"verbivocovisual" meaning in English

{
  "etymology_templates": [
    {
      "args": {
        "1": "la",
        "2": "voco",
        "3": "vocō"
      },
      "expansion": "Latin vocō",
      "name": "m+"
    }
  ],
  "etymology_text": "Coined by James Joyce in the experimental novel Finnegans Wake. Perhaps verbi- (from \"verbiage\"?) + Latin vocō (\"to name\") + visual, possibly influenced by Ezra Pound's Three Kinds of Poetry. Now frequently associated with Concrete poetry following its use by Augusto de Campos and other concrete poets in the mid-to-late 1950s.",
  "head_templates": [
    {
      "args": {
        "1": "-"
      },
      "expansion": "verbivocovisual (not comparable)",
      "name": "en-adj"
    }
  ],
  "lang": "English",
  "lang_code": "en",
  "pos": "adj",
  "senses": [
    {
      "categories": [
        {
          "kind": "other",
          "name": "English entries with incorrect language header",
          "parents": [
            "Entries with incorrect language header",
            "Entry maintenance"
          ],
          "source": "w"
        },
        {
          "kind": "other",
          "name": "Latin links with redundant target parameters",
          "parents": [
            "Links with redundant target parameters",
            "Entry maintenance"
          ],
          "source": "w"
        },
        {
          "kind": "topical",
          "langcode": "en",
          "name": "Poetry",
          "orig": "en:Poetry",
          "parents": [
            "Art",
            "Literature",
            "Culture",
            "Entertainment",
            "Writing",
            "Society",
            "Human behaviour",
            "Language",
            "All topics",
            "Human",
            "Communication",
            "Fundamental"
          ],
          "source": "w"
        }
      ],
      "examples": [
        {
          "ref": "2016, Nancy Perloff, Explodity: Sound, Image, and Word in Russian Futurist Book Art, The Getty Research Institute, page 68",
          "text": "In the view of the formalists, Italian futurism epitomized all that poetics should work against. This assessment, directed specifically at Filippo Tommaso Marinetti, who visited Saint Petersburg and Moscow in February 1914, indicates the formalists' unwillingness to acknowledge the many poetic and artistic innovations shared by the Russian and Italian futurists. In the realm of Russian futurist book art and its Italian futurist analogue—the parole-in-libertà (words-in-freedom)—poetic language was transformed by the elimination of grammar and syntax, the experimentation with new arrangements of words and letters on the page, and the highlighting of language for its sonic expressivity. Both Russian futurist book art and the parole-in-libertà incorporated verbal, visual, and sonic elements into their art forms, although the Russians ventured much further into the verbivocovisual than did the Italians.",
          "type": "quotation"
        },
        {
          "ref": "2016, Martins, Laura M, “Per-verse Latin American Women Poets”, in Rodríguez, Ileana, Szurmuk, Mónica, editors, The Cambridge History of Latin American Women's Literature, Cambridge University Press, page 518",
          "text": "Alicia Genovese details very well the definition of avant-garde Brazilian concretist poetry of the 1960s. She did this through a Joycean neologism by which poetry was verbivocovisual in a synthesis of materials with which the poem operates: the verb (the uses of language), the sound (including the rhythm), and the space (the visual). [...] The play with language(s), the mixing of registers and working with space (large blank spaces between words), the cutting off of words like dance steps, and the androgynous enunciation \"rió [...]\" from Poem 39, are there in order to tense (crispar) the expectations, those of the representation and reception, and to tell us that there are neither final nor definitive statements/utterances.",
          "type": "quotation"
        },
        {
          "ref": "2023, Pais, Ana Carolina, “The Symbology of Popular Culture in Game of Thrones: Carnivalization and Tyrion's Wedding Party”, in Álvarez-Ossorio, Alfonso, Lozano, Fernando, Soldevila, Rosario Moreno, Rosillo-López, Cristina, editors, Game of Thrones - A View from the Humanities, Vol. 1: Time, Space and Culture, Springer International Publishing, page 239",
          "text": "We saw that the verbal, visual and hearing aspects together help to give a more genuine and relevant significance to the popular symbolism. In some frames, if we focus only on the verbal elements and constructions, we are not able to identify any carnivalization, for example. But by observing the three dimensions together as one, verbivocovisually, we see that the background sound gives dialogues a more grotesque or carnivalesque sense. Lastly, we conclude that popular symbolisms are embedded into the scene through the verbivocovisual language. These symbols have as their main goal to create a distance, a break from the real world within the narrative. At the same time, the plot reminds us a great deal of the real world, both anchored in the fight for power.",
          "type": "quotation"
        }
      ],
      "glosses": [
        "Composed of semantic (or linguistic), visual, and sonic elements in synthesis."
      ],
      "id": "en-verbivocovisual-en-adj-99l1LXBn",
      "links": [
        [
          "poetry",
          "poetry"
        ],
        [
          "semantic",
          "semantic"
        ],
        [
          "linguistic",
          "linguistic"
        ],
        [
          "visual",
          "visual"
        ],
        [
          "sonic",
          "sonic"
        ],
        [
          "synthesis",
          "synthesis"
        ]
      ],
      "raw_glosses": [
        "(poetry) Composed of semantic (or linguistic), visual, and sonic elements in synthesis."
      ],
      "tags": [
        "not-comparable"
      ],
      "topics": [
        "communications",
        "journalism",
        "literature",
        "media",
        "poetry",
        "publishing",
        "writing"
      ],
      "wikipedia": [
        "Augusto de Campos",
        "Concrete poetry",
        "Ezra Pound's Three Kinds of Poetry",
        "Finnegans Wake",
        "James Joyce",
        "experimental novel"
      ]
    }
  ],
  "word": "verbivocovisual"
}

{
  "etymology_templates": [
    {
      "args": {
        "1": "la",
        "2": "voco",
        "3": "vocō"
      },
      "expansion": "Latin vocō",
      "name": "m+"
    }
  ],
  "etymology_text": "Coined by James Joyce in the experimental novel Finnegans Wake. Perhaps verbi- (from \"verbiage\"?) + Latin vocō (\"to name\") + visual, possibly influenced by Ezra Pound's Three Kinds of Poetry. Now frequently associated with Concrete poetry following its use by Augusto de Campos and other concrete poets in the mid-to-late 1950s.",
  "head_templates": [
    {
      "args": {
        "1": "-"
      },
      "expansion": "verbivocovisual (not comparable)",
      "name": "en-adj"
    }
  ],
  "lang": "English",
  "lang_code": "en",
  "pos": "adj",
  "senses": [
    {
      "categories": [
        "English adjectives",
        "English entries with incorrect language header",
        "English lemmas",
        "English terms with quotations",
        "English uncomparable adjectives",
        "Latin links with redundant target parameters",
        "en:Poetry"
      ],
      "examples": [
        {
          "ref": "2016, Nancy Perloff, Explodity: Sound, Image, and Word in Russian Futurist Book Art, The Getty Research Institute, page 68",
          "text": "In the view of the formalists, Italian futurism epitomized all that poetics should work against. This assessment, directed specifically at Filippo Tommaso Marinetti, who visited Saint Petersburg and Moscow in February 1914, indicates the formalists' unwillingness to acknowledge the many poetic and artistic innovations shared by the Russian and Italian futurists. In the realm of Russian futurist book art and its Italian futurist analogue—the parole-in-libertà (words-in-freedom)—poetic language was transformed by the elimination of grammar and syntax, the experimentation with new arrangements of words and letters on the page, and the highlighting of language for its sonic expressivity. Both Russian futurist book art and the parole-in-libertà incorporated verbal, visual, and sonic elements into their art forms, although the Russians ventured much further into the verbivocovisual than did the Italians.",
          "type": "quotation"
        },
        {
          "ref": "2016, Martins, Laura M, “Per-verse Latin American Women Poets”, in Rodríguez, Ileana, Szurmuk, Mónica, editors, The Cambridge History of Latin American Women's Literature, Cambridge University Press, page 518",
          "text": "Alicia Genovese details very well the definition of avant-garde Brazilian concretist poetry of the 1960s. She did this through a Joycean neologism by which poetry was verbivocovisual in a synthesis of materials with which the poem operates: the verb (the uses of language), the sound (including the rhythm), and the space (the visual). [...] The play with language(s), the mixing of registers and working with space (large blank spaces between words), the cutting off of words like dance steps, and the androgynous enunciation \"rió [...]\" from Poem 39, are there in order to tense (crispar) the expectations, those of the representation and reception, and to tell us that there are neither final nor definitive statements/utterances.",
          "type": "quotation"
        },
        {
          "ref": "2023, Pais, Ana Carolina, “The Symbology of Popular Culture in Game of Thrones: Carnivalization and Tyrion's Wedding Party”, in Álvarez-Ossorio, Alfonso, Lozano, Fernando, Soldevila, Rosario Moreno, Rosillo-López, Cristina, editors, Game of Thrones - A View from the Humanities, Vol. 1: Time, Space and Culture, Springer International Publishing, page 239",
          "text": "We saw that the verbal, visual and hearing aspects together help to give a more genuine and relevant significance to the popular symbolism. In some frames, if we focus only on the verbal elements and constructions, we are not able to identify any carnivalization, for example. But by observing the three dimensions together as one, verbivocovisually, we see that the background sound gives dialogues a more grotesque or carnivalesque sense. Lastly, we conclude that popular symbolisms are embedded into the scene through the verbivocovisual language. These symbols have as their main goal to create a distance, a break from the real world within the narrative. At the same time, the plot reminds us a great deal of the real world, both anchored in the fight for power.",
          "type": "quotation"
        }
      ],
      "glosses": [
        "Composed of semantic (or linguistic), visual, and sonic elements in synthesis."
      ],
      "links": [
        [
          "poetry",
          "poetry"
        ],
        [
          "semantic",
          "semantic"
        ],
        [
          "linguistic",
          "linguistic"
        ],
        [
          "visual",
          "visual"
        ],
        [
          "sonic",
          "sonic"
        ],
        [
          "synthesis",
          "synthesis"
        ]
      ],
      "raw_glosses": [
        "(poetry) Composed of semantic (or linguistic), visual, and sonic elements in synthesis."
      ],
      "tags": [
        "not-comparable"
      ],
      "topics": [
        "communications",
        "journalism",
        "literature",
        "media",
        "poetry",
        "publishing",
        "writing"
      ],
      "wikipedia": [
        "Augusto de Campos",
        "Concrete poetry",
        "Ezra Pound's Three Kinds of Poetry",
        "Finnegans Wake",
        "James Joyce",
        "experimental novel"
      ]
    }
  ],
  "word": "verbivocovisual"
}