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Owen Bullock, Thesis, Final Semiotics and poetic practice in the work of three New Zealand poets This thesis is submitted for the degree of Doctor of Philosophy of the University of Canberra, February, 2017. Owen Bullock Abstract This PhD by exegesis and creative project examines the poetry of three contemporary New Zealand poets: Alistair Paterson, Alan Loney and Michele Leggott in the context of the relational axes, comprising syntagmatic and paradigmatic relations. It addresses the question of what the relational axes can tell us about poetry which can then be used in practice. After due consideration of the implications of binary oppositions in the discourse and of features such as codes, the discussion considers Jakobson’s insights into the relational axes and ideas that problematise understandings of the sign, such as Riffaterre’s theory of representation and Derrida’s elaboration of the originary nature of writing. The analysis accommodates theoretical evolution from structuralism to poststructuralism, postmodernism and assemblage theories. Poetry is richly susceptible to semiotic analysis because of the way it highlights language. I describe examples of the interaction between the axes through techniques such as metonymy and metaphor. Work that features distinctive layout invites a discussion of how the use of page space may be conceptualised and what effects are gained by it. The idea of space being used to score music was made popular by Charles Olson and has been a justification for experimental typography, but this is just one possible function. I describe various functions for the use of space in the poetry discussed, and I argue that its use is paradigmatic as well as syntagmatic, since it often subverts the definition of the syntagm (which is singular and linear). I argue that the use of space constitutes an act of substitution for language. I have encountered few attempts in the literature to systematically articulate the variety of effects which space can yield, and this is important work that I extend here. The appendix attempts a provisional taxonomy of the use of space, via reference to the analysis of poetry in chapters two, three and four. These instances are charted and grouped together to gain a better understanding of how space contributes to meaning, and to encourage the use of page space in suggestive and embodied ways. At the same time, I acknowledge that it is one avenue of many by which multiplicity of meaning can be achieved, and reflect on the way Michele Leggott’s poetry, for example, has moved away from spatial experiments yet found other ways to attain multiplicity, often through an articulation of competing codes. My creative project responds to ideas in both the poetry analysed and the theoretical components, investigating formal structures as syntagmatic confines; the idea of the centre being outside structure; the place of written language (as opposed to speech); social context; selection and substitution in poems; spatial relations, misdirection and the unity of the whole. It does so in a variety of forms with an emphasis on hybrids. Key words: semiotics; poetry; New Zealand; relational axes; space; Alistair Paterson; Alan Loney; Michele Leggott. iii Acknowledgements I would like to thank my supervisors Professor Paul Hetherington, Distinguished Professor Jen Webb and Dr Paul Munden for their insights and expertise, and for guiding me through this process. Many other members of the Faculty of Arts & Design at the University of Canberra have made this an enriching place to work and write, and I would particularly like to thank my colleague Shane Strange for his friendship and advice. Thanks to Canberra friends, especially Minnie Doron and Associate Professor Assa Doron, for making us so welcome. Special thanks go to my partner, Sue Peachey, for her unstinting encouragement, and for getting me here. I dedicate this thesis to my parents, Owen Lloyd Bullock (1930-2002), who continued to learn, and Edna Rosemary Bullock, née Yelland (1930-2007), the first purveyor of language. vii Contents Introduction: Semiotic terms and their application to poetic analysis 1 Chapter One: The relational axes, signs and signification – some problems and possibilities 19 Chapter Two: Alistair Paterson and visual form 31 Chapter Three: Alan Loney and postmodernism 53 Chapter Four: Michele Leggott and multiplicity 81 Conclusion: For poetic practice 111 Appendix: Towards a taxonomy of space 117 Works cited 119 semi 127 ix Introduction: Semiotic terms and their application to poetic analysis Roman Jakobson claims, ‘poetics may be regarded as an integral part of linguistics’ (2000a: p. 31), and this raises important considerations about how poetry may be read and understood. The student of poetics can well afford to embrace linguistic discourse and linguistic tools in order to find ways into a more complete and nuanced understanding of poetic texts. Focussing on ideas made influential by Ferdinand de Saussure’s Course in general linguistics , and cognisant of their modification, revision and supplementation by a range of later theorists, I will explore the way the relational axes – syntagmatic and paradigmatic relations – function in the work of three New Zealand poets: Michele Leggott, Alan Loney and Alistair Paterson. The ideas of syntagmatic and paradigmatic relations introduced by Saussure still have potential to further the understanding of poetry. Any poet’s work is dependent on making use of the possibilities of language to create effects. These axes are utilised variously and in subtle ways by the three poets mentioned, and an understanding of their functions helps inform the reading of that work and of contemporary poetry in general. Further, and allied to these considerations, I will consider how space itself can be conceptualised, as a poetic tool, and how the use of space may be understood, at least in part, in terms of the relational axes. This discussion conceptualises the use of space by poets as not only influencing the layout of poetry, but as a poetic element that actively intersects with language and meaning. I will argue that, at times, the use of space is an act of substitution for language. Additionally, I am interested in placing my own creative practice as a poet into the framework of semiotic analysis. This exegesis will consider what insights into the composition of poetry may flow from a consideration of syntagmatic and paradigmatic relations that can then be used in practice. The textual analysis I conduct will be supplemented by practice-led research, and my analysis of the poetry of Loney, Paterson and Leggott will draw on what I learn through writing my own manuscript of poetry, presented as the second part of this PhD thesis. My practice-led work has enabled me to examine poetry with the kind of attention to its technical detail that I bring to the composition of my own work. It has encouraged me to consider the works I discuss in terms of both their broader linguistic tendencies and achievements, drawing on the insights of various theorists, and in terms of the mechanics of individual poems and their unfolding developments as artefacts. 1 Having said this, it is worth noting that Johnathan Culler cautions against the proliferation of interpretations of texts, reminding us to question whether they do in fact aid understanding. He suggests that criticism should try to determine the conventions that make meanings possible, including the nature of codes (1975, p. 258; 1981, pp. ix, 37). Gayatri Chakravorty Spivak is salutary with regard to the purposes of criticism, cautioning that it should be ‘resolutely neuter and practical. One should not mistake the grounds out of which word and self are reproduced with the business of the appreciation of the literary text’ (2000, p. 480). Any interpretative act may constitute another (creative) cultural artefact, with its own biases, and I am mindful of this tendency. Rather than operating as a traditional literary critic, I am writing as a poet seeking examples of poetry which can inform practice. I am also sensitive to what the theoretical frameworks I am using are able to tell us about the ‘singularity of a text’ and the way different approaches to understanding a text may interrelate during reading (McQuillan 2001, pp. 86-87). This is especially important when it comes to an analysis of poetry which might be described as ‘postlinear’ (Perloff 1998, p. 166), poetry that moves beyond traditional, stanzaic form and reading habits. Such analysis, ‘will almost certainly require a series of disparate but complementary forays into the concrete writerly practices of particular, relevant authors’ (Reed 2004, n.p.). The contemporary work which I will analyse is indeed relevant to such recent movements in poetry, especially in the New Zealand context, and engagement with it requires that much be said about the disruptive forces of poetry. Although semiotics is no longer at the centre of discussions of literature and practice, its tools are still of value. They enable one to suggest ways in which ideas and images are formed and arranged in the poems studied; to show how contemporary poets manipulate the relational axes and the techniques that the axes encompass; and to demonstrate how the different parts of the poem relate to the whole, as well as to various codes deployed in exemplary contemporary poems. Discussion of semiotic tools also necessitates engagement with the critics and theorists who have used and responded to them. Outlining semiotic terms Semiotics is the study of the sign. Saussure, who helped define terms with his seminal Course in general linguistics , first published in 1916, called it, ‘a science which studies the role of 2 signs as part of social life’ (2005, p. 15 1). The sign is based on what may be understood as a dichotomy between langue and parole (language and speech). It is composed of a sound pattern (rather than a sound, since it may be heard in the mind alone) and a concept (or thought), which are like the two sides of a piece of paper (Saussure 2005, p.
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