Abstract
This paper deals with a vital aspect of literature, called visual / written space,
which we mean: the exterior visual side of the poem, the way distributing lines, the
distribution of writing blocks, punctuations, etc. It was somewhat a neglected aspect by
both poets and critics alike, but modern techniques have provided an opportunity to the
aesthetic and semantic recruitment through various printing arts. Punctuations no longer
are just signs to show poses or acoustic contexts, but have became indications of
interpretive semantics in the structure of the text. The same thing has turned with the
distribution of the writing between whiteness and blackness. The Point became an
indication of different connotations, as if they are time courses or subtle arguments or
undeclared complement. More than that, some poets have gone far enough in making
the written forms as expressive methods in order to create a visual poem, to be seen by
the eye, moving away of their audio / temporal job, towards a visual/ place text. The last
idea is another matter, as our research focuses on the visual space in its audio center,
which is implicit visual power in the text with out optical advertence. So, we chose the
neutral model deliberately to prove the theory of our approach that emphasizes
importance of visual form and connotations and inspirations.
which we mean: the exterior visual side of the poem, the way distributing lines, the
distribution of writing blocks, punctuations, etc. It was somewhat a neglected aspect by
both poets and critics alike, but modern techniques have provided an opportunity to the
aesthetic and semantic recruitment through various printing arts. Punctuations no longer
are just signs to show poses or acoustic contexts, but have became indications of
interpretive semantics in the structure of the text. The same thing has turned with the
distribution of the writing between whiteness and blackness. The Point became an
indication of different connotations, as if they are time courses or subtle arguments or
undeclared complement. More than that, some poets have gone far enough in making
the written forms as expressive methods in order to create a visual poem, to be seen by
the eye, moving away of their audio / temporal job, towards a visual/ place text. The last
idea is another matter, as our research focuses on the visual space in its audio center,
which is implicit visual power in the text with out optical advertence. So, we chose the
neutral model deliberately to prove the theory of our approach that emphasizes
importance of visual form and connotations and inspirations.
Abstract
يتناول البحث جانبا حيويا من جوانب، وهو الفضاء الكتابي/ البصري، ونعني به : الشكل الخارجي المرئي للقصيدة، طريقة توزيع الاسطر، توزيع كتل الكتابة، علامات الترقيم من نقاط وفوارز وعلامات استفهام وتعجب واقواس وما الى ذلك، وهو جانب كان مهملا نوعا ما من لدن الشعراء والنقاد على حد سواء، الا ان التقنيات الحديثة قد وفرت فرصة للتوظيف الجمالي والدلالي من خلال فنون الطباعة المختلفة، ولم تعد علامات الترقيم مجرد علامات تبين الوقفات او السياقات الصوتية، انما اصبحت ذات دلالات تأويلية في بنية النص، كذلك توزيع الكتابة بين البياض والسواد، فالنقاط اصبحت تضضمر دلالات مختلفة، كأن تكون دورات زمنية او مقولات خفية او تتمات غير معلنة، وقد ذهب بعض الشعراء الى ابعد من ذلك باتخاذهم الاشكال الكتابية اساليب تعبيرية لخلق قصيدة بصرية، ترى بالعين، مبتعدين بالشعر عن وظيفته السمعية/ الزمانية، باتجاه نص بصري/مكاني، وهذا موضوع اخر، اذ انصب بحثنا هذا على الفضاء البصري في محوره السمعي، اي الطاقة المضمرة في النص من دون قصد بصري، لذلك تعمدنا اختيار انموذج محايد لاثبات مقاربتنا النظرية التي تؤكد اهمية الشكل البصري ودلالاته وايحاءاته.