Abstract
Abstract In the twentieth century there has been a steadily increasing interest in visual prosodies. The long (but relatively peripheral) tradition of the ‘shaped’ poem (the 'pattern' poem, the acrostic, and related visual forms) has been reviewed, redefined, and placed in a more central position in poetic theory and practice. Many developments have generated this new interest in visual form: the canonization of ‘free’ verse as a prosodic standard, the influential theorizing of the great moderns (Pound, Williams, etc.), the development of ‘concrete’ poetry as a worldwide movement, the development of the post-modern aesthetic of the selfreflexive text, the rising influence of Derridean deconstructionism in the critical academy, the emergence of semiotics as an academic discipline, and general, cross-disciplinary interest in the influence of visual form in our contemporary, print-dominated societies — to name a few.1
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