This thesis traces the development of the international Concrete Poetry movement through the evolving understanding of the Chinese ideogram: from Ezra Pound's Ideogrammic Method to the Brazilian Poesia Concreta, via English language translations and adaptations, and lastly to its substantial impact on modern poetry in Chinese script. In this attempt to map the territory on which the idea of the Chinese ideogram has been established, propagated, developed and reintegrated into the poetic praxes of international Modernism, this thesis attempts to uncover the underlying attraction of the Chinese ideogrammic properties to poets using Western languages such as Portuguese and English and to clarify the theoretical implications associated with the Chinese ideogram reflected in the poetics and translation theories practiced by prominent Brazilian and Scottish concrete poets. The thesis concludes by considering how these poetic and translation strategies later return to impact on experimental literary practices in Asia. By performing in-depth analysis of discourses and poetic practice by from Brazil, Scotland, Japan and China, this thesis submits the idea of the "ideogram" to critical enquiry, arguing that the transmutation of the idea of the ideogram in critical discourse about Concrete Poetry occurs in response to and in dialogue with the cultural dynamics arising from the specific national literary space. This thesis investigates multiple layers of networks built among concrete poets: translations, epistolary correspondence and publications. The conception of "transcreation" proposed by the de Campos brothers constitutes a theoretical extension of the Ideogrammic Method in translational praxis, which links Concrete Poetry to the emergence of a globalist context. By analysing the fraught relationship between transcreation and original text, this research addresses the practical problems that occur in the process of translating concrete poems. To this end, this thesis also draws from preceding translators, philosophers and theorists in the hermeneutic tradition, who refute the idea of treating translation as merely an imitative act. The development of the idea of transcreation is illustrated with reference to the correspondence between Edwin Morgan and Haroldo de Campos primary source material stored at the Edwin Morgan Archive in the Special Collections Department at Glasgow University Library and the Haroldo de Campos Archive in the Casa das Rosas museum in Säo Paulo. These letters not only shed light on the strategy of transcreation, but also reveal the implications that national experience in an emerging global context has for poetic creation. This thesis then examines the connections built between the Brazilian concrete poets and Japanese avant-garde artists. It establishes the correlation between the Western construct of ideogrammic composition and the Chinese ideogram 'proper' as poetic material, while exploring how the Chinese written character avails itself in maximizing the inherent verbivocovisual quality in the composition of Concrete Poetry. The thesis concludes with a discussion of the Chinese Concrete Poetry (from Taiwan and mainland China) from past to present. It makes the argument that even though the Chinese modern Concrete Poetry was in certain extent mediated via the Japanese concrete poets, there is a telling poetic continuity in the visual experimentation of poetry inherited from classical Chinese to vernacular Chinese. Ironically, this continuity prevented Chinese visual poetry from being considered "Modern" until the Ideogrammic Method was re-imported from the West.