Show simple item record

dc.contributor.authorKeating, Claireen_US
dc.date.accessioned2007-05-15T19:08:47Z
dc.date.available2007-05-15T19:08:47Z
dc.date.issued1997-05-01T00:00:00Zen_US
dc.identifier.urihttp://hdl.handle.net/1993/1308
dc.description.abstractVarious critical theories dispute accepted notions of the semantics and semiotics of language, reader/author/text relationships, and traditional methods of textual reproduction and transmission, among them Futurism, Dadaism, and Concrete Poetry. Some artists engaged entirely new registers of expression, discontented with what the predominant means of production, print, afforded them. Within the context of the page, Canadian poet bp Nichol exploits the properties and ambiguities of the sign in an effort to free the word from its referential function. In much of his work, the sign, the individual configurations which constitute the sign, and the elements which make up the page, are 'objects' to be 'caressed.' To understand Nichol's work calls for a radical approach to the literary text, one that does not move hastily beyond the sign to a distant referent but one that remains poised at the 'surface' of the work. A 'reading' of bp Nichol becomes an exploration of possibilities that include the mechanics of the page, its support surface and markings. (Abstract shortened by UMI.)</ cvalue> <dcvalue element="date" qualifier="issued">1997-05-01T00:00:00Zen_US
dc.format.extent5043036 bytes
dc.format.extent184 bytes
dc.format.mimetypeapplication/pdf
dc.format.mimetypetext/plain
dc.language.isoengen_US
dc.rightsinfo:eu-repo/semantics/openAccess
dc.titleFrom icon to alphabet and back, the work of bp Nichol as challenge to typographical and literary conventionen_US
dc.typeinfo:eu-repo/semantics/masterThesis
dc.typemaster thesisen_US
dc.degree.disciplineEnglishen_US
dc.degree.levelMaster of Arts (M.A.)en_US


Files in this item

Thumbnail

This item appears in the following Collection(s)

Show simple item record