| Abstract [eng] |
This Master's thesis analyses the poetry collections of two contemporary Lithuanian concrete poets: Benediktas Januševičius's 0+6: eilėraščiai-daiktai (2006) and Tomas S. Butkus's Generuotos kalbos mutacija (2003) and Ežero žemė (2020). The thesis aims to reveal the expression of intermediality between image and language in contemporary concrete poetry, analysing the interaction between visuality and verbality and its impact on the perception of the reader-viewer. In order to define the notion of the visual and linguistic turn, reference is made to the monographs Iconology: Image, Text, Ideology (1997), and Picture Theory: Essays on Verbal and Visual Representation (1995), both by the literary and art historian William J. T. Mitchell. The monograph Vaizdinis posūkis: vaizdai, žodžiai, kūnai, žvilgsniai (2011) by the art historian Erika Grigoravičienė is also referenced. An intermedial approach enables the study of the synthesis of images and texts, and the study is therefore based on monographs by Irina Melnikova, a researcher in intertextuality and intermediality theory: Intertekstualumas: teorija ir praktika; studijų knyga (2003), Literatūros (inter)medialumo strofos, arba Žodis ir vaizdas (2016). The study also considers the classification of intermediality by Werner Wolff. The work is based on Umberto Eco's concept of the 'open work', which conceives of the poetic text as an open, dynamic semantic structure requiring the reader's active engagement. The theoretical part of the thesis discusses the concepts of metapicture, iconotext and image/text, and analyses concrete poetry. This is defined as a text in which the word becomes a graphic sign, and poetic meaning is created through the interaction of the visual, structural and material aspects. The work of the poets Benediktas Januševičius and Tomas S. Butkus is characterised by experimentation with presentation, text form, font variations and page layout. The work of poets Benediktas Januševičius and Tomas S. Butkus is characterised by experimentation with presentation, text form, font variations and page layout, as well as involving the reader in multidimensional interpretation. These experiments enable readers to experience poetry visually and audio-visually, and to engage with it in a multi-sensory way. Poetry becomes an 'open work', whose meaning depends on the reader's perception, cultural context, and individual experience. |
