. (1984). Theory of the Avant-Garde (M. Shaw, Trans.). University of Minnesota Press.
• Alexander C. M. S. (2004). Shakespeare and language. Cambridge University Press.
• Clüver, C., Engelberts, M., & Plesch, V. (Eds.). (2015). The imaginary: Word and image. Brill Rodopi.
• Conrad, P. (1928). Visual Poetry. Poetry, 32(2) 112-114.
• Creeley, R. (Ed.) (1966). Selected writings of Charles Olson. New Directions.
• Davidson, I. (2004) Visual poetry as performance. Performance Research: A Journal of the Performing Arts, 9(2), 99-107.
• Eagleton, T. (1996). Literary theory: an introduction. Blackwell Publishing.
• Pound, E. (1954). The Later Yeats. In Eliot,T. S. (Ed.). Literary Essays (p. 380). New Directions.
• Foster, H. (1988). Vision and visuality. Bay Press.
• Fredman, S. (2020). American poetry as transactional art. The University of Alabama Press.
• Haselstein, U., Ostendorf, B., & Schneck, P. (Eds.) (2003). Iconographies of power: the politics and poetics of visual representation. Universitatsverlag Winter GmbH.
• Heidegger, M. (1971). Poetry, language, thought (A. Hofstadter, Trans.). Harper Perennial.
• Hobbs, S. D. (1997). The end of the American avant-garde. New York University Press.
• Hickman, B. (2015). Crisis and the US avant-garde: poetry and real politics. Edinburgh University Press.
• Higgins, D. (1987). Pattern poetry: guide to an unknown literature. State University of New York.
• Hjartarson, B. (2019). A cultural history of the avant-garde in the Nordic countries 1925-1950. Brill Rodopi.
• Huyssen, A. (1986). After the great divide: modernism, mass culture, postmodernism. Indiana University Press.
• Israel-Pelletier, A. (2012). Rimbaud’s impressionist poetics vision and visuality. University of Wales Press.
• Jeffries, L. (1993). The language of twentieth-century poetry. Macmillan Press Ltd.
• Kostelanetz, R. (2019). A dictionary of the avant-gardes. Routledge.
• Lord, A. B. (1991). Epic singers and oral tradition. Cornell University Press.
• MacGowan, C. (2004). Twentieth-century American poetry. Blackwell Publishing.
• Mirzoeff, N. (2011). The right to look: A counterhistory of visuality. Duke University Press.
• Moraru, C. (1998). Topos/typos/tropos: Visual strategies and the mapping of space in Charles Olson’s poetry. Word & Image. I4(3), 253-266.
• Morgan, A. L. (2016). Historical dictionary of contemporary art. Rowman & Littlefield.
• Perloff, M. (1991). Radical artifice: writing poetry in the age of media. The University of Chicago Press.
• Polkinhorn, H. (1993). Visual poetry. Visible Language, 27(4), 391-493.
• Porter, D., & Gamer, M. (2008). Lyrical ballads: 1798 and 1800 William Wordsworth and Samuel Coleridge. Broadview Press.
• Robinson, D. (2010). William Wordsworth's poetry: a reader’s guide. Continuum.
• Sackner, R. (1986). The Avant-Garde Book: Precursor of Concrete and Visual Poetry and the Artist's Book. The Journal of Decorative and Propaganda Arts, 2(Summer - Autumn, 1986), 60-77.
• Sayre, M. H. (1983). The visual text of William Carlos Williams. University of Illinois Press.
• Shawcross, J. (ed.) (1907). Biographia literaria. Oxford University Press.
• Welsh, A. (1978). Roots of lyric primitive poetry and modern poetics. Princeton University Press.
• Zhilyaev, A. (2015). Avant-garde museology. V-A-C Foundation, University of Minnesota Press.