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Since the sixties of the twentieth century, different algorithms for using poetic texts in the transformation of urban space have emerged. Poetic discourse is being increasingly contextualized in space, whose role in the contemporary cultural system and specific tasks of urbanism has been growing. In the urban context, poetry may acquire different forms — street performances, advertisements, murals and other types of visual poetry. It may turn the city into a venue for a festival of urban poetry. The poetic text interacts with urban objects (monuments, train stations, airports, bus stops, and benches), including QR codes and other technical means. The article explores the process of integrating poetic texts into urban space using the example of the Netherlands, Belgium, Russia, Spain and countries of Latin America. Urban poetry contributes to overcoming the linearity and elitism of the poetic text, shifting the emphasis from verbal to the visual or performative component of the text, and strengthening the function of the addressee. As a result, poetry acquires an applied character. The city becomes an instrument of mediated poetic communication and can be used for the representation of the city.

The article deals with the problem of correlation between the poetic text and the video footage in modern video poetry. Despite the fact that this topic has already been touched upon in one way or another by researchers of the new direction in media art, not all issues have been resolved. Examples from the archive of the Fifth Leg video poetry festival (organized by E. Troepolskaya and A. Rodionov) are used for discussion in this article. The study considers the following types of video poetry: a video record of the author's reading; a video illustration or video clip based on a poem; a footage presented as a new interpretation, or as a “secondary” text, created on the basis of the “primary” one; a video production which initially, at the stage of planning already, combines poetic and visual components. Modern video poetry at a new stage in cultural history continues the idea of Gesamtkunstwerk, which inspired romantics (Goethe, Byron, Wagner) and symbolists, as well as the verbal-visual experiments of avant-garde artists. In contrast to the art of romanticism and “high” modernism, video poetry is democratic and in the form of its online existence it opposes the art market and enjoys a certain freedom of self-expression. In general, video poetry can be considered one of the new reading practices that are attractive to the generation of visuals. At the same time, video poetry faces difficulties due to the differences between the languages of the verbal and visual forms of art. The verbal characteristic does not pretend to be understood literally, and the visual “subtitles” only simplify the content of the poem. The language of poetry is metaphorical; therefore, the footing should be highly semiotic. The solution to the problem of the embodiment of the lyrical subject is also difficult: expressed in the text, as a rule, by a pronoun, the lyrical subject can hardly be visually substituted for by a concrete character of the video footage. Finally, a special problem is associated with the relationship between the poetic rhythm and video editing. Variants of the solution of the above mentioned issues in the videos of R. Osminkin (the poem “Life Passes By”), O. Yagodin (the poem by Mandelstam “Cinematograph”), A. Tolkacheva (“Fragments of Disappearance”) are considered in this article. Concrete examples convince us that there should be a “gap” between the verbal and visual components in video poetry, and that a new meaning arises as a result of experiments precisely on the borderline between literature and cinema. The key methods for visualizing a poem include the dissimilarity of the subject of the lyric expression and the change of the cultural context.

The article is devoted to the study of visual and graphic features of the E. A. Mnatsakanova’s texts in the book “Steps and Sighs” published in Vienna in 1982. The relevance of studying visual poetry is substantiated. A brief review of articles and dissertations, which highlight the work of the poetess, is given. At the same time, a significant gap was revealed in the study of her work - the poorly studied visual aspect in the presence of a layer of works in which the visual-auditory nature of poetry by E. A. Mnatsakanova was noted, which abandoned the traditional grammatical structure in favor of the traditional musical structure. Two types of visual-graphic techniques are considered that are most clearly manifested in the book “Steps and Sighs” - firstly, the location of the text on the page, among which the following techniques are highlighted: continuous writing of text, dividing the text into several vertical streams, fragmentation, indentation, spaces , holophrastic constructions and, secondly, typeface accidents, within which the use of foreign and uppercase fonts is considered. Comprehensive research methods led to the conclusion that the visual-graphic techniques used by Mnatsakanova are due to the visual-auditory nature of her work and the “stereo-scopic-phonic” thinking of the poetess. Also identified are three functions that the visual-graphic techniques considered by the author of the article perform in the text: organizing the sound structure of the poem with the help of indents, spaces, holophrastic constructions, meaning-forming, i.e. creating additional semantic accentuation using font accentuation and the function of holistic perception of the text, providing the possibility of multidirectional reading (writing solid text, dividing text into several vertical streams).

Autor przedstawia w zarysie zagadnienie wizualności poezji polskiej w okresie międzywojennym. Omawia przemiany awangardowe w kulturze europejskiej początku XX wieku ze szczególnym uwzględnieniem narodzin poezji wizualnej w kręgu futuryzmu i dadaizmu. Dokonuje klasyfikacji utworów lirycznych w zakresie podjętej problematyki, wskazując na ich związki ze sztukami plastycznymi. Do najważniejszych typów poezji wizualnej zalicza wiersze: figuratywne, werbalno-ikoniczne z elementami graficznymi jako intekstami i typograficzne. Na przykładzie tekstów Tytusa Czyżewskiego, Stanisława Młodożeńca, Anatola Sterna i innych przedstawia różnorodne sposoby wizualizacji wiersza w praktyce twórców awangardowych.

The article describes some of the experiences of Ukrainian futurist Mykhail Semenko and Russian ego-futurist Basilisk Gnedov in the field of visual poetry and their connection with folklore motifs. For a more holistic image of this problem, the text briefly outlines Semenkov's concept of "poesomalarstvo", connected with the plastic appearance of the poetic text, as well as the general nature of linguistic and visual poetry experiments in Gnedov's early works. There are also related aspects of the artistic practice of both poets, whose work to a certain extent had common origins. Folk roots in the poetry of both futurists are represented on the material of analysis of two early poems, which are an example of visual poetry. [ABSTRACT FROM AUTHOR]

Active integration of intermedia literary technique results in a paradigm shift as well as in poet’s intention to overcome traditional forms and genres and represent the message by means of other semiotic signs. The incorporation of the visual component into the verbal poetic structure ensures the development of the visual poetry – a new genre of intermediality. The article reviews the most common understandings of the visual poetry and its place in the contemporary literature. It suggests a particular strategy for the interpretation process of the verbal and visual components. The author also presents the analysis of two poetic texts with the dominant visual component within their structure.