Discusses a new poetic language invented in 1983 based on innovative use of the holographic medium. Defines what a holopoem is and explains the fundamental concepts of holopoetics. Introduces theoretical principles that address the new readerly experience created by the holotext. Provides a descriptive list of all holopoems created to date. (PA)

Examines the relationship of concrete poetry to "abstract" poetry (so labeled because its circular semantic play interferes with the image-forming aspect of representation). Analyzes the interrelations of these two types of poetry in the context of a poetic tradition centered in France. Asserts that both types aim to eradicate differences between…

Examines the role of visual form in the free verse of Robert Creeley, Charles Olson, William Carlos Williams, and Louis Zukofsky. Argues that this functional approach, entailing careful attention to how visual form affects the experience of printed poems, can contribute toward developing the "theory of graphic prosody" called for by John…

Examines how eighteenth-century critics treated the visual format of traditional verse as a determinant in readers' appreciation of form and meaning. Explores correspondences between eighteenth-century work and modern criticism. Argues that twentieth-century appreciations of the visual format of verse are limited by their concentration upon more…

Uses the author's poems to illustrate the interrelationships among a poem's rhythm, lineation, and syntax. (MM)

Discusses the Fluxus revolution in literary expression during which the tradition of letters was challenged through erasure of the separation of the verbal from other forms of expression and through the rejection of the passive role of the reader. Distinguishes Fluxus works from Concrete Poetry, one of their direct precursors. (RS)

Suggests that a poetic writing of traits, inviting readers to seek meaning in a poem's visual form, rests on a myth of the portrait in which marks of a written language are drawn directly from nature. (DF)

Examines how literary criticism exploits and marginalizes the poem as printed artifact. Argues that the author-centered, phonocentric premise of close reading neutralizes spatial dynamics and reduces material identity to the status of a transparent medium. Suggests that appreciation of silent visual form is a convention of post modernist writing.…