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Concrete poetry relates more to the visual than to the verbal arts although there is a considerable overlap in the kind of product to which it refers. Historically, however, concrete poetry has developed from a long tradition of shaped or patterned poems in which the words are arranged in such a way as to depict their subject.
The Concrete poetry was an avant-garde movement started in Brazil during the 1950s, characterized for extinguishing the general conception of poetry, creating a new language called ''verbivocovisual''. [75] its significant figures are Augusto de Campos, Haroldo de Campos, and Décio Pignatari.
However, in the 1970s, the concrete poetry movement started adding elements of visual arts, moving away from purely word-based concretism and becoming closer to visual poetry. [36] After the sudden passing away of Niikuni, the visual and concrete poetry movements in Japan would come to an end [33] [37] and Niikuni's works were soon forgotten. [35]
Concrete poetry: The Concrete poetry was an avantgardist movement started in Brazil during the 1950s, characterized for extinguishing the general conception of poetry, creating a new language called ''verbivocovisual'' [115] Augusto de Campos, Haroldo de Campos, Décio Pignatari: Beats
Neo-concrete poetry rejects such spurious notions and, faithful to the very nature of language, reaffirms the poem as a temporal entity. In time and space, the word unfolds its complex signifying nature. The page in neo-concrete poetry is the spatialization of verbal time: it is pause, silence, time.
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Pages in category "Poetry movements" The following 77 pages are in this category, out of 77 total. ... Concrete poetry; Confederation Poets; Confessional poetry;
At that time she joined the concrete poetry movement, and she started using alphabetic elements to create images. Examples of this creative period include Successo (Success), 1968, and Pagina-finestra (Window-Page), 1971. Bentivoglio also joined the visual poetry movement, that mix linguistic and iconic elements.