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Issue of Blake
BLAKE AN ILLUSTRATED QUARTERLY PBOCJLAllATION TIRED OF THE SPECTACLE OF SHORT STORIES, NOVELS, POEMS AND PLAYS STILL UNDER THE HEGEMONY OF THE BANAL WORD, MONO TONOUS SYNTAX, STATIC PSYCHOLOGY, DESCRIPTIVE NATURALISM, AND DESIROUS OF CRYSTALLIZING A VIEWPOINT ••• WE HEREBY DECLARE THAT : 1. THE REVOLUTION IN THE ENGLISH LANGUAGE IS AN AC COl\IPLISHED FA CT. 2. THE lllAGINATION IN SEARCH OF A FABULOUS WORLD IS AUTONOMOUS AND UNCONFINED. (Prudence is a rich, ugly old maid courted by Incapacity ... Blake) 3. PURE POETRY IS A LYRICAL ABSOLUTE THAT SEEKS AN A PRIORI BEAUTY WITHIN OURSELVES ALONE. (Bring oul number, weight and measure in a year of dearth ... ~lake) 4. NARRATIVE IS NOT .llERE ANECDOTE, BUT THE PROJEC TION OF A METAMORPHOSIS OF REALITY. (Enough I Or Too Much !... Blake) 6. THE EXPRESSION OF THESE CONCEPTS CL\lV BE ACHIEVED ONLY THROUGH THE RHYTHMIC " HALLUCINATION OF THE WORD ". (Rimbaud). 6. THE LITERARY CREATOR HAS THE RIGHT TO DISINTE GRATE THE PRIMAL llA'ITER OF WORDS IMPOSED ON HDI BY TEXT-BOOKS A.~D DICTIONARIES. (The road of excess leads to the palace of Wisdom ... Blake) 7. HE HAS THE RIGHT TO USE WORDS OF HIS OWN FASH IO~NG AND TO DISREGARD EXISTJNG GRAMMATICAL AND SYNTACTICAL LAWS. (The tigers of wrath are wiser lhan the horses of inslruclion ... Blake) 8. THE" LITANY OF WORDS" IS ADMI'ITED AS AN INDEPEN DE~T lJ-:\TIT. 9. WE ARE NOT CONCERNED WITH THE PROPAGATION OF SOCIOLOGICAL IDEAS, EXCEPT TO Ei\IANCJPATE THE CREATIVE El,E..\lEi"VTS FROl\I THE PRESENT IDEOLOGY. 10. TL\IE IS A TYRANNY TO BE ABOLISHED. -
Making the New: Literary Periodicals and the Construction of Modernism
Making the New: Literary Periodicals and the Construction of Modernism Peter Marks University of Sydney We are told that we live in a postmodernworld, experiencing unprecedented innovations, delights, and anxieties. Rather than rehearse these here, I want initially to touch brieflyon one theoretical attempt to make sense of this condition, one that definesPostmodernism in relation to its presumed antecedent, Modernism. I want to use this as a way of questioning the "monumental" view of literary Modernism, in which a massive landscape abounds with canonical texts carved by mythical giants: Joyce, Eliot, Woolf, Pound, Stein-the usual suspects. I do this by considering the role of literary periodicals in the construction, production, and initial reception of those texts. The later part of this discussion focuses on transition, the Paris-based journal of the 1920s and 1930s whose aspirations, pretensions, vigor and perilous existence typify the complex forces in play. I emphasize the point that while indi vidual periodicals consciously adopted distinct identities, they need to be understood collectively forthe vital functionsthey performed: they printed avant-garde work as well as advanced criticism and theory; acted as nurseries for experimental young writers, and as platformsfor the already-established; forged and maintained interna tional links between writers and groups; provided avant-garde writers with sophisti cated readers, and vice versa; and maintained an ipteractiveplurality of cultural dis course. Alive with the energy of experimentation, they register the fertile, complex, yet intriguingly tentative development of modem literature. In his inquisitive and provocative work, ThePostmodern Turn, lhab Hassan moves towards a concept of postmodernism by constructing a table of "certain schematic differences from modernism" (91). -
Papers of John L. (Jack) Sweeney and Máire Macneill Sweeney LA52
Papers of John L. (Jack) Sweeney and Máire MacNeill Sweeney LA52 Descriptive Catalogue UCD Archives School of History and Archives archives @ucd.ie www.ucd.ie/archives T + 353 1 716 7555 F + 353 1 716 1146 © 2007 University College Dublin. All rights reserved ii CONTENTS CONTEXT Biographical history iv Archival history v CONTENT AND STRUCTURE Scope and content v System of arrangement vi CONDITIONS OF ACCESS AND USE Access xiv Language xiv Finding-aid xiv DESCRIPTION CONTROL Archivist’s note xiv ALLIED MATERIALS Allied Collections in UCD Archives xiv Related collections elsewhere xiv iii Biographical History John Lincoln ‘Jack’ Sweeney was a scholar, critic, art collector, and poet. Born in Brooklyn, New York, he attended university at Georgetown and Cambridge, where he studied with I.A. Richards, and Columbia, where he studied law. In 1942 he was appointed curator of Harvard Library’s Poetry Room (established in 1931 and specialising in twentieth century poetry in English); curator of the Farnsworth Room in 1945; and Subject Specialist in English Literature in 1947. Stratis Haviaras writes in The Harvard Librarian that ‘Though five other curators preceded him, Jack Sweeney is considered the Father of the Poetry Room …’. 1 He oversaw the Poetry Room’s move to the Lamont Library, ‘establishing its philosophy and its role within the library system and the University; and he endowed it with an international reputation’.2 He also lectured in General Education and English at Harvard. He was the brother of art critic and museum director, James Johnson Sweeney (Museum of Modern Art, New York; Solomon R. -
Hartnett Dissertation
SSStttooonnnyyy BBBrrrooooookkk UUUnnniiivvveeerrrsssiiitttyyy The official electronic file of this thesis or dissertation is maintained by the University Libraries on behalf of The Graduate School at Stony Brook University. ©©© AAAllllll RRRiiiggghhhtttsss RRReeessseeerrrvvveeeddd bbbyyy AAAuuuttthhhooorrr... Recorded Objects: Time-Based Technologically Reproducible Art, 1954-1964 A Dissertation Presented by Gerald Hartnett to The Graduate School in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in Art History and Criticism Stony Brook University August 2017 Stony Brook University 2017 Copyright by Gerald Hartnett 2017 Stony Brook University The Graduate School Gerald Hartnett We, the dissertation committee for the above candidate for the Doctor of Philosophy degree, hereby recommend acceptance of this dissertation. Andrew V. Uroskie – Dissertation Advisor Associate Professor, Department of Art Jacob Gaboury – Chairperson of Defense Assistant Professor, Department of Art Brooke Belisle – Third Reader Assistant Professor, Department of Art Noam M. Elcott, Outside Reader Associate Professor, Department of Art History, Columbia University This dissertation is accepted by the Graduate School Charles Taber Dean of the Graduate School ii Abstract of the Dissertation Recorded Objects: Time-Based, Technologically Reproducible Art, 1954-1964 by Gerald Hartnett Doctor of Philosophy in Art History and Criticism Stony Brook University 2017 Illuminating experimental, time-based, and technologically reproducible art objects produced between 1954 and 1964 to represent “the real,” this dissertation considers theories of mediation, ascertains vectors of influence between art and the cybernetic and computational sciences, and argues that the key practitioners responded to technological reproducibility in three ways. First of all, writers Guy Debord and William Burroughs reinvented appropriation art practice as a means of critiquing retrograde mass media entertainments and reportage. -
Werner Huber, Sandra Mayer, Julia Novak (Eds.)
Werner Huber, Sandra Mayer, Julia Novak (eds.) IRELAND IN/AND EUROPE: CROSS-CURRENTS AND EXCHANGES Irish Studies in Europe Edited by Werner Huber, Catherine Maignant, Hedwig Schwall Volume 4 Werner Huber, Sandra Mayer, Julia Novak (eds.) IRELAND IN/AND EUROPE: CROSS-CURRENTS AND EXCHANGES Wissenschaftlicher Verlag Trier Ireland in/and Europe: Cross-Currents and Exchanges / Werner Huber, Sandra Mayer, Julia Novak (eds.). - Trier: WVT Wissenschaftlicher Verlag Trier, 2012 (Irish Studies in Europe; vol. 4) ISBN 978-3-86821-421-5 Umschlaggestaltung: Brigitta Disseldorf © WVT Wissenschaftlicher Verlag Trier, 2012 ISBN 978-3-86821-421-5 Alle Rechte vorbehalten Nachdruck oder Vervielfältigung nur mit ausdrücklicher Genehmigung des Verlags WVT Wissenschaftlicher Verlag Trier Bergstraße 27, 54295 Trier Postfach 4005, 54230 Trier Tel.: (0651) 41503, Fax: 41504 Internet: http://www.wvttrier.de E-Mail: [email protected] CONTENTS ACKNOWLEDGEMENTS 9 Werner Huber (Vienna), Sandra Mayer (Vienna), Julia Novak (Vienna) INTRODUCTION 11 Seamus Heaney (Dublin) MOSSBAWN VIA MANTUA: IRELAND IN/AND EUROPE: CROSS-CURRENTS AND EXCHANGES 19 Barbara Freitag (Dublin) HY BRASIL: CARTOGRAPHIC ERROR, CELTIC ELYSIUM, OR THE NEW JERUSALEM? EARLY LITERARY REPRESENTATIONS OF THE IMAGINARY BRASIL ISLAND 29 Eglantina Remport (Budapest) “MY CHANGE OF CHARACTER”: ROUSSEAUISME AND MARIA EDGEWORTH’S ENNUI 41 Gabriella Vö (Pécs) THE RISE OF THE HUNGARIAN DANDY: OSCAR WILDE’S CONTRIBUTION TO THE EXPERIENCE OF MODERNITY IN EARLY-TWENTIETH-CENTURY HUNGARY 51 Sandra Andrea O’Connell (Dublin) PUBLISHED IN PARIS: SAMUEL BECKETT, GEORGE REAVEY, AND THE EUROPA PRESS 65 Ute Anna Mittermaier (Vienna) FRANCO’S SPAIN: A DUBIOUS REFUGE FOR THE POETS OF THE ‘IRISH BEAT GENERATION’ IN THE 1960S 79 Sarah Heinz (Mannheim) FROM UTOPIA TO HETEROTOPIA: IRISH WRITERS NARRATING THE SPANISH CIVIL WAR 93 Michael G. -
James Joyce, Samuel Beckett, and the Confines of Autonomous Language David M
University of South Florida Scholar Commons Grace Allen Scholars Theses Honors College 4-1-2009 James Joyce, Samuel Beckett, and the confines of autonomous language David M. Vassalotti Follow this and additional works at: http://scholarcommons.usf.edu/honors_gast Part of the American Studies Commons Scholar Commons Citation Vassalotti, David M., "James Joyce, Samuel Beckett, and the confines of autonomous language" (2009). Grace Allen Scholars Theses. Paper 6. http://scholarcommons.usf.edu/honors_gast/6 This Thesis is brought to you for free and open access by the Honors College at Scholar Commons. It has been accepted for inclusion in Grace Allen Scholars Theses by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. 1 James Joyce, Samuel Beckett, and the Confines of Autonomous Language By David M. Vassalotti Honors College Bachelor of English and American Literature University of South Florida, 2009 Director: Dr. David Pringle Department of English University of South Florida Committee Member: Dr. John Omlor Department of English University of South Florida Spring 2009 University of South Florida Tampa, FL 2 This thesis would be a sprawling mess if it were not for the guidance of Dr. David Pringle. I would like to thank him and Dr. John Omlor for their continued support and assistance throughout the research and composition process. I am also thankful for the positive encouragement on behalf of my parents Keith and Theresa, as well as my loving and patient girlfriend Emily. Dr. Silverman and the entire staff at the Honors College have made these final semesters and ultimately rewarding experience. -
Additional Bibliography
Additional Bibliography The references in this list - arranged alphabetically - comprise secondary material, which may be of use in additional fields of biographical inquiry. Antoni, Claudio, 'A Note on Trieste in Joyce's Time', james Joyce Quarterry, 9 (Spring 1972) 318-9 (the main historical and cultural aspects when Joyce lived there). Barnes, Djuna, 'James Joyce', Vaniry Fair, 18 (April 1922) 65, 104 (interview discussion ofJoyce in Paris, by a fellow novelist). Beach, Sylvia, 'Portrait of the Artist', Irish Times (Dublin), 16June 1962, p. 10 Uoyce in Paris in the 1920s). Benco, Aurelia Gruber, 'Between Joyce and Benco', james Joyce Quarterry, 9 (Spring 1972) 328-33 (the relationship between Joyce and his friend the Italian critic and publisher Silvio Benco, by Benco's daughter). Benco, Silvio, 'James Joyce in Trieste', Pergaso, 2 (8 August 1930) 150-65. Reprinted as 'Ricordi diJoyce', Umana, 20 (May-September 1971) 6-12; in English translation as 'James Joyce in Trieste', Bookman (New York), 72 (December 1930) 375-80; and in Portraits of the Artist in Exile ed. Willard Potts (Seattle and London: University of Washington Press, 1979) pp. 49- 58 (memoir by Joyce's close friend the critic and publisher). Borach, Georges, 'Gespriiche mit James Joyce', Neue Zurcher Zeitung, no. 827 (3 May 1931) 3. Reprinted in English translation as 'Conversations with James Joyce', College English, 15 (March 1954) 325-7; in Meanjin, 13 (Spring 1954) 393-6; in London Magazine, I (November 1954) 75-8; and in Portraits of the Artist in Exile, ed. Potts, pp. 69-72. Bradley, Bruse, SJ, James Joyce's Schooldays (Dublin: Gill & Macmillan, 1982) Uoyce at Clongowes Wood College, 1888-91; and at Belvedere College, 1893-8). -
Transition Magazine 1927-1930
i ^ p f f i b A I Writing and art from transition magazine 1927-1930 CONTRIBUTIONS BY SAMUEL BECKETT PAUL BOWLES KAY BOYLE GEORGES BRAQUE ALEXANDER CALDER HART CRANE GIORGIO DE CHIRICO ANDRE GIDE ROBERT GRAVES ERNEST HEMINGWAY JAMES JOYCE C.G. JUNG FRANZ KAFKA PAUL KLEE ARCHIBALD MACLEISH MAN RAY JOAN MIRO PABLO PICASSO KATHERINE ANNE PORTER RAINER MARIA RILKE DIEGO RIVERA GERTRUDE STEIN TRISTAN TZARA WILLIAM CARLOS WILLIAMS AND OTHERS ■ m i , . « f " li jf IT ) r> ’ j vjffjiStl ‘■vv ■H H Iir ■ nr ¥ \I ififl $ 14.95 $388 in transition: A Paris Anthology IK i\ Paris transition An Anthology transition: A Paris Anthology WRITING AND ART FROM transition MAGAZINE 1927-30 With an Introduction by Noel Riley Fitch Contributions by Samuel BECKETT, Paul BOWLES, Kay BOYLE, Georges BRAQUE, Alexander CALDER, Hart CRANE, Giorgio DE CHIRICO, Andre GIDE, Robert GRAVES, Ernest HEMINGWAY, James JOYCE, C. G. JUNG, Franz KAFKA, Paul KLEE, Archibald MacLEISH, MAN RAY, Joan MIRO, Pablo PICASSO, Katherine Anne PORTER, Rainer Maria RILKE, Diego RIVERA, Gertrude STEIN, Tristan TZARA, William Carlos WILLIAMS and others A n c h o r B o o k s DOUBLEDAY NEW YORK LONDON TORONTO SYDNEY AUCKLAND A n A n c h o r B o o k PUBLISHED BY DOUBLEDAY a division of Bantam Doubleday Dell Publishing Group, Inc. 666 Fifth Avenue, New York, N.Y. 10103 A n c h o r B o o k s , D o u b l e d a y , and the portrayal of an anchor are trademarks of Doubleday, a division of B antam Doubleday Dell Publishing Group, Inc. -
Eugene Jolas: a Poet of Multilingualism
L2 Journal, Volume 7 (2015), pp. 49-67 http://repositories.cdlib.org/uccllt/l2/vol7/iss1/art5/ Eugene Jolas: A Poet of Multilingualism EUGENIA KELBERT Yale University E-mail: [email protected] Eugene Jolas, the first-time publisher of James Joyce's Finnegans Wake (1939/2012), started his career as a translingual journalist and poet. A French-German bilingual, Jolas acquired English in adolescence, crossing the Atlantic to refashion himself as an American man of letters. A "Man from Babel," as he styles himself in his posthumous autobiography of the same title (1998), Jolas published poetry in English, French, and German and eventually arrived to an understanding of his linguistic predicament as representative of humanity's path back to a pre-Babel state. Thus, he repeatedly called for a new language, a poetically-charged polygloss, Atlantica, that would surpass Esperanto and allow poets to lead humanity out of a post-war "malady of language."1 Here as elsewhere, this self-identified "homme migrateur presque symbolique” was right in his claim: “je fais toujours partie du cosmos inter-racial et inter-linguistique, …. j'appartiens au futur (“The Migrator and His Language,” 1948; French draft Box 4, Folder 100; translation Jolas, 2009, p. 458). This paper explores Jolas’ largely unpublished legacy as a multilingual poet. In addition to published collections of poems in three languages, Jolas left a largely forgotten legacy of multilingual, macaronic, and outright nonsense texts that baffle by their inventiveness. These curious poems, which oscillate between virtuosic linguistic creativity and the construction of a new language, carve out a niche within the modernist movement for literally and metaphorically non-native use of poetic language. -
Eugene Jolas and Multilingual Modernism Juliette Taylor-Batty Leeds Trinity University
On the Frontier: Eugene Jolas and Multilingual Modernism Juliette Taylor-Batty Leeds Trinity University abstract: Multilingual writing challenges our perceptions of “national” languages in relation to cultural identity; it often challenges what Yasemin Yildiz defines as “the monolingual paradigm.” The modernist writer, editor, and translator Eugene Jolas consistently explored and sought to transcend the borders of languages and national identity in his translational and multilingual editorial and poetic practice. Jolas is well known as the cofounder of the modernist magazine transition, but his poetic work has been relatively neglected, partly because it combines and switches between lan- guages in odd and unsettling ways. Focusing on his multilingual poetry as it appears in transition 23 (1935), this article argues that this work is important precisely because it is unsettling. Jolas’s poetry centers on interlingual and intercultural difference, involv- ing the reader in processes of movement, migration, and transition between languages; it thus pushes us to explore and challenge our own linguistic “frontiers.” ultilingual writing makes us think hard about how we define languages: it challenges our perceptions of “national” languages in relation to cultural identity; it often challenges what Yasemin Yildiz defines as “the monolingual paradigm,” accord- Ming to which “individuals and social formations are imagined to possess one ‘true’ language only, their ‘mother tongue,’” through which they are “organically linked to an exclusive, clearly demar- cated ethnicity, culture, and nation.”1 The work of the modernist editor, writer, and translator Eugene Jolas is particularly interesting in this respect. A self-styled “border-man”2 and lifelong 1 Yasemin Yildiz, Beyond the Mother Tongue: The Postmonolingual Condition (New York: Fordham University Press, 2012), 2. -
Forging and Furnishing the Revolution of the Word
CATHRYN SETZ Nietzsche’s Spider: Forging and Furnishing the Revolution of the Word Winter had scampered away and Spring was waiting at the gates. Strange things were stirring in the soil and in our hearts. We were made drunk with the vision of Krishna and Christ. The spiders of despair shook themselves out of our souls in a trace of fear. We bowed our heads before the magic of an awakened beauty and thrilled to life […] —Eugene Jolas (1924)1 “The plain reader be damned.” So ends the “Proclamation” of “The Revolution of the Word”, a twelve-point manifesto printed in Eugene and Maria Jolas’s seminal interwar modernist magazine, transition (1927-1938). The 1929 document— frontispiece to a new segment of experimental writing—heralded an age of new forms. Tired of what it called the “hegemony of the banal word”, a striking emphasis of the provocation lay in its repeated insistence that “the literary creator” can “fashion” a new type of language. “Autonomous and unconfined”, “disintegrat[ing]” the “primal matter of words”, the Proclamation was a celebration of self-formation: an aspiration to an “a priori reality within ourselves alone”.2 Adorned with references to Blake, to Rimbaudean “hallucinations” in language, it also overlapped with the Francophone Surrealist movement, sharing a fascination with the unconscious “and its relation to the eternal mythos”, as Jolas would later write.3 Its fifteen signatories—Kay Boyle, Hart Crane, and Robert Sage among them—shone a light on a community of writers who often worked 1 Eugene Jolas, “Nocturne at Press-Time”, Rhythmus 2.2 (May-June 1924): 46-8 (p. -
Differentials: Poetry, Poetics, Pedagogy
Differentials Modern and Contemporary Poetics Series Editors Charles Bernstein Hank Lazer Series Advisory Board Maria Damon Rachel Blau DuPlessis Alan Golding Susan Howe Nathaniel Mackey Jerome McGann Harryette Mullen Aldon Nielsen Marjorie Perloff Joan Retallack Ron Silliman Lorenzo Thomas Jerry Ward Differentials Poetry, Poetics, Pedagogy Marjorie Perloff The University of Alabama Press Tuscaloosa Copyright © 2004 The University of Alabama Press Tuscaloosa, Alabama 35487-0380 All rights reserved Manufactured in the United States of America Typeface: Minion ∞ The paper on which this book is printed meets the minimum requirements of American National Standard for Information Science-Permanence of Paper for Printed Library Materials, ANSI Z39.48-1984. Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. Differentials : poetry, poetics, pedagogy / Marjorie Perloff. p. cm. — (Modern and contemporary poetics) Chie®y essays previously published in various sources. Includes bibliographical references and index. ISBN 0-8173-1421-0 (alk. paper) — ISBN 0-8173-5128-0 (pbk. : alk. paper) 1. Literature, Modern—History and criticism. 2. Poetics. I. Title. II. Series. PN511.P47 2004 809′.04—dc22 2004001811 Contents Acknowledgments vii Introduction: Differential Reading xi 1. Crisis in the Humanities? Recon¤guring Literary Study for the Twenty-¤rst Century 1 2. Cunning Passages and Contrived Corridors: Rereading Eliot’s “Gerontion” 20 3. The Search for “Prime Words”: Pound, Duchamp, and the Nominalist Ethos 39 4. “But isn’t the same at least the same?” Wittgenstein on Translation 60 5. “Logocinéma of the Frontiersman”: Eugene Jolas’s Multilingual Poetics and Its Legacies 82 6. “The Silence that is not Silence”: Acoustic Art in Samuel Beckett’s Radio Plays 102 7.