DOCSLIB.ORG

The Work of Art in the Era of Its Technological Reproducibility

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Work of Art in the Era of Its Technological Reproducibility lt"lterBeniomin SELECTEDV/RITINGS VOLUME4 r 938-t 940 Tronslotedby EdmundJephcott ondOthers Editedby HowordEilond ond Michoel\V. Jennings THE BELKNAPPRESS OF HARVARDUNIVERSITY PRESS Combridge,Mossochusetts, ond London, Englond 2OO3 I Workof Art in the As" of lts Technolog ico I Reproducibil ity ThirdVersion Our fine arts were developed,their types and useswere established,in times very different from the present, by men whose power of action upon things was insignificant in comparison with ours. But the amazing growth of our techniques, the adaptability and precision they have artained, the ideas and habits they are cre- ating, make it a certainty that profound changes are impending in the ancient craft of the Beautiful. In all the arts, there is a physical component which can no longer be consideredor treated as it used to be, which cannot remain unaffected by our modern knowledge and power. For the last twenty years, neither matter nor space nor time has been what ir was from time immemorial. We must expect great inno- vations to transform the entire technique of the arts, thereby affecting artistic in- vention itself and perhaps even bringing about an amazrngchange in our very notion of art. -Paul Val6ry,Piices sur I'art ("La Conqu6tede l'ubiquit6") Introducfion When Marx undertook his analysis of the capitalist mode of production, this mode was in its infancy.l Marx adopted an approach which gave his in- vestigationsprognostic value. Going back to the basic conditions of capital- ist production, he presentedthem in a way which showed what could be ex- 'lfhat pected of capitalism in the future. could be expected,it emerged,was not only an increasingly harsh exploitation of the proletariat but, ulti- mately, the creation of conditions which would make it possiblefor capital, ism to abolish itself. Since the.transformation of the superstructure proceeds far more slowly than that of the base,it has taken more than half a century for the changein 252 rgSg the conditions of production to be manifested in all areas of culture. How this processhas affected culture can only now be assessed,and these assess- ments must meet certain prognostic requirements. They do not, however, call for theseson the art of the proletariat after its seizureof power, and still less for any on the art of the classlesssociety. They call for thesesdefining the tendencies of the development of art under the present conditions of production. The dialectic of theseconditions of production is evident in the superstructure, no less than in the economy. Theses defining the develop- mental tendenciesof art can therefore contribute to the political struggle in ways that it would be a mistake to underestimate.They neutralize a number of traditional concepts-such as creativity and genius, eternal value and mystery-which, used in an uncontrolled way (and controlling them is difficult today), allow factual material to be manipulated in the interests of fascism. In what follows, the concepts which are iitroduced into tbe tbeory of art differ from those now current in that they are completely uselessfor the purposes of fascism. On the other hand, they are useful for tbe formula- tion of reuolutionary demands in the politics of art lKunstpolitik]. I In principle, the work of art has always been reproducible. Objects made by humans could always be copied by humans. Replicas were made by pupils in practicing for their craft, by masters in disseminating their works, and, finally, by third parties in pursuit of profit. But the technological reproduc- tion of artworks is something new. Having appeared intermittently in history, at widely spaced intervals, it is now being adopted with ever- increasing intensity. The Greeks had only two ways of technologically re- producing works of art: casting and stamping. Bronzes, terracottas, and coins were the only arfworks they could produce in large numbers. All oth- ers were unique and could not be technologically reproduced. Graphic art was first made technologically reproducible by the woodcut, long before written language became reproducible by movable type. The enormous changes brought about in literature by movable type, the technological reproducibility of writing, are well known. But they are only a special case, though an important one, of the phenomenon consideredhere from the per- spectiveof world history. In the course of the Middle Ages the woodcut was supplemented by engraving and etching, and at the beginning of the nine- teenth century by lithography. Lithography marked a fundamentally new stage in the technology of re- production. This much more direct process-distinguished by the fact that the drawing is traced on a stone, rather than incised on a block of wood or etched on a copper plate-first made it possible for graphic art to market its products not only in large numbers, as previouslS but in daily changing Work of Art in rheAge of Reproducibility(Third Version) 253 variations. Lithography enabled graphic art to provide an illustrated ac- companrment to everyday life. It began to keep pace with movable-type printing. But only a few decadesafter the invention of lithography, graphic art was surpassedby photography. For the first time, photography freed the hand from the most important artistic tasks in the process of pictorial re- production-tasks that now devolved solely upon the eye looking into a lens. And since the eye perceivesmore swiftly than the hand can diaw, the process of pictorial reproduction was enormously accelerated, so that it could now keep pace with speech.A cinematographer shooting a scenein the studio captures the images at the speedof an actor's speech.Just as the illustrated newspaper virtually lay hidden within lithography, so the sound film was latent in photography. The technological reproduction of sound was tackled at the end of the last century. Theseconvergent endeavorsmade it possible to conceive of the situation that Paul val6ry describesin this sen- "Just tence: as water, gas, and electriciry are brought into our houses from far off to satisfy our needswith minimal effort, so we shall be supplied with visual or auditory images, which will appear and disappe^t ii ^ simple movement of the hand, hardly more than a sign."2 Around 1900, techno- logical reproduction not only bad reacheda standard that permitted it to re- produce all known works of art, profoundly modifying tbeir effect, but it also had captured a place of its own among tbe artistic processes.Ingaug- ing this standard, we would do well to study the impact which its two dif- ferent manifestations-the reproduction of artworks and the art of film- are having on art in its traditional form. tl In even the most perfect reproduction, one thing is lacking: the here and now of the work of art-its unique existencein a particular place. It is this unique existence-and nothing else-that bears the mark of the history to which the work has been subject.This history includes changesto the physi- cal structure of the work over time, together with any changes in owner- ship.3 Traces of the former can be detected only by chemical or physical analyses(which cannot be performed on a reproduction), while changesof ownership are part of a tradition which can be traced only from the stand- point of the original in its present location. The here and now of the original underlies the concept of its authenticity. chemical analysesof the patina of a bronze can help to establishits authen- ticity, just as the proof that a given manuscript of the Middle Ages came from an archive of the fifteenth century helps to establish its autlenticity. Tbe whole sphere of autbenticity eludes technological-and, of course, not only technological-reproducibility.a But whereas the authentic work re- tains its full authority in the face of a reproduction made bv hand. which it 254 . lgSg generally brands a forgerg this is not the casewith technological reproduc- tion. The reason is twofold. First, technological reproduction is more inde- pendent of the original than is manual reproduction. For example, in pho- tography it can bring out aspectsof the original that are accessibleonly to the lens (which is adjustable and can easily changeviewpoint) but nor to the human eye; or it can use certain processes,such as enlargement or slow mo- tion, to record images which escapenatural optics altogether. This is the first reason. Second, technological reproduction can place the copy of the original in situations which the original itself cannot attain. Above all, it en- ables the original to meet the recipient halfway, whether in the form of a photograph or in that of a gramophone record. The cathedral leavesits site to be receivedin the studio of an art lover; the choral work performed in an auditorium or in the open air is enjoyed in a private room. The situations into which the product of technological reproducion can be brought may leave the arrwork's other properties untouched, but they certainly devalue the here and now of the artwork. And although this can apply not only to art but (say) to a landscapemoving past the spectator in a film, in the work of art this processtouches on a highly sensitivecore, more vulnerable than that of any natural object. That core is its authenticity. The authenticity of a thing is the quintessenceof all that is transmissible in it from its origin on, ranging from its physical duration to the historical testi- mony relating to it. since the historical testimony is founded on the physical duration, the former, too, is jeopardized by reproduction, in which the physical duration plays no part. And what is really jeopardized when the historical testimony is affected is the authority of the object.s One might encompassthe eliminated element within the concept of the aura, and go on to say: what withers in the age of the technological reproducibility of the work of art is the latter's aura.
Load more

Recommended publications
  • Borges's Translations of German Expressionist Poetry
    laura sager eiDt Borges’s Translations of German Expressionist Poetry Spaniardizing Expressionism Discussions of the Spanish avant-garde generally emphasize only its French sur- realist orientation, the “dehumanized” and “hermetic” poesía pura and its (equally evasive) neo-populist and classicist tendencies.1 It tends to ignore other possible influences. Yet, in the 1920s, at a time when the Spanish image of Germany was still shaped by the romantic love and nature poetry of Goethe, Hölderlin, and Novalis, Jorge Luis Borges began translating and publishing recent German Expressionist poetry.2 Most literary histories, however, dismiss any impact of Expressionism on the Spanish literary scene. According to the editor of a book on Expressionism as an International Literary Phenomenon, Spain “remained quite unaffected by Expres- sionism” (Weisstein 31), and the Latin countries in general found Expressionism “uncongenial to their way of thinking” (30). Moreover, most literary dictionaries and encyclopedias define Expressionism as an exclusively Germanic phenome- non.3 Not surprisingly, then, Borges’s translations and commentaries of Expression- ist poetry are either left unnoticed, mentioned only in passing, or as an insignifi- cant influence in central studies of the Spanish avant-garde (e.g. Geist 61; Díez de Revenga, Poesia española 25; Videla 99–101).4 Even critics who do discuss Borges’s relationship to Expressionism are concerned more with his prose commentaries or his “Expressionist techniques” in his own early Ultraist poetry, rather than with the translations themselves,5 stressing what they see as Borges’s later distance from the movement, and the lack of further reception (e.g. Soria Olmedo 85; Gallego Roca 206; Maier, “Borges” 148).
    [Show full text]
  • THE CREATION of EXPRESSIONISM: KURT PINTHUS the GLANEUR and MENSCHHEITSDÄMMERUNG by GIOVANNI ANGELO DOVERI B.A., Portland State University, 2015
    THE CREATION OF EXPRESSIONISM: KURT PINTHUS THE GLANEUR AND MENSCHHEITSDÄMMERUNG by GIOVANNI ANGELO DOVERI B.A., Portland State University, 2015 A thesis submitted to the Faculty of the Graduate School of the University of Colorado in partial fulfillment of the requirement for the degree of Master of Arts Department of Germanic and Slavic Languages and Literatures 2017 ii This thesis entitled: The Creation of Expressionism: Kurt Pinthus the Glaneur and Menschheitsdämmerung written by Giovanni Angelo Doveri has been approved for the Department of Germanic and Slavic Languages and Literatures (Dr Arne Höcker, Chair) (Dr Lauren Stone) (Dr Davide Stimilli) Date The final copy of this thesis has been examined by the signatories, and we find that both the content and the form meet acceptable presentation standards of scholarly work in the above mentioned discipline. iii Doveri, Giovanni Angelo (M.A., German Studies) The Creation of Expressionism: Kurt Pinthus the Glaneur and Menschheitsdämmerung Thesis directed by Assistant Professor Arne Höcker ABSTRACT Kurt Pinthus’ 1919 anthology, Menschheitsdämmerung: Symphonie jüngster Dichtung, was a foundational turning point in the creation of Expressionism. The collection pushed the boundaries of the genre of the anthology into an aesthetic dimension, by which Pinthus straddles the role of both artist and literary critic. The first part of the thesis will situate lyrical Expressionism both in the philosophic traditions, which it inherits, and with the overall project of Modernism. Secondly, Menschheitsdämmerung acts as a metapoem of Expressionism. It is the figure of the Glaneur, who straddles the position between art and literary criticism to produce a literary epoch through a metapoem.
    [Show full text]
  • 'Eine Sprechmaschine Bin Ich': Johannes R. Becher's
    ‘EINE SPRECHMASCHINE BIN ICH’: JOHANNES R. BECHER’S VERSION OF MAJAKOVSKIJ’S The Aufbau edition of Johannes R. Becher’s complete works contains a number of translations of Soviet poetry which Becher made during the mid-1920s, once he had committed himself finally to the KPD. The pieces form part of his frenzied output of experimental and agitprop writing in these years, responding to the incessant demands which the Party leadership placed on its members, and are thus far from masterpieces of the translator’s art. In fact, since Becher had no Russian at all in this period, they are hurriedly conceived responses to interlinear translations made available by journalists on the radical press. However, although these works are Auftragsarbeiten, finished o· at high speed for the German market, it would be wrong to maintain that they are of no further interest for anyone interested in either Becher’s work or the reception of Soviet literature in Germany. On the contrary, I am going to argue that the way in which Becher responds to the work of the iconic Soviet writer Vladimir Majakovskij can tell us much about Becher’s attitude to the Soviet Union in his work and about the route taken by artists from avant-gardism to Stalinism. In order to do this, I shall first discuss the status of Futurist avant-gardism and the Soviet Union in Becher’s literary work in the 1920s, before looking specifically at his translation of Majakovskij’s long poem 150 000 000. Alongside that of August Stramm and Alfred Doblin,• Becher’s work in the late 1910s and early 1920s can count as the most comprehensive German recep- tion of the formal and stylistic preoccupations of Futurism.
    [Show full text]
  • Modernism and World War I
    Fatal Symbiosis: Modernism and World War I In 1909, Ezra Pound, standing on a chair in a London cafe and assuming the persona of the Troubador poet and wanior Betrans de Born, declaimed the following lines from his new poem, "Sestina: Altaforte": Damn it all! all this our South stinks peace. There's no sound like to swords swords opposing, No cry like the battle's rejoicing When our elbows and swords drip the crimson. Hell grant soon we hear again the swords clash! Hell blot black for alway the thought "Peace"! That same year, in Paris, Filippo Marinetti published the "Foundation Manifesto" of Futurism on the front page of Le Figaro, part of which declares: "We will glorify war-the world's only hygiene-militarism, patriotism, the destructive gesture of freedom-bringers. Except in struggle, there is no more beauty. No work without an aggressive character can be a masterpiece. Poetry must be conceived as a violent attack on unlmown forces . l' (Selected Writings 4142). In the following two years, 1910-11, the Berlin avant-garde journals Die Aktion and Der Sturnz introduced new and highly disturbing images of cataclysmic war and apocalypse in the poems of Jakob Von Hoddis and Gottfried Benn, Georg Heym and Georg Trakl. Heym's "The War" (1911) images the disaster as an awakening monster: He that slept long has arisen, Arisen from deep vaults below. He stands in the dusk, huge and unknown, And crushes the moon to pulp in his black hand. By 1912-13,motifs of cannons and marching soldiers, exploding shells and burning cities proliferated in modernist painting, 2 Wal; Literature, and the Arts regardless of whether the canvas was painted in London or Berlin, Paris or Milan.
    [Show full text]
  • Ernst Jandl Und Die Internationale Avantgarde
    The Pennsylvania State University The Graduate School College of the Liberal Arts “EIN BEITRAG ZUR MODERNEN WELTDICHTUNG“ ERNST JANDL UND DIE INTERNATIONALE AVANTGARDE A Dissertation in German by Katja Stuckatz © 2014 Katja Stuckatz Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy May 2014 ii The dissertation of Katja Stuckatz was reviewed and approved* by the following: Martina Kolb Assistant Professor of German and Comparative Literature Dissertation Adviser Chair of Committee Thomas O. Beebee Edwin Erle Sparks Professor of Comparative Literature and German Stefan Matuschek Professor of German and Comparative Literature Friedrich-Schiller-University Jena (Germany) Special Signatory Daniel L. Purdy Professor of German Adrian J. Wanner Professor of Russian and Comparative Literature B. Richard Page Associate Professor of German and Linguistics Head of the Department of Germanic and Slavic Languages and Literatures *Signatures are on file in the Graduate School. iii ABSTRACT (ENGLISH) “A Contribution to Modern World Poetry” Ernst Jandl and the International Avant-Garde My dissertation uses close textual analysis and unpublished archival material to explore the poetic internationalism of the Austrian experimental poet Ernst Jandl (1925-2000). When Jandl died thirteen years ago, four of the world’s biggest newspapers (The Independent, The Times, The Daily Telegraph, and The New York Times) published obituaries to honor a poet whose œuvre marks one of the most influential contributions to German speaking poetry since World War II. This fact testifies not only to the international significance of Jandl’s lyric œuvre, but also to the relations of mutual aesthetic influence between the German and English speaking worlds after the catastrophe of World War II.
    [Show full text]
  • Sounds by Kandinsky Wassily
    WASSILY KANDINSKY - .. v~' ' - ~ ,._ .. ,· ... • TRAI\JSLATED AND WITH AN INTRODU CT ION BY ELIZABETH R. NAPIER 6.5 Downloaded from https://www.holybooks.com • SOUNDS Downloaded from https://www.holybooks.com WASSILY KANDINSKY TR A N S L A T ED AND W I TH AN IN T RODUC TI ON BY ELIZABETH R. NAPIER New Haven and London, Yale University Press Downloaded from https://www.holybooks.com TO DAVID NE1156 . 5 .K36 A4 1981 Published with assistance from Photographs of the woodcuts from Klange courtesy the foundation established in of The Solomon A. Guggenheim Museum, memory of F. B. Adams, Jr. New York (Robert E. Mates, photographer) Copyright © 1981 by Yale University. Ubrary of Congress Cataloging in Publication Data All rights reserved. This book may not be Kandinsky, Wassily, 1866-1944. reproduced, in whole or in part, in any form Sounds. (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by Translation of Klange. reviewers for the public press), without written English and German. permission from the publishers. Bibliography: p. 1. Kandinsky, Wassily, 1866-1944. I. Napier, Designed by James J. Johnson Elizabeth A., 1950- II. Title. and set in Helvetica type. NE1156.5.K36A4 1980 769.92'4 80-26628 Printed in the United States of America by ISBN 0-300-02510-6 The Vail-Ballou Press, Ainghamton, N.Y. ISBN 0-300-02664-1 (pbk.) 10 9 8 Downloaded from https://www.holybooks.com CONTEN TS Preface v11 Introduction 1 A Note on Klange 8 A Note on the Translation 1O Sounds 13 Klange 121 Hills 17 Hugel 121 Seeing
    [Show full text]
  • Versions of August Stramm
    The Last Drop Versions of August Stramm Alistair Noon “Intercapillary Edition” #12 87 Riverside Way, Kelvedon, Colchester CO5 9LX intercapillaryspace.blogspot.com Copyright © Alistair Noon, 2009 These versions of some of August Stramm’s war poems are drawn from the section ‘Tropfblut. Gedichte aus dem Krieg’ in August Stramm, Gedichte Dramen Prosa Briefe, Reclam, ed. Jörg Drews, 1997. Some have appeared previously, sometimes in earlier drafts, in Oasis and Cipher Journal. ‘Blood, Flesh and a Packet of Tissues: Putting August Stramm into English’ first appeared, in a slightly different version, in Bordercrossing Berlin, Issue 1, Berlin 2006. Thanks to Nick Grindell, Chris Jones and Sabine Heurs for comments on these pieces. Cover image by Peter Hughes. © Peter Hughes, 2009. Also by Alistair Noon: At the Emptying of Dustbins (Oystercatcher Press) In People’s Park (Penumbra; forthcoming) Across the Water (Mimesis; e-chapbook) Swamp Area (Intercapillary Editions; e-chapbook) As translator: Monika Rinck: Sixteen Poems (Barque; forthcoming) As editor: Seán Rafferty: A Revue (Intercapillary Editions; e-book) Contents The Last Drop: Versions of August Stramm 4 0500 4 Area of Operation 5 Injury 6 Devastation 7 Evening 8 Casualty 9 Frostfire 10 Watch 11 Shrapnel 12 Patrol 13 Wargrave 14 Guard Duty 15 Blood, Flesh and a Packet of Tissues: Putting August Stramm into English 16 2 THE LAST DROP: VERSIONS OF AUGUST STRAMM 0500 The night exhales kisses around dozing foreheads. The thud of equipment dulls. Aggression grasps and slurs dreams through ruts. Rumbles grind. Houses skewer shadows. Stars well into eyes and drown. 3 Area of Operation Steel crushes dustily to sleep.
    [Show full text]
  • Edited by Harriet Monroe SEPTEMBER 1916 Poems Old and New
    Edited by Harriet Monroe SEPTEMBER 1916 Poems Old and New .... Ezra Pound 275 The Fish and the Shadow—O Atthis—The Three Poets— Pagani's—The Lake Isle—Impressions of F. M. Arouet (de Voltaire) I-III—Homage to Q. S. F. Christianus I-VI—Dans un Omnibus de Londres Epigrams ... Rabindranath Tagore 283 Strange Meetings I-XIII Harold Monro 2S6 Fire-flies I-III Adolf Wolff 291 Observations T. R. Eliot 292 Conversation Galante—La Figlia che Piange—Mr. Apol- linax—Morning at the Window To my Mountain .... Mahdah Payson 295 Home ...... Louis Untermeyer 296 Ravage John S. Miller, Jr. 296 Invocation ..... John Drinkwater 297 He Forgets Yvonne—Pierrette Goes . William Griffith 298 Presences Witter Bynner 300 A Thrush in the Moonlight—A Mocking-bird—The Dead Loon—To No One in Particular—At the Touch of You— The Earth-clasp—He Brought Us Clover-leaves—Wisdom —Ecce Homo Editorial Comment 305 James Whitcomb Riley—Of Editors and Poets Reviews 309 Macdonagh as Critic—The Tradition of Magic—Modern Monologues—A Parodist Our Contemporaries ...... 323 A New Quarterly—Artist vs. Amateur—Frost's Quality— —What Will He Do With It? Notes 329 Copyright 1916 by Harriet Monroe. All rights reserved. 543 CASS STREET, CHICAGO $1.50 PER YEAR SINGLE NUMBERS, 15 CENTS Published monthly by Ralph Fletcher Seymour, 1025 Fine Arts Building, Chicago. Entered as second-class matter at Postoffice, Chicago. VOL. VIII No. VI SEPTEMBER, 1916 POEMS OLD AND NEW THE FISH AND THE SHADOW HE salmon-trout drifts in the stream, The soul of the salmon-trout floats over the stream Like a little wafer of light.
    [Show full text]
  • Band Als Pdf Zum Download
    Niederdeutsches Wort Band 55 Niederdeutsches Wort BEITRÄGE ZUR NIEDERDEUTSCHEN PHILOLOGIE Im Auftrag der Kommission für Mundart- und Namenforschung Westfalens herausgegeben von HERMANN NIEBAUM Schriftleitung MARKUS DENKLER Band 55 2015 Das NIEDERDEUTSCHE WORT wird veröffentlicht von der Kommission für Mundart- und Namenforschung Westfalens des Landschaftsverbandes Westfalen-Lippe unter Mitarbeit des Centrums für Niederdeutsch der Westfälischen Wilhelms-Universität Münster. Eingesandte Manuskripte werden von einem Redaktionsgremium geprüft. Die Zeitschrift erscheint jährlich in einem Band. Redaktionsadresse: Prof. Dr. HERMANN NIEBAUM, Dr. MARKUS DENKLER Kommission für Mundart- und Namenforschung Westfalens, Schlossplatz 34, 48143 Münster E-Mail: [email protected] Aschendorff Verlag GmbH & Co. KG, Münster © 2015 Kommission für Mundart- und Namenforschung Westfalens, Schlossplatz 34, 48143 Münster Das Werk ist urheberrechtlich geschützt. Die dadurch begründeten Rechte, insbesondere die der Übersetzung, des Nachdrucks, der Entnahme von Abbildungen, der Funksendung, der Wiedergabe auf fotomechanischem oder ähnlichem Wege und der Speicherung in Datenverarbeitungsanlagen bleiben, auch bei nur auszugsweiser Verwertung, vorbehalten. Die Vergütungsansprüche des § 54, Abs. 2, UrhG, werden durch die Verwertungsgesellschaft Wort wahrgenommen. Satzherstellung durch die Redaktion Druck und Herstellung: Druckhaus Tecklenborg, Steinfurt ISSN 0078-0545 Inhalt des 55. Bandes (2015) Arnold MAXWILL: Die Lyrik in Westfalen während des Ersten Weltkriegs.
    [Show full text]
  • Memoirs of a Dada Drummer
    r THE DOCUMENTS OF 20TH-CENTURY ART Memoirs off a Dado Drummer by Richard Huelsenbeck Edited by Hans I. Kleinschmidt s I If Uli Memoirs of a Dada Drummer THE DOCUMENTS OF 20TH-CENTURY ART ROBERT MOTHERWELL, General Editor BERNARD KARPEL, Documentary Editor ARTHUR A. COHEN, Managing Editor Memoirs of a Dada Drummer by Richard Huelsenbeck « Edited, with an Introduction, Notes, and Bibliography by Hans J. Kleinschmidt TRANSLATED BY JOACHIM NEUGROSCHEL THE VIKING PRESS NEW YORK Copyright © 1969 by Richard Huelsenbeck English language translation Copyright © 1974 by The Viking Press, Inc. Introduction and notes Copyright © 1974 by Hans Kleinschmidt All rights reserved First published in 1974 by The Viking Press, Inc., 625 Madison Avenue, New York, N.Y. 10022 Published simultaneously in Canada by The Macmillan Company of Canada Limited sbn 670-4679i-x Library of Congress catalog card number: 73-380 Printed in U.S.A. Acknowledgment is made to the following for permission to use the materials indicated : The American Journal of Psychoanalysis'. “Psychoanalytical Notes on Modern Art,” by Charles R. Hulbeck (Huelsenbeck), in The American Journal of Psychoanalysis, vol. 20 (i960), no. 2, pp. 164-173. Reprinted by permission of the Editor of The American Journal of Psychoanalysis. limes verlag: For permission to translate “Mit Witz, Licht und Grütze” and “New York,” by Richard Huelsenbeck. the museum of modern art: From Arp, edited by James Thrall Soby. Copyright © 1958 The Museum of Modern Art, New York. All rights reserved. Reprinted by permission of the publisher. new directions publishing corporation: From Poems from the Book of Hours, by Rainer Maria Rilke, translated by Babette Deutsch.
    [Show full text]
  • Poems Millennium
    POEMS MILLENNIUM The University of California Book of Modern & Postmodern Poetry Volume One From Fin-de-Siecle to Negritude Edited by Jerome Rothenberg and Pierre Joris University of California Press Berkeley Los Angeles London CONTENTS Introduction i Thanks and Acknowledgments 15 FORERUNNERS Prologue to Forerunners 19 William Blake "Obey thou the Words of the Inspired Man" 21 Friedrich Holderlin In the Days of Socrates 24 Elias Lonnrot from The Kalevala 2.6 Walt Whitman This Compost 28 Charles Baudelaire Fuses I & II 31 Emily Dickinson Fascicle 34 Poem 9 33 Bald Mountain Zaum-Poems 3 6 Gerard Manley Hopkins That Nature is a Heraclitean Fire and of the Comfort of the Resurrection 3 7 Isidore Ducasse, Comte de Lautreamont from Maldoror 39 Arthur Rimbaud from A Season in Hell 42 After Bitahatini from The Night Chant 44 Stephane Mallarme from Le Livre 47 A FIRST GALLERY Stephane Mallarme A Throw of the Dice Never Will Abolish Chance 5 3 C. P. Cavafy Waiting for the Barbarians 76 Days of 1908 77 And I Lounged and Lay on their Beds 78 Adolf Wolfli Nostalgic Song for My Beloved 80 from From the Cradle to the Graave, or, through working and sweating, suffering and hardship, even through prayyer into damnation 83 Match Factory at Chaami 1911 85 Ruben Dario Far Away and Long Ago 87 To Roosevelt 87 Paul Valery Crusoe 89 Alfred Jarry TheTassion of Jesus Considered as an Uphill Race 97 Gertrude Stein from Tender Buttons 99 A Valentine to Sherwood Anderson 100 from Lifting Belly 104 xii Contents Rainer Maria Rilke Death 106 Tombs of the Hetaerae 106
    [Show full text]
  • HUNGARIAN STUDIES 12. Nemzetközi Magyar Filológiai
    THE ART OF VISUAL POETRY IN CENTRAL EUROPE: KASSÁK & SCHWITTERS BETWEEN DADA AND CONSTRUCTIVISM MARIAN MAZZONE Ohio State University, Columbus, OH, U.SA. European Dada of the first quarter of the twentieth century has traditionally been a difficult an unwilling participant in art historians' attempts to fix and sta­ bilize a coherent history of avant-garde art. This is not surprising given the Dada­ ist modus operandi of disruption of, attack on, or even refusal to be included in what was perceived to be a corrupt bourgeois social order. Nevertheless, order has prevailed, and art historians of subsequent decades have struggled with the task of determining a coherent stylistic category for Dada, and incorporating Dada into a progress-based history of art. The results of this process have been neither entirely neat nor satisfactory. European Dada history has generally been divided into two trends. One grouping is the Dada that began in Zurich among artists such as Tristan Tzara and Jean Arp, moved to Paris, and culminated with the passing of such values as chance and the attack on logic to Surrealism via primarily Andre Breton. The other major camp is German Dada centered in Ber­ lin, which most agree had a more political character than the Zurich-Paris group, but untidily does not mesh easily, if at all, with Surrealism. To establish a connec­ tion with Surrealism it is necessary to include Max Ernst's activity in Cologne. This version of Dada history has produced at least two unintended results that are of concern here. The first is that in the process of establishing a lineage be­ tween Dada and Surrealism, one effect has been the decidedly less attention given to a number of artists' engagement with the theories and activities of both Dada and International Constructivism, at times simultaneously.1 The second factor, a more general observation, is that the art historical models so far estab­ lished for dealing with Dadaism do not provide a way to account for the activities and concerns of many artists working in Central and Eastern Europe.
    [Show full text]