Scope and Contents

This catalogue documents each issue of De Tafelronde and reproduces exemplary visual/verbal poems from the publications. An index of contributors is provided. This book is stored with the periodical of the same name. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book reprints, in dazzling, different, typographical layouts, film scripts and criticisms by avant garde writers and poets of the 20th century. The book, which is designed with several different colored papers and typefaces, received a prize for Arts and Essays from the National Center of Cinematography in France. Typewriter poetry is present on the film scenario of Fortunato Depero and sound poetry in the script by Francois Dufrene. Picture poems are depicted in the Fluxus film scripts by Robert Filliou and George Brecht. Villegle's script includes his typical ideograms. Lawrence Weiner's script is uncharacteristically dense in content and more visual/verbal than his usual works. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents Dr. Bohn writes that this "study seeks to analyze Guillaume Apollinaire's literary and artistic reception by members of the European and American avant-gardes during the early twentieth century...tracing the impact of Apollinaire's ideas as they radiated outward in increasingly larger circles from Paris...limiting the period to 1920 in Europe and 1930 in Latin America...and restricting the study to the avant garde of the major European and American nations."Bohn reviews the close relation and influence of Apollinaire to Mario de Zayas, his "calligrammes" or concrete poems as they would be denoted today, in the periodical, 291. Further, he points out that Apollinaire was first recognized in America because of 291. This book is heavily slanted to the influence of Apollinaire on Spanish and Latin American poets. Indeed, Bohn lucidly reviews the works of some obscure (to Americans) Latin American visual poets like the Mexican, Juan Tablada. -- Source of annotation: Marvin or Ruth...

Scope and Contents

This book is replete with examples of Apollinaire's hand drawm calligrsaphic poems as well as the printed ones. -- Source of annotation: Marvin or Ruth Sackner.

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The forward was written by Henri Chopin. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This is a copy of Seaman's Ph.D dissertation thesis that was later revised and published in the Series "Studies in fine arts. The avant-garde" by UMI Research Press in 1981, a book that is also held by the Sackner Archive. On pages 150-156, Seaman analyzes Rimbaud's "Voyelles." Seaman devotes Chapter V, pages 179-251, to Mallarme with particular attention to Un Coup de Des. Seaman provides an English translation of Tzara's recipe for making a dadaist poem in Breton's manifestos of Surrealism. Here Is Tzara's recipe:To make a dadaist poemTake a newspaper.Take a pair of scissors.Choose an article as long as you are planning to make your poem.Cut out the article.Then cut out each of the words that make up this article and put them in a bag.Shake it gently.Then take out the scraps one after the other in the order in which they left the bag.Copy conscientiously.The poem will be like you.And here you are a writer, Infinitely original and endowed with a sensibility that is charming though...

Scope and Contents

First published by the British Library in 2005. The English translations and/or annotations are printed at the bottom of the page that depicts these poems. This book reproduces pages of Kruchenykh & Khlebnikov's "A Game in Hell" (1914) on pages 40-41, and, Ilia Zdanevich's "Le-Dentyu as a Beacon" (1923) on pages 50-69. Pages from Lacerba, the futurist periodical, are reproduced on pages 118-131. Pages from L'Italia Futurista that ran from 1916-1918 are reproduced on pages 133-155. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents

This book provides information including tirage on Futurist books. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents It should be noted that Bohn does not differentiate concrete poetry (words only in Sackner's definition) from visual poetry (integrated words and images in Sackner's definitions). Bohn also includes a chapter on digital poetry. The back cover reads the following. "Visual poetry can be defined as poetry that is meant to be seen. Combining painting and poetry, it attempts to synthesize the principles underlying each discipline. Visual poems are immediately recognizable by their refusal to adhere to a rectilinear grid and by their tendency to flout their plasticity. In contrast to traditional poetry, they are conceived not only as literary works but also as works of art. Although they continue to provide visual cues that aid in deciphering the text, they function simultaneously as visual compositions. Whether the visual elements form a rudimentary pattern or whether they constitute a highly sophisticated design, they transform the poem into a picture. Reading Visual Poetry examines...

Scope and Contents

This book includes an English translation of "Prose of the Trans-Siberian" by Blaise Cendrars, held by the Sackner Archive. "En Forme de Cheval" by Apollinaire in his deluxe exhibition catalog of Leopold Survage that is held by Rare Book Library Columbia University, is described as a horse that "has a pink wash of color over the head, neck, and left foreleg of the horse." The corresponding deluxe catalog from the Sackner Archive has the horse completely covered in pink wash. -- Source of annotation: Marvin or Ruth Sackner.

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First published by Atlas Press in London in 1986. -- Source of annotation: Marvin or Ruth Sackner.

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This book is a collection of essays that Kostelanetz had previously published. An exposition of Dan Graham's schema is published on pages 143-145. -- Source of annotation: Marvin or Ruth Sackner.

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This critical text focuses on three themes in the late 19th and early 20th centuries: 1) the relation of experimental typography used by the artistic avant garde to linguistic theories, 2) the divergence of experimental typography from visual images, and 3) the work of four influential practitioners of experimental typography and their debt to advertising copy, viz., Marinetti, Apollinaire, Tzara, and Zdanevich. -- Source of annotation: Marvin or Ruth Sackner.