Advanced

Versform & ikonicitet : Med exempel från svensk modernistisk lyrik

SVENSSON, JIMMIE LU (2016)
Abstract (Swedish)

This
thesis revisits and explores the relationship between verse and meaning by
means of the notion of iconicity, i.e.,
as signs primarily based on similarity. The aim of the thesis is to show how
verse and its interaction with words and sentences create meaning and can be an
integrated part in the interpretation or understanding of the poem as a whole.
Verse is discussed in relation to four other literary fields or areas of
research. These, in connection with verse and iconicity, are the focus of the
main chapters, all concluded with three extensive close readings. The poems
have been chosen from the last century of Swedish modernist poetry... (More)

This
thesis revisits and explores the relationship between verse and meaning by
means of the notion of iconicity, i.e.,
as signs primarily based on similarity. The aim of the thesis is to show how
verse and its interaction with words and sentences create meaning and can be an
integrated part in the interpretation or understanding of the poem as a whole.
Verse is discussed in relation to four other literary fields or areas of
research. These, in connection with verse and iconicity, are the focus of the
main chapters, all concluded with three extensive close readings. The poems
have been chosen from the last century of Swedish modernist poetry and
represent a spectrum from non-metered, free,
and mainly visual verse to the more traditional, metered,
and mainly auditive verse. Among the poets represented are Edith Södergran,
Gunnar Ekelöf and Tomas Tranströmer.

 

The
semiotics of Charles Sanders Peirce and adaptations of Peirce offer the
theoretical framework and essential analytical tools. A starting point is
Peirce’s notion of the sign as consisting of three interrelated parts and of the three types of signs: the icon, index, and symbol. Chapter 2, on iconicity and figural language, presents all
possible types of iconicity in verse, using the well-established formula X miming Y. Iconicity is discussed in
relation to both the traditional, linguistically oriented understanding of
metaphor and to a more recent cognitive approach. The latter also can include aspects of verse’s
auditory or visual material form. In addition, verse is shown to be able to
create meaning through interaction with words and sentences, meaning that by means of iconicity can stand
for other meaning, like a metaphor. The conceptual distinction between mental
meaning and material form also is related
to Peirce’s grading of iconicity.

 

Chapter 3
turns to the case of intertextuality, when verse derives its meaning from its
relation to other texts, poets,
or traditions; but intertextuality in this narrow
sense also is understood in the light of a
general model of signification or semiosis. Even if the verse’s meaning at
first is mainly symbolic, known from previous sign-production, the sign’s interpretant also takes into account the
poem’s concrete auditory or visual form and contextual circumstances, and this
involves iconicity.

 
































Chapter
4, on the metalyric, investigates what happens when verse draws attention to
itself and when the meaning of the words seem to reflect upon aspects of the
verse. The function of this heightened degree of iconicity may be to indicate
the tripartite sign and to show us how representation works. Chapter 5 turns to
emotionality and the understanding of emotion as
involving a bodily change or reaction. We can perceive, however, that an emotion is
being represented without experiencing this bodily reaction ourselves. Verse’s
emphasized materiality may stand iconically
for the body or be read or performed in ways that
lend it to representing bodily movement. Furthermore, verse can be involved in
structures that take more or less mental energy
to process, which in turn may be connected to the energy levels of emotional
states.

(Less)
Please use this url to cite or link to this publication:
author
supervisor
organization
publishing date
type
Thesis
publication status
published
subject
keywords
Ikoniciet, Peirce, 1900-talslyrik, Versifikation, bildspråk, Intertextualitet, Metapoesi, Emotionalitet
edition
1
pages
278 pages
publisher
Språk- och litteraturcentrum, Lunds universitet
ISBN
978-91-87833-95-3
language
Swedish
LU publication?
yes
id
1adb57c6-626a-41a0-83b2-0a99d33c680a
date added to LUP
2016-09-02 15:20:58
date last changed
2016-11-04 09:40:15
@phdthesis{1adb57c6-626a-41a0-83b2-0a99d33c680a,
  abstract     = {<p class="bodytext2" style="text-indent:0cm;line-height:normal">This<br>
thesis revisits and explores the relationship between verse and meaning by<br>
means of the notion of iconicity, i.e.,<br>
as signs primarily based on similarity. The aim of the thesis is to show how<br>
verse and its interaction with words and sentences create meaning and can be an<br>
integrated part in the interpretation or understanding of the poem as a whole.<br>
Verse is discussed in relation to four other literary fields or areas of<br>
research. These, in connection with verse and iconicity, are the focus of the<br>
main chapters, all concluded with three extensive close readings. The poems<br>
have been chosen from the last century of Swedish modernist poetry and<br>
represent a spectrum from non-metered, free,<br>
and mainly visual verse to the more traditional, metered,<br>
and mainly auditive verse. Among the poets represented are Edith Södergran,<br>
Gunnar Ekelöf and Tomas Tranströmer. </p><p class="bodytext2" style="text-indent:0cm;line-height:normal"> </p><p class="bodytext2" style="text-indent:0cm;line-height:normal">The<br>
semiotics of Charles Sanders Peirce and adaptations of Peirce offer the<br>
theoretical framework and essential analytical tools. A starting point is<br>
Peirce’s notion of the sign as consisting of three interrelated parts and of the three types of signs: the <i style="mso-bidi-font-style:  normal">icon</i>, <i style="mso-bidi-font-style:normal">index,</i> and <i style="mso-bidi-font-style:  normal">symbol</i>. Chapter 2, on iconicity and figural language, presents all<br>
possible types of iconicity in verse, using the well-established formula <i style="mso-bidi-font-style:normal">X miming Y</i>. Iconicity is discussed in<br>
relation to both the traditional, linguistically oriented understanding of<br>
metaphor and to a more recent cognitive approach. The latter also can include aspects of verse’s<br>
auditory or visual material form. In addition, verse is shown to be able to<br>
create meaning through interaction with words and sentences, meaning that by means of iconicity can stand<br>
for other meaning, like a metaphor. The conceptual distinction between mental<br>
meaning and material form also is related<br>
to Peirce’s grading of iconicity.</p><p class="bodytext2" style="text-indent:0cm;line-height:normal"> </p><p class="bodytext2" style="text-indent:0cm;line-height:normal">Chapter 3<br>
turns to the case of intertextuality, when verse derives its meaning from its<br>
relation to other texts, poets,<br>
or traditions; but intertextuality in this narrow<br>
sense also is understood in the light of a<br>
general model of signification or semiosis. Even if the verse’s meaning at<br>
first is mainly symbolic, known from previous sign-production, the sign’s <i style="mso-bidi-font-style:normal">interpretant</i> also takes into account the<br>
poem’s concrete auditory or visual form and contextual circumstances, and this<br>
involves iconicity.</p><p class="bodytext2" style="text-indent:0cm;line-height:normal"> </p><p class="bodytext2" style="text-indent: 0cm;"><br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
<br>
</p><p class="MsoNormal" style="line-height:normal">Chapter<br>
4, on the metalyric, investigates what happens when verse draws attention to<br>
itself and when the meaning of the words seem to reflect upon aspects of the<br>
verse. The function of this heightened degree of iconicity may be to indicate<br>
the tripartite sign and to show us how representation works. Chapter 5 turns to<br>
emotionality and the understanding of emotion as<br>
involving a bodily change or reaction. We can perceive, however, that an emotion is<br>
being represented without experiencing this bodily reaction ourselves. Verse’s<br>
emphasized materiality may stand iconically<br>
for the body or be read or performed in ways that<br>
lend it to representing bodily movement. Furthermore, verse can be involved in<br>
structures that take more or less mental energy<br>
to process, which in turn may be connected to the energy levels of emotional<br>
states.</p>},
  author       = {SVENSSON, JIMMIE},
  isbn         = {978-91-87833-95-3},
  keyword      = {Ikoniciet,Peirce,1900-talslyrik,Versifikation,bildspråk,Intertextualitet,Metapoesi,Emotionalitet},
  language     = {swe},
  month        = {09},
  pages        = {278},
  publisher    = {Språk- och litteraturcentrum, Lunds universitet},
  school       = {Lund University},
  title        = {Versform & ikonicitet : Med exempel från svensk modernistisk lyrik},
  year         = {2016},
}