Show simple item record

dc.contributor.author Keating, Claire en_US
dc.date.accessioned 2007-05-15T19:08:47Z
dc.date.available 2007-05-15T19:08:47Z
dc.date.issued 1997-05-01T00:00:00Z en_US
dc.identifier.uri http://hdl.handle.net/1993/1308
dc.description.abstract Various 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">1997-05-01T00:00:00Z en_US
dc.format.extent 5043036 bytes
dc.format.extent 184 bytes
dc.format.mimetype application/pdf
dc.format.mimetype text/plain
dc.language en en_US
dc.language.iso en_US
dc.rights info:eu-repo/semantics/openAccess
dc.title From icon to alphabet and back, the work of bp Nichol as challenge to typographical and literary convention en_US
dc.type info:eu-repo/semantics/masterThesis
dc.type master thesis en_US
dc.degree.discipline English en_US
dc.degree.level Master of Arts (M.A.) en_US


Files in this item

This item appears in the following Collection(s)

Show simple item record

View Statistics