Hejinian's "hypersignification" (188)
for instance, "a voice-over device"
"a narrative supplement or metacommentary [superimposed upon] whatever is being explicitly presented"
190: "[In] oversignification [...] an ostensible 'voice' in the poem provides a running commentary on the context from which it is emerging. This is, in effect, its voice-over effect."
it can be used as a vehicle to express "wild signaling, hellish ecstasy, and happy, as well as haphazard, rage"
it "overcrowd[s]" a poem, creating new "zones of meaningfulness" and "undermining the power that ideologies and commodity forms [...] can exercise over perceptions, actions, and ideas"
"Oversignifying [...] generates a kaleidoscopic semantic space, a swarm of meanings, most of them unstable or some even possibly spurious"
contrast against traditional allegory [see separate note]
see Sara Larsen's Merry Hell, which is "radically overdetermined," creating "a range of effects, the overflow of numerous currents"
note that we have both "hypersignifying" and "oversignifying," and we are warned "[t]hese two terms are almost synonymous, but they are not perfectly so" (211)
see separate note on "the hypertextual poem"
by contrast, the "oversignified" poem "calls attention to the excessiveness of what's in play" (212)
not exactly polysemy ("it doesn't eschew polysemy" but "its real concern is to alert us to the multiplicity of signs in the poem and to competing demands on it from nonaesthetic spheres"--hm, not sure I follow that last bit)