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DC Field | Value | Language |
---|---|---|
dc.contributor.author | علاء الدين علي ناصر | - |
dc.date.accessioned | 2017-12 | - |
dc.date.available | 2017-12 | - |
dc.date.issued | 2017-12 | - |
dc.identifier.issn | 1112-3672 | - |
dc.identifier.uri | http://dspace.univ-ouargla.dz/jspui/handle/123456789/16061 | - |
dc.description | Revue Al Athar | en_US |
dc.description.abstract | It has become known that the modern poetic address is no longer limited to words and ideas only. Rather, it has come to include other elements which cannot be realized by any means other than the eyes. These elements are necessary for understanding the text in light of the graphic variation which the poet chooses for his text. In this context, a change has appeared in the reception of contemporary poetry, which leans more towards silent reading. This has created a space for generating visual identities for texts. The way the text is written is now one of the things that determine its meaning and frame its path. And visual variation in the modern poetic text has taken different forms, such as blackness and whiteness and the implicational blankness associated with them, vocalization, geometric figures and fragmentary functions | en_US |
dc.language.iso | other | en_US |
dc.relation.ispartofseries | numéro 29 Déc 2017; | - |
dc.subject | visual graphic variation, by which we mean using the visual phenomenon in the texture of the poetic text | en_US |
dc.subject | which adds artistic and semantic dimensions into the body of the poem | en_US |
dc.subject | and this has given poets more chances in practicing visual variation in the space of the poetic page and the printed form of the poem a dimension that was secondary until a recent past | en_US |
dc.subject | but today it generates meanings and indications because it is not a neutral, silent element | en_US |
dc.title | دلالات التشكيل البصري الكتابي في النص الشعري الحديث | en_US |
dc.type | Article | en_US |
Appears in Collections: | numéro 29 2017 |
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