Subject index

• A

• Accame, Vincenzo. 191
  • “Circolarità, réel-imaginaire” 191

• accident 209–211, 219, 221–223, 342

• Achsensprung 225

• acoustic sequence 303, 308

• addition 13, 22, 52, 67, 74, 76, 78, 80–81, 125, 139, 146, 278, 310–311, 326
  • associative law of 310
  • communicative law of 310

• aesthetic 100–101, 104–105, 114–115, 136, 156, 163, 165, 191, 193, 198, 229, 244, 303, 312–313, 315

• aesthetics 105, 115, 149, 153, 156, 159, 164, 225–226, 233, 243, 245, 299

• allusion xiii, 137, 163, 290, 324

• ambiguity ix, xi xiv 191, 198, 294, 321, 323, 326, 329, 332–340, 342
  • see also polysemy; underspecification; vagueness

• Apollinaire, Guillaume. 99, 192
  • Calligrammes 192

• arbitrariness xi, 3–4, 13, 15–16, 18, 24, 26, 32–35, 39, 42, 104, 192–193, 198, 230, 264, 275, 279, 310

• arthrology 215–216

• articulation 18–21, 26, 258, 265

• artificial flatness 308

• assumption of linearity 305

• attention 34, 89, 93, 136, 143–144, 146, 148, 150, 153, 160, 162, 168, 175, 179, 181–182, 184, 186, 188–189, 191–192, 211, 213, 268

• attitude 42, 92, 95, 236, 238, 315, 341
  • positive or negative 85, 95

• attractors 144

• auto-operative 314

• avant-garde 192, 225

• axiology 324

• B

• barcode 197, 314

• Basho, Matsuo 99

• basic vocabulary 40–42, 62

• Basque 44, 63, 71–74, 77–82

• Baudelaire, Charles 120, 133
  • “Correspondences” 120

• blending 21, 101–102, 114–115, 119–121, 125, 134

• boat 218, 223

• bouba-kiki 265

• Braille notation 311

• brand 229–233, 235–237, 239–245
  • ~ identity 233, 243
  • ~ strategy 231
  • ~ symbol 235, 241–243

• Brazil 191–192, 195–197, 202

• Buddhism xiii, 235, 249–250, 254–256, 258–262

• Bunin, Ivan 123–124

• C

• Cano Peiró, Carles. 194

• Carmen figuratum 191–192
  • see also Concrete poem; Object poem; visual poem

• Catalan 70–71, 74, 77, 81, 192

• character xiv, 17, 63, 69, 74, 77, 85–87, 89, 91, 94–96, 132, 153, 155–156, 172, 182, 186, 235–236, 253, 255, 257, 267–268, 275–280, 287, 290, 292, 295, 304, 309, 311–313

• chiasmus xiv, 287–290, 292–300

• Chinese 63, 73, 81–82, 103, 221, 224, 229, 231, 235, 253

• choreography 296, 304, 306–307

• chronology 193, 251, 257

• cinema xiv, 154, 156–157, 164, 214, 225, 227, 263–264, 266, 280–281

• Clip poem 202

• cognition ix, xi–xiv, 11–13, 35, 52, 59–62, 77, 82, 99, 102, 107–108, 111, 113, 115–117, 119, 124, 132–136, 140–141, 143–145, 148–150, 158, 167–173, 175–176, 178, 180–189, 215, 226, 245, 261, 293, 299, 303, 305, 308, 311–312, 315, 321–322, 327, 344

• cognitive poetics xii, 115, 119, 135, 150

• Coleridge, Samuel Taylor 103, 105, 114

• colonialism 223

• comedy 103, 264–268, 277–279, 281

• comic xiii, 24, 38, 176, 209, 213–216, 218, 223–225, 227
  • comic theory 213

• communication 24, 33, 37, 116, 129, 169–171, 173, 187–188, 194, 196, 211, 220–221, 225, 245, 280–281, 303, 305–307, 314, 321, 337, 342

• computer performances 314

• computer simulations 314

• conceptual integration 101, 327–328

• Concrete poetry 192, 199, 210

• confidence interval 3, 8

• context xi, 3, 12, 18, 28, 43, 62, 87, 143, 145, 160, 164, 170–171, 178–179, 195–196, 199, 201, 217, 226, 264, 266, 290, 295, 304, 322–323, 325–329, 333, 338–339, 342–343

• situational 28, 322–323, 326–328

• continuant 19–20, 27, 95

• continuity ix, xii 63, 65, 67–69, 74–76, 78–81, 129, 139–140, 157, 214, 218–219, 225

• Cordier, Baude 200
  • “Belle, bonne, sage” 200

• corpus xiv, 3, 5, 13, 30, 62, 324–326, 329

• covert meaning 323

• creative 89, 103, 105, 115, 143–146, 149, 153, 155, 158–159, 164–165, 199, 201–202, 280, 304, 312–313, 330

• cross-linguistic xii, 39–40, 58, 60, 64–65, 90, 93, 281

• cross-modal iconicity xiii, 13, 167–170, 172–173, 176, 178, 181–182, 185–187

• crossword puzzle 309

• Cummings, E.E. 99–100, 192, 210

• Czech xi, 3, 5–8, 10–11, 44

• D

• Dalai Lama 251, 257, 261

• declination 276–277, 279, 282

• degrees of iconicity 178

• de-iconization 17, 22–25, 27–32, 34, 60

• deixis 42, 60, 309

• denaturalization 23

• derailment 218, 221

• diachrony of the linear 309

• diagram xiii–xiv, 67, 100–101, 137–138, 140–141, 153–165, 177–180, 182–185, 188, 209–211, 214, 222–223, 265, 290, 299, 303, 306, 308, 312, 318, 321, 323, 327–329, 333–334, 340–343

• Dias-Pino, Wlademir 192

• Dickinson, Emily xiv, 149, 187, 299, 331, 334, 340–341, 344
  • “This was a Poet –” 331, 334, 335, 339, 341, 344

• digitalization 305–306, 314

• digitalized writing 314

• discursive perspective 315

• Donne, John 300

• Elegies 289

• “Oh my black Soule” 289, 300

• Dutch 69, 71, 81, 138

• E

• ekphrasis xii, 135–136, 149–150

• embodiment xiv, 39, 52, 58, 103, 124–125, 132,155, 162, 185–186, 222, 229, 233, 236, 240, 261, 303, 314–315

• English xii, 10, 13, 16–17, 19–27, 29–38, 42, 52–53, 63–67, 69–71, 73–77, 80–83, 85–90, 92–96, 101–103, 115, 149, 189, 193, 229–230, 240, 245, 257, 261, 281–282, 299–300, 324, 344
  • Middle 17, 31, 33–34
  • Old 31, 34

• enjambment 138–139, 142–143, 145, 148

• enlightenment 249, 251–252, 255, 257–258, 260–262

• Estonian 20, 38, 44, 63, 79, 81

• euphemism 18, 32–33, 35, 240
  • ~ treadmill 18, 32–33

• experience xii, 52, 54–55, 99–100, 103, 105, 108–110, 114–116, 119–121, 124–125, 133, 135–137, 139–140, 142–144, 150, 156, 158, 164, 174–176, 178, 183, 185–186, 188–189, 209–214, 217, 224–225, 251–252, 260, 312, 315

• experiment xi–xii, 3–9, 11–13, 42, 85, 92, 94–95, 104, 173–175, 187, 191–194, 201, 317

• extrakinesemisms 19

• F

• feeling 54, 57, 99, 100–101, 103, 105, 115–116, 120–122, 124, 132–134, 137, 160, 172, 178–179, 200, 212, 236, 244, 260, 296

• logical form xiv, 329, 331–332, 335, 337

• fragment 209, 211, 224

• French 17, 33, 36, 63, 69–72, 74, 81, 92, 96, 120, 226, 243

• frequency code 43, 46, 61, 282

• frequentatives 19–20, 26, 31

• Frost, Robert 100, 116

• G

• Galvin, Brendan xii, 99, 106, 108–111, 113, 115
  • “Flute” xii 99, 114

• gap xiii, 100, 105, 146, 167, 170, 178, 180, 212, 215–217, 222

• gaps 115, 131, 143–144, 213–215, 224, 306, 309

• German 36, 44, 92, 96, 267, 318, 344

• gestalt 61, 110, 174, 185–186, 188

• Geyer, Bert 194
  • “Visual Sonnet” 194

• gramma 314

• generative grammar 37, 344

• global imaginary 222

• graphé 312, 317

• graphic inscription 311

• graphic medium 307

• graphism 311–312

• Greber, Erika 191, 193–194, 197, 200, 311, 316
  • “Shakespyromanisches Sonett” 194, 197

• gutter 209–210, 213–215, 217–219, 222, 224–225

• H

• Herbert, George 99, 191
  • “The Altar” 191

• Hergé 209, 211, 214–217, 219–220, 222–223, 225–227
  • Les Aventures de Tintin 211

• Hindi xi, 3–7, 9, 13

• hiragana 229, 235–236, 239–240, 243, 245, 257

• hybridity xiv, 192, 303, 307, 315

• I

• iconic coinage 15–16, 18, 30, 32–34

• iconic treadmill xi, 16, 18, 30, 32–34

• iconicity chain 255–257

• iconization xiv, 17, 22–25, 27–34, 60, 263–267, 275, 279–281
  • see also de-iconization

• ideographic 306

• ideophones 3–5, 13, 18, 22–23, 25, 28, 30, 33, 35, 34–38, 42, 54, 60, 82

• image xii–xiii, 19, 52, 56, 62, 99–102, 113–114, 121–132, 134–137, 147–148, 157, 161, 164, 167–171, 178–183, 185–189, 190–194, 196–201, 210–211, 213, 215, 222, 224–226, 229–231, 233, 235–237, 239–240, 242, 244–245, 252, 257, 265–268, 275, 278, 280, 296, 300, 304, 306–308, 312, 315, 318, 322, 325, 341

• image schema 52, 56, 167, 170, 185–186, 187–189

• imagery xii, 4, 119, 124–125, 132, 134–135, 142, 145–146, 263–264, 266, 275, 278–280, 291, 322, 341

• immersion 124, 209, 211–213, 224

• Indo-European 5, 15, 31, 34, 36, 42, 44, 60, 104

• inscription 160–161, 303, 305–306, 311, 315

• instantiation 68, 76

• instants 19–20, 27, 31

• integration xiii, 23, 28–29, 35, 69, 101, 150, 224, 327–328
  • conceptual 101, 327–328

• intericonicity 255

• intermedial iconicity 136–137, 142, 150, 165

• interpretability ix, xi xiv 321–322, 325–330, 334

• interpretation xiv, 50, 63–69, 74, 76–79, 81, 100, 103, 135, 145, 148–149, 180–181, 183–184, 194–196, 198, 252, 260, 313, 321–323, 325, 327–329, 331–334, 336–339, 340–344

• intersemiotic translation xiii, 191, 195–196, 200, 203

• interstitiality 309

• intonation 94, 250, 269–270, 279
  • see also pitch variability

• intrakinesemism 19

• irony 194, 199, 219, 221, 324

• iteration 85, 90, 95, 127, 140, 144, 160

• Ivanov, Viacheslav 120, 134

• J

• James, Henry 116, 209–210
  • The Turn of the Screw 209, 227

• K

• kanji 229, 235–240, 243, 245

• katakana 229, 236, 239–240

• Khakas 63, 73, 80–81

• kinship 13

• Kukai 259, 261–262

• L

• da Lentini, Giacomo 193

• lexical universals 40, 42

• literacy 304, 316–319

• logical form xiv, 329, 331–332, 335, 337

• logotype 234–240, 242–243

• Lu Chi 103

• Ludic poem 193, 200–201

• Ludismus 200

• M

• MacLeish, Archibald 100, 103, 115

• Ars Poetica 100, 116

• Mallarmé, Stéphane 192
  • “Un coup de dés jamais n’abolira le hasard” 192
  • Mandela, Nelson 195
  • mantra xiii, 249–262
  • marketing xiii, 229–231, 237, 242–244
  • material xii, 20, 30, 34, 65, 87, 99–100, 102–103, 105, 109, 119, 121, 167–173, 176–177, 180–184, 186, 188, 192, 197, 201, 260, 311
  • material modes 171, 177, 182, 186
  • media 121, 134–137, 141, 149, 170–172, 177–178, 181–182, 184, 186, 188, 202, 245, 263, 280, 303, 308, 312, 327
  • Melville, Herman xiii, 153, 159–165
  • “The Encantadas” 159, 160

• metaphor xii–xiii, 24, 77, 99–102, 106, 110, 114–116, 120, 122, 124, 132, 134, 136, 149, 167–170, 173, 178–188, 190, 236, 245, 261, 300, 341, 344

• metapoetic 209–211

• mixed phenomena 315

• modernism ix, 210, 319

• motivation 4, 20, 23, 36, 60, 64, 85–86, 89, 95–96, 99, 102, 110, 281
  • see also Multiple Motivation Law

• movement iconicity 75

• multidimensional xiii, 133, 249, 282

• Multiple Motivation Law 20

• N

• narrative 121, 125, 146, 156, 165, 210, 215–218, 222, 251, 264, 266–267

• neologism xii, 85–90, 92–95, 199

• Noun Preposition Noun (NPN) construction 139–141, 145, 147

• O

• object 15, 19, 52, 77, 93, 101–102, 104, 125, 140, 145, 153, 156, 164, 168–169, 171–172, 175, 177–184, 190, 197, 201, 211, 217–218, 230, 244, 256, 289, 321, 333, 335

• Object poem 197, 201
  • see also Carmen Figuratum; Concrete poem; visual poem

• ontology 99, 102

• operative iconicity 307

• oppositional relationship 39, 49, 52, 57–58

• orality 45, 55, 260, 304–305, 307, 309, 317–319

• P

• packaging xiii, 229–232, 233, 234, 236, 239–245, 266, 270, 274–275

• parallelism xiv, 137, 287–290, 292, 295–299

• pattern of ‘arrangement’ 309

• perception ix, xii–xiii, 39, 54, 56, 60–62, 85–86, 89, 95–96, 105, 111–112, 116, 122, 125, 137, 143–144, 150, 154, 167–168, 170–175, 178, 180, 183–186, 188–189, 214, 266, 282, 290, 311, 322

• performative xi, xiii–xiv, 252, 261, 287, 289–290, 292, 297, 299

• phenomenology 104, 116, 209–211, 227

• phonographic xiv, 303–304, 306–308, 315

• phonosemantics xi, 17, 26–27, 35–36, 38–40, 42–43, 52, 55, 57–58, 96

• phonosemantic inertia 17, 27, 36

• phonotactic constraint 20, 27, 29

• pictograph xiii, 249, 251, 253–256, 261

• pitch variability 269–271, 275–277, 279
  • see also intonation

• poem xii–xiv, 99–101, 103–105, 108–117, 119–133, 135–150, 162–163, 183, 191–203, 210, 232, 236, 245, 249–250, 258–261, 287–293, 295, 298–300, 313, 331, 340, 344, 336–342
  • see also sonnet; Carmen Figuratum; Concrete poem; Lucid poem; Object poem; visual poem

• polysemy 24, 28, 323
  • see also ambiguity

• Pope, Alexander 101
  • Essay on Criticism 116

• programming 305–306, 314

• Provenzal 72, 81

• Q

• quantitative 60, 110, 263–264, 266, 277, 322

• quantity 16, 45, 56, 140, 186

• R

• railway xiii, 209, 211, 214, 216, 218–225, 227

• reading experience 137, 140, 209–210, 212–214, 217, 224–225

• reading process 144, 199, 209–211, 216–217, 224

• reality xii, 62–63, 99–105, 110, 114, 116, 119–122, 130, 140, 158, 173, 201, 257–258, 260, 266, 321–322, 330

• reduction 181, 220, 305
  • ~ of writing 305

• reductionism of the written text 315

• reduplication xi–xii, 3–4, 11–12, 63–69, 70, 76, 81–82, 89, 139–140, 149–150

• renaturalization 34

• repetition xii, 63–65, 67, 69, 71–76, 112, 114, 119, 123, 130, 138, 140–141, 145, 149, 160,182, 184, 250, 257, 259, 261

• representamen 168–169, 171–172, 177–184

• roma-ji 235–238, 240, 243

• de Rossi, Nicolò 193
  • “Sonetto figurato nº 247” 193
  • “Sonetto figurato nº 248” 193

• schema xiv, 15, 29, 52, 56, 58–59, 62, 99, 102, 114, 167, 170, 180, 185–189, 321, 325
  • see also image schema

• schematism 313

• self-operativity 314

• semantic ix, xii xiv 23, 28, 30, 33–35, 37, 39–42, 45, 49–50, 53–54, 57–60, 62–67, 69, 73–74, 76–78, 80–81, 87, 92, 95, 111, 125–131, 135, 143, 150, 192, 198, 261, 290, 292, 297–298, 306, 313, 322, 324–325, 330–336, 337–338, 340, 342–344
  • ~ analysis xiv, 41, 62, 65, 87, 261, 331–335, 340, 342–344

• semblance xii, 82, 99–102, 105–106, 109–115, 149–150, 165, 188

• semiosis 38, 96, 182, 230

• semiotic xiv, 13, 60, 96, 99–102, 104, 116, 136, 150, 167–171, 173, 187–189, 194–196, 210, 229–230, 244–245, 263, 265–266, 279, 287, 293, 300, 309, 319, 343

• sensorial xiii, 4, 18, 39, 54, 99, 101, 103, 105, 110, 114–115, 120, 125, 145, 167–186
  • ~ modes 167, 169–172, 186

• sequence 110, 198, 210, 255–256, 303, 308, 311

• sequentiality 110–111, 140, 216, 218, 226, 308, 310–311

• serial construction 140

• seriality 218

• Shakespeare, William. xiv, 202, 287–294, 297–300
  • The Phoenix and Turtle 295, 300
  • The Rape of Lucrece xiv 287, 289, 293, 300
  • Sonnets xiii 191–195, 199–202, 261, 300
  • Timon of Athens 300
  • Troilus and Cressida 300

• Shelley, Percy Bysshe 99

• sign 13, 15–17, 23–24, 29, 35–37, 82, 85–86, 90, 96, 100, 104, 116, 121, 136, 138, 141–142, 145, 149–150, 162, 168–169, 179, 182, 184, 187–190, 192–196, 198–199, 210–211, 220, 222, 225, 229–231,239, 244–245, 264, 281, 300, 304–305, 307, 309, 312–313, 333, 343

• similarity ix, xiv 5–6, 9, 12, 17, 19–20, 22–23, 34, 43, 45–46, 48–49, 52–54, 56–57, 69–70, 77, 80, 87–89, 92, 101, 104, 111, 139–140, 145, 148, 167–176, 178–187, 189, 196, 199, 213, 215, 219, 230, 233, 240, 242, 250, 255–256, 260, 265, 272–273, 276, 278, 288–289, 296, 311–312, 326, 323–333, 342–343

• size 9, 42, 53–54, 85, 91, 95, 147, 175, 177–178, 183, 230, 265, 278

• sociolinguistic xiii, 244, 263, 281–282

• sonnet xiii, 191, 193–203, 300

• sound change 17, 23–24, 26–27, 29–31, 35, 42, 268, 281
  • see also intonation; pitch variability

• sound imitation 93, 95

• sound symbolism 13, 18, 20–21, 24, 35–36, 39, 59–62, 82, 93, 173, 187, 265, 281–282

• sovereignty of form 313

• Spanish 17, 25, 63, 70, 74, 81, 189, 192, 231

• spatial dimension 52, 57, 133, 177

• spatial synchrony 309

• spatialization 314

• spatiotemporal 167, 169–173, 176–177, 180–184, 186, 188

• Sterne, Laurence 210
  • Tristram Shandy 210

• Stevens, Wallace 101–102

• Sudoku 309

• surface without depth 308

• sutra xiii, 249–250, 253–255, 258, 261

• Swadesh list 39–40, 45

• symbol 100, 104, 134, 195, 234–237, 241–243

• symbolic 15–17, 19–21, 25, 29, 36, 61, 66, 76, 81–82, 86, 96, 100, 107, 122, 128, 131, 140, 150, 184, 223, 252, 259, 263, 282, 304–305, 314–315, 324, 329
  • ~ algebra 304
  • see also sound symbolism

• T

• tablets 7

• temporalization 314

• texts xiv, 61, 116, 124, 134–135, 144, 149–150, 171, 184, 214, 237, 245, 261, 300, 303, 306–309, 311–315, 324, 331–334, 342–344

• Theocritus 191
  • “The Shepherd’s Pipe” 191

• Thomas, Dylan 99, 101

• Thomas à Kempis 101
  • Imitatio Christi 101

• Tintin xiii, 209, 211, 214, 216–227

• transportation xiii, 209–210, 218, 220

• travesties 323, 325

• typography 136, 145, 230, 233–234

• typology 35, 60, 62, 96, 244

• U

• underspecification 336–338, 340, 342
  • see also ambiguity

• V

• vagueness 33, 105, 127, 129, 132, 323, 327, 329

• see also ambiguity

• van Gogh, Vincent xii, 101, 116, 135–137, 141–143, 145–146, 148
  • “The Garden of Saint-Paul Hospital” 101
  • “The Starry Night” xii 135–150

• variability 26, 269–271, 275–277, 279
  • pitch 269–271, 275–277, 279

• variation xiii, 25–25,30, 63, 65, 109, 113, 127, 172, 174, 176, 185, 191, 193, 263–265, 268, 270–273, 276, 279, 281–282

• Vater, Regina 196
  • “American Backyard” 196

• visual configuration 303

• visual language 210, 226

• visual poem 144–145, 149, 191–193, 194–195, 197–199, 202–203
  • see also Carmen Figuratum; Concrete poem; Object poem

• vocal gestures xiii, 249, 251

• voice quality 263–264, 269–270, 272–273, 275, 279, 282

• W

• wagashi xiii 229–233, 235, 237–238, 240–245

• Williams, William Carlos 99, 139, 165

• writing xiii–xiv, 79, 85, 136, 141, 149, 153–154, 157, 159–165, 192, 213, 227, 229, 235, 237–239, 303–319
  • non-European 306

• reduction of 305

• see also digitalized writing

• writing games 309

• written text xiv, 171, 239, 303, 307–309, 311–315

• reductionism of the 315

• Y

• Yeats, William Butler 99

• Z

• zigzag 67–68, 78, 83