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Poetics Today (2018) 39 (2): 319–335.
Published: 01 June 2018
... begins to happen. The article concludes with David Annwn’s proposal of new categories of ekphrasis. Copyright © 2018 by Porter Institute for Poetics and Semiotics 2018 intermediality intersemiotic calligraphy Bibliography Aguiar Daniella Joao Queiroz , 2009 , “ Towards...
Poetics Today (2019) 40 (2): 189–213.
Published: 01 June 2019
... . Art as History: Calligraphy and Painting as One . Princeton, NJ : Princeton University Press . Forceville Charles . 2009 . “ Non-verbal and Multimodal Metaphor in a Cognitivist Framework: Agendas for Research .” In Multimodal Metaphor , edited by Forceville Charles Urios-Aparisi...
Poetics Today (2000) 21 (1): 187–220.
Published: 01 March 2000
... in Minneapolis in October of The author thanks the members of the audience and several readers, particularly Alicia Ostriker and Miriam Bartha, for their comments. Excerpts from ‘‘Jacket’’ and ‘‘On the Calligraphy of Black Chant’’ are from Roberson...
Poetics Today (2001) 22 (1): 25–39.
Published: 01 March 2001
..., and then, by extension, for the composite of variables that served to dis- tinguish the calligraphy of one scribe from that of another. Whatever the case, my topic is not the size of the feature, but rather that constellation of features, both small and large, which serve to identify a given stylist. I shall call...
Poetics Today (2005) 26 (3): 459–498.
Published: 01 September 2005
..., whether it concerns poetry, drama, ﬁction, painting, calligraphy, or other arts. This can be more clearly seen in the poetic theories by later scholars than Liu Xie. In Xie Zhen’s (AD 1495–1575) poetic theory, for example, both aspects lucidly emerge. In a discussion of the relationship between poetry...
Poetics Today (2004) 25 (3): 465–495.
Published: 01 September 2004
... Takahashi, quoting Beckett in the panel discussion Beckett and the Twentieth Century (see note 5). Berensmeyer • Samuel Beckett’s Laws of Form 471 Figure 1 Calligraphy by Yamada Mumon (1900–1988), poem by Seitetsu (four- teenth century): ‘‘cloudless / moonless / bare...
Poetics Today (2001) 22 (3): 551–605.
Published: 01 September 2001
... staﬀcontaining the musical sequence is bent into a circular shape and set, in golden ink, against a background colored the deep blue of the sky. Wind spirits blowing from the four sides of the page into the notes indicate the entry of the four voices, while the calligraphy ﬁtted into the circle reveals...