Evolutionary Visual-Verbal Relationship in the Concrete Poem of "The Train Moved Again"
Abstract The existing studies have often examined concrete poems in terms of the relationship between verbal text and image or with respect to de-familiarization. This article assessed the evolution of the phenomenological and discursive semiospheres in a concrete poem entitled "The Train Moved...
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| Format: | Article |
| Language: | fas |
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University of Isfahan
2021-12-01
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| Series: | نشریه پژوهشهای زبانشناسی |
| Subjects: | |
| Online Access: | https://jrl.ui.ac.ir/article_26563_755eb527f9c69277fd507054f0607e87.pdf |
| _version_ | 1797853430646046720 |
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| author | Mohammad Hatefi |
| author_facet | Mohammad Hatefi |
| author_sort | Mohammad Hatefi |
| collection | DOAJ |
| description | Abstract The existing studies have often examined concrete poems in terms of the relationship between verbal text and image or with respect to de-familiarization. This article assessed the evolution of the phenomenological and discursive semiospheres in a concrete poem entitled "The Train Moved Again" by Afshin Shahroudi. In the text, the relationship between verbal text and image was not fixed but "spectral". Due to the process of content level, this relationship showed a continuum in the form of discontinuity -balance-fusion at the level of expression. Sign levels also transform from an index to an icon and then to a symbol. The results showed that at the phenomenological level, the Enunciator tried to use the prelinguistic capacities of the verbal phonemes to motivate the discourse. The Enunciator attempted to influence the Enunciate through his sensory system. By responding to the enunciator's invitation by the enunciate, a discursive atmosphere was formed. It was a reciprocal movement and created the process. The phenomenal space of the text required the re-segmentation of the verbal and visual layers in another process. In the re-segmentation, an "evolutionary metaphor" was identified, according to which the relationship between verbal text and image was not fixed but "spectral" and a discontinuity-balance-fusion relationship was established.Keywords: Concrete Poem, Discourse, Phenomenological Sphere, Word, Image, Metaphor Introduction Most Iranian scholars have studied concrete poetry from the perspective of de-familiarization (Safavi, 2001; Mohabbaty, 2007; Razi, 2009; Honarmand, 1350; Firoozjahi et al., 2017, Razi, 2009). Sadeghi et. al. (2017) studied visual poetry based on the cognitive foundations of the mind. The issue was examined from a discursive point of view by Hatefi (2018) and it was concluded that the degree of inconsistency in the visual text was consistent with the implications of its theoretical infrastructure.The present article examines a visual poem by Afshin Shahroudi entitled "The Train Moved Again" from a semiotic perspective and explained the dynamic process of formation of the phenomenological and discursive spaces, and how the signification levels were upgraded from the primary to the secondary and then the tertiary level. Materials and MethodsIn this article, the author intended to examine the visual poem of "The Train Moved Again" from the perspective of semiotic discourse analysis to determine the simultaneous evolution of the two levels of expression and content in both the verbal and visual layers. Discussion of Results and ConclusionsThe visual poem of "The Train Moved Again" consisted of the two layers of the title and the text at the phenomenal level of the text.To separate the text layers in the visual poem of "The Train Moved Again", the verbal layer was first divided into smaller components. This layer itself consisted of two visual layers: a) The right layer where the words were written densely, which could be decomposed into high/dense layer (Layer 1) and low/thin layer (Layer 2) in turn; B) The left layer where the written words were arranged linearly (Layer 3).The verbal words included "that time Marziyeh said: that I said: this She: that I: this: that: this: that: this … until the train moved again".The process of verbal layer decomposition could be advanced into smaller levels and divided into verbal cues and punctuation marks, which were a type of visual cue: ":" instead of the verbal signs "said" ("goft" and "Goftam") and "..." instead of "that" (ân) and "this" (in).In the visual layer of the poem text, which was located on the left, micro-layers could be also seen. This layer itself consisted of the three layers of longitudinal line, transverse line, and end line, which represented the rail road.The following contrasts could be identified in the text:verbal text / visual textMarzieh / IShe Said / I saidthis / thatwords / punctuation marksright / leftdense marker space on the right / longitudinal and linear marker spaces on the leftlongitudinal line / transverse linemoving / stopping"This" and "that" were the two material sounds that represented the sound of the train. Thus, they formed a metaphorical system, in which the sensory resemblance of a train's sound was likened to "that" and "this" in terms of sound type and sequence.The function of the two signs of "that" and "this" was not referential, but served as instrumental tools because "that" and "this" were not valuable at their material levels, but used like zero and one in a digital space or as a phase and zero in electricity only for the sake of naming. The more empathy and material closeness between the two parties were, the more the value system increased in the moral sense.The research results showed that in such a situation, the metaphorical structure also formed a "dynamic metaphor" due to the process, evolution, and temporality of the movement of the semantic sign, in which a different range of metaphors occurred at any point in the phenomenal and discursive layers; It could be totally called an "evolutionary metaphor". The results revealed that the relationship between verbal text and image in the studied text was not fixed but "spectral" and a discontinuity-balance-fusion relationship was established. |
| first_indexed | 2024-04-09T19:50:32Z |
| format | Article |
| id | doaj.art-156c8f24848a4e508a810679f3c87d85 |
| institution | Directory Open Access Journal |
| issn | 2322-3413 |
| language | fas |
| last_indexed | 2024-04-09T19:50:32Z |
| publishDate | 2021-12-01 |
| publisher | University of Isfahan |
| record_format | Article |
| series | نشریه پژوهشهای زبانشناسی |
| spelling | doaj.art-156c8f24848a4e508a810679f3c87d852023-04-03T06:33:39ZfasUniversity of Isfahanنشریه پژوهشهای زبانشناسی2322-34132021-12-0113212010.22108/jrl.2022.132706.163826563Evolutionary Visual-Verbal Relationship in the Concrete Poem of "The Train Moved Again"Mohammad Hatefi0Assistant Professor at the Institute of Humanities and Cultural Studies, Tehran, IranAbstract The existing studies have often examined concrete poems in terms of the relationship between verbal text and image or with respect to de-familiarization. This article assessed the evolution of the phenomenological and discursive semiospheres in a concrete poem entitled "The Train Moved Again" by Afshin Shahroudi. In the text, the relationship between verbal text and image was not fixed but "spectral". Due to the process of content level, this relationship showed a continuum in the form of discontinuity -balance-fusion at the level of expression. Sign levels also transform from an index to an icon and then to a symbol. The results showed that at the phenomenological level, the Enunciator tried to use the prelinguistic capacities of the verbal phonemes to motivate the discourse. The Enunciator attempted to influence the Enunciate through his sensory system. By responding to the enunciator's invitation by the enunciate, a discursive atmosphere was formed. It was a reciprocal movement and created the process. The phenomenal space of the text required the re-segmentation of the verbal and visual layers in another process. In the re-segmentation, an "evolutionary metaphor" was identified, according to which the relationship between verbal text and image was not fixed but "spectral" and a discontinuity-balance-fusion relationship was established.Keywords: Concrete Poem, Discourse, Phenomenological Sphere, Word, Image, Metaphor Introduction Most Iranian scholars have studied concrete poetry from the perspective of de-familiarization (Safavi, 2001; Mohabbaty, 2007; Razi, 2009; Honarmand, 1350; Firoozjahi et al., 2017, Razi, 2009). Sadeghi et. al. (2017) studied visual poetry based on the cognitive foundations of the mind. The issue was examined from a discursive point of view by Hatefi (2018) and it was concluded that the degree of inconsistency in the visual text was consistent with the implications of its theoretical infrastructure.The present article examines a visual poem by Afshin Shahroudi entitled "The Train Moved Again" from a semiotic perspective and explained the dynamic process of formation of the phenomenological and discursive spaces, and how the signification levels were upgraded from the primary to the secondary and then the tertiary level. Materials and MethodsIn this article, the author intended to examine the visual poem of "The Train Moved Again" from the perspective of semiotic discourse analysis to determine the simultaneous evolution of the two levels of expression and content in both the verbal and visual layers. Discussion of Results and ConclusionsThe visual poem of "The Train Moved Again" consisted of the two layers of the title and the text at the phenomenal level of the text.To separate the text layers in the visual poem of "The Train Moved Again", the verbal layer was first divided into smaller components. This layer itself consisted of two visual layers: a) The right layer where the words were written densely, which could be decomposed into high/dense layer (Layer 1) and low/thin layer (Layer 2) in turn; B) The left layer where the written words were arranged linearly (Layer 3).The verbal words included "that time Marziyeh said: that I said: this She: that I: this: that: this: that: this … until the train moved again".The process of verbal layer decomposition could be advanced into smaller levels and divided into verbal cues and punctuation marks, which were a type of visual cue: ":" instead of the verbal signs "said" ("goft" and "Goftam") and "..." instead of "that" (ân) and "this" (in).In the visual layer of the poem text, which was located on the left, micro-layers could be also seen. This layer itself consisted of the three layers of longitudinal line, transverse line, and end line, which represented the rail road.The following contrasts could be identified in the text:verbal text / visual textMarzieh / IShe Said / I saidthis / thatwords / punctuation marksright / leftdense marker space on the right / longitudinal and linear marker spaces on the leftlongitudinal line / transverse linemoving / stopping"This" and "that" were the two material sounds that represented the sound of the train. Thus, they formed a metaphorical system, in which the sensory resemblance of a train's sound was likened to "that" and "this" in terms of sound type and sequence.The function of the two signs of "that" and "this" was not referential, but served as instrumental tools because "that" and "this" were not valuable at their material levels, but used like zero and one in a digital space or as a phase and zero in electricity only for the sake of naming. The more empathy and material closeness between the two parties were, the more the value system increased in the moral sense.The research results showed that in such a situation, the metaphorical structure also formed a "dynamic metaphor" due to the process, evolution, and temporality of the movement of the semantic sign, in which a different range of metaphors occurred at any point in the phenomenal and discursive layers; It could be totally called an "evolutionary metaphor". The results revealed that the relationship between verbal text and image in the studied text was not fixed but "spectral" and a discontinuity-balance-fusion relationship was established.https://jrl.ui.ac.ir/article_26563_755eb527f9c69277fd507054f0607e87.pdfconcrete poemdiscoursephenomenological spherewordimagemetaphor |
| spellingShingle | Mohammad Hatefi Evolutionary Visual-Verbal Relationship in the Concrete Poem of "The Train Moved Again" نشریه پژوهشهای زبانشناسی concrete poem discourse phenomenological sphere word image metaphor |
| title | Evolutionary Visual-Verbal Relationship in the Concrete Poem of "The Train Moved Again" |
| title_full | Evolutionary Visual-Verbal Relationship in the Concrete Poem of "The Train Moved Again" |
| title_fullStr | Evolutionary Visual-Verbal Relationship in the Concrete Poem of "The Train Moved Again" |
| title_full_unstemmed | Evolutionary Visual-Verbal Relationship in the Concrete Poem of "The Train Moved Again" |
| title_short | Evolutionary Visual-Verbal Relationship in the Concrete Poem of "The Train Moved Again" |
| title_sort | evolutionary visual verbal relationship in the concrete poem of the train moved again |
| topic | concrete poem discourse phenomenological sphere word image metaphor |
| url | https://jrl.ui.ac.ir/article_26563_755eb527f9c69277fd507054f0607e87.pdf |
| work_keys_str_mv | AT mohammadhatefi evolutionaryvisualverbalrelationshipintheconcretepoemofthetrainmovedagain |