Abstract:How can verbal-cued poetry be “visual,” “pictorial,” and “vivid”? This chapter aims at looking behind such notions by isolating the basic semiotic mechanisms of vision, picture-viewing, and mental imagery and provides a descriptive model to investigate (1) the semiotic dimension of verbal imagery with respect to its visual and pictorial character and (2) its relationship to the reader’s experience of mental imagery. Through exemplary analyses of visual poetry, onomatopoeia, figurative language, the historical … Show more
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