Guillaume Apollinaire - Poems
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Picasso, Dalí, and Apollinaire: a Triangulation by Dr
©Hank Hine, 2015 Picasso, Dalí, and Apollinaire: A triangulation By Dr. Hank Hine © Salvador Dalí, Fundació Gala-Salvador Dalí, Artists Rights Society (ARS), New York 2015 Dalí’s 1952 Portrait of Picasso in the 21st century, 1947, develops an iconography as complex as Dalí’s apparent relation to his subject, the Spanish artist 23 years his senior and his persistent referent as an artist and a Spaniard. This painting was loaned by the Fundació Gala Salvador Dalí and was displayed in the exhibition Picasso/Dalí, Dalí Picasso. As the painting’s title proposes Picasso’s countenance as it will appear in the future, an evolution of Picasso’s features is expected. In order to measure the extent of anticipated alteration in his portrait, we can examine the genesis of those changes in the face he presented to Dalí and to others in the era they shared. We desire to know who were these men who were shaped by similar currents and events and whose artistic responses were remarkably similar. The tide of modernism, the impact of Freud, Catalan language and Spanish identity, the wars and women, mark these artists equally. They each made allegorical responses to war. Yet the commerce between Picasso and Dalí was ardent and asymmetrical. Picasso generously provided Dalí and Gala passage to the United States in 1934. Picasso was already the leading avant-garde artist of his day when Dalí made his first trip out of Spain to meet the famous artist at his studio in 1926. There are stories of dinners in Paris. They shared friends, were photographed by the same photographers, and worked at times in the same idiom. -
Apollinaire's Verse Without Borders In
Bories, A-S 2019 Sex, Wine and Statelessness: Apollinaire’s Verse without Borders in ‘Vendémiaire’. Modern Languages Open, 2019(1): 14 pp. 1–13. DOI: https://doi.org/10.3828/mlo.v0i0.221 ARTICLES – FRENCH AND FRANCOPHONE Sex, Wine and Statelessness: Apollinaire’s Verse without Borders in ‘Vendémiaire’ Anne-Sophie Bories Universität Basel, CH [email protected] Guillaume Apollinaire is a perfect stateless European. Originally a subject of the Russian Empire, born Wilhelm Kostrowicky in Rome to a Finland-born, Polish-Italian single mother, later becoming a prominent French poet and a soldier and even- tually being granted much-desired French nationality, his biography reads like a novel. His 174-line poem ‘Vendémiaire’ (Alcools, 1913) is titled after the French Revolutionary Calendar’s windy month of grape harvest, and as such centres on wine. In this ‘chanson de Paris’, a personified Paris’ thirst for wine is met by the enthusiastic response of multiple towns and rivers, their water changed to wine, offering themselves to the capital in an orgy-like feast. This glorification of Apollinaire’s adoptive city mixes sexual double meanings with religious refer- ences, founding a half-parodic new religion. It also touches on the poet’s own painful strangeness, which leads him to dream of a liberated, borderless world of ‘universelle ivrognerie’, in which a godlike poet creates the world anew from primordial wine, and which also links to issues of national and cultural identities. This exceptionally dense poem, in which several meanings, tones and verse forms overlap, provides an exemplary specimen of Apollinaire’s daring versification, which bears an important role in the construction and circulation of meaning, and is foundational to his prominence as a modernist poet. -
Apollinaire Y La Guerra
APOLLINAIRE Y LA GUERRA: Tomo 1 MARIA ELENA FERNANDEZ-MIR~DA Bruselas 1999 Con mi agradecimiento al Doctor D. Jesús Cantera Ortiz de Urbina por su valiosa ayuda y por los ánimos que siempre me ha dado. Ami marido ya mis hijos con todo mi cariño INTRODUCCION Uno de los mayores errores para el conocimiento de Apollinaire es la afirmación categórica que han hecho muchos de sus críticos: “A Apollinaire le gustaba la guerra1’. Francis Ponge decía que ‘II était ravi ayee la guerre” y lo mismo pensaba Marie Jeanne Duny, una de sus más extensas comentaristas, que escribe casi horrorizada a este propósito: “II Fa chantée, cette guerre presque comme une ruvre d’art: “O Dieu que la guerre est jotie. .“ It a chanté les obus comrne des feux d’artifice. II tui a semblé participer á quelque imrnense priapée de l’homme et de la terre. Je trouverais presque inconcevable qu’au milieu dii sang et de la mort, dans la boucherie, Apollinaire alt considéré la guerre en artiste, ce serait pour mol un seandale, s’it n’y faltait voir un tranquiUe héroYsme, puisque mus les dangers étaient personnellement courus, et le triomphe d’un pouvoir d’émerveillement sur l’borreur méme” (Alcocis. Tomo 1, pág. 59) “Chose pour mol presque intolérable, II n’exécrera pas mérne la guerre. Elle luí apparaitra cornme une ¡mmense priapée oú les canons sont brandis comrne des sexes et la ten-e fécondée par le carnage. Pour parler de ses “Merveilles” II a despréciosités: Que e ‘esí beau cesfi¿sées qul illurninern la nuil Elles montení sur leurpropre cirne el se penchení pour regarder Ce soní des danies qul dansení ayee leurs regards pouryeuxbras el ccinurs. -
Ink and Iron : Revisiting Picasso’S Metal Monuments to Apollinaire
INK AND IRON : REVISITING PICASSO’S METAL MONUMENTS TO APOLLINAIRE Peter Read • Colloque Picasso Sculptures • 24 mars 2016 onstantly subverting precedents and contra- Cdicting expectations, Picasso’s work is equally characterized by persistent, long-term research and development. The metal sculptures he produced between 1928 and 1932 were startlingly innovative, sculptor. Les Onze mille verges, Apollinaire’s first book, but they resulted from a line of graphic and metallic signed only with his initials, published early in 1907, creativity reaching back at least as far as 1912. Much closes with the construction of a monumental mar- of the vocabulary of the late 1920s metal sculptures ble tomb for its martyred hero, Prince Mony Vibescu. already appears in a series of ink drawings from Standing on a bleak battlefield strewn with bones, 1912–913, which look like blueprints for metal con- the tomb is surmounted by an equestrian statue and structions (MP698-705). Études : guitariste et guitare includes a frieze depicting some of the hero’s exploits, (MP702), for example, includes two sketches of a including his escape from a besieged city in a hot-air schematic guitarist made of struts and flat rectangles, balloon, like Gambetta during the 1870 siege of Paris: seated above a graphic counterpart of Picasso’s sheet- this is an entirely virile and vertical monument. Apol- metal and wire Guitar. Similarly, in Trois études de tête linaire presented Picasso with a signed copy of Les (MP705r), lines fan out towards a circle or sphere, Onze mille verges, dedicated with an acrostic poem, of representing a head, placed on a precarious body of which the last line is the most important: tubes, wire rods and rectangular plates. -
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A Monster for Our Times: Reading Sade across the Centuries Matthew Bridge Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2011 © 2011 Matthew Bridge All Rights Reserved ABSTRACT A Monster for Our Times: Reading Sade across the Centuries Matthew Bridge This doctoral dissertation looks at several readings and interpretations of the works of the Marquis de Sade, from the eighteenth century to the present. Ever since he was imprisoned under the Old Regime following highly publicized instances of physical and sexual abuse, Sade has remained a controversial figure who has been both condemned as a dangerous criminal and celebrated as an icon for artistic freedom. The most enduring aspect of his legacy has been a vast collection of obscene publications, characterized by detailed descriptions of sexual torture and murder, along with philosophical diatribes that offer theoretical justifications for the atrocities. Not surprisingly, Sade’s works have been subject to censorship almost from the beginning, leading to the author’s imprisonment under Napoleon and to the eventual trials of his mid-twentieth-century publishers in France and Japan. The following pages examine the reception of Sade’s works in relation to the legal concept of obscenity, which provides a consistent framework for textual interpretation from the 1790s to the present. I begin with a prelude discussing the 1956 trial of Jean-Jacques Pauvert, in order to situate the remainder of the dissertation within the context of how readers approached a body of work as quintessentially obscene as that of Sade. -
Les Onze Mille Verges O Il Nuovo Sade. Guillaume Apollinaire Éditeur Del
Dipartimento di Filologia, Letteratura e Linguistica Corso di Laurea Magistrale in Letterature e Filologie Europee Tesi di laurea in Letteratura francese Les onze mille verges o il nuovo Sade. Guillaume Apollinaire éditeur del Divin Marchese RELATORE Prof. Gianni Iotti CORRELATORE Prof.ssa Hélène de Jacquelot du Boisrouvray CANDIDATA Jessica Chia 1 A me stessa: un giorno incontrata sulla strada del Nord, a cui ho voluto regalare la limpidezza dell'incertezza, la sicurezza nell'accettarla. A voi: per avermi mostrato l'appoggio inesauribile di chi non mi abbandonerà mai e per avermi donato la libertà della scelta. E poi a te, che sei il mio Conte. Per avermi riempito la vita. 2 Vien da pensare che sia tutto intriso di sperma e di lacrime. (Pavese C., Schiuma d'onda in Dialoghi con Leucò) 3 Sommario Introduzione ...................................................................................................... 6 Capitolo I ......................................................................................................... 15 De Sade: l'uomo, il reietto, l'eletto, il divino. Breve storia della sua interpretazione critica .................................................................................... 15 1.1 Nuovi paradigmi storici e ideologici tra XVII e XVIII secolo .............. 17 1.2 Il romanzo libertino: la persecuzione della virtù in tinte noir ................ 28 1.3 Donatien-Alphonse-François: l'uomo..................................................... 41 1.4 La leggenda. «Come farla quest’analisi di sangue e di fango?» -
985-Apollinaire.Pdf
www.comptoirlitteraire.com présente Wilhelm Apollinaris de Kostrowitzky qui a pris le pseudonyme de Guillaume APOLLINAIRE (France) (1880-1918) Au fil de sa biographie s’inscrivent ses œuvres qui sont résumées et commentées (surtout différents poèmes d’’’Alcools’’ étudiés dans d’autres articles). Bonne lecture ! 1 Né à Rome, le 26 août 1880, il fut baptisé à Sainte-Marie-Majeure sous les noms de Wilhelm- Apollinaris de Kostrowitzky. Il était le fils d’Angélique-Alexandrine Kostrowitzky, fantasque et de goûts nomades, fille de Michel- Apollinaris qui s’était enfui de Pologne après l'insurrection de 1863 à laquelle il avait participé, et qui, tandis que ses deux frères prenaient le chemin de la Sibérie, devint camérier du pape, et avait épousé une Italienne, Julie Floriani. On a fait beaucoup de conjectures sur le père de celui que sa mère a toujours appelé Wilhelm. Les uns ont voulu que ce fût un prélat de la curie romaine, d’autres, l’évêque de Monaco, d’autres encore un officier de l’armée italienne apparenté à la famille royale, François Flugi d'Aspermont. Cette dernière hypothèse a tendance à prévaloir, Angélique-Alexandrine ayant pris soin de la répandre elle- même. En juin 1887, elle mit au monde un second fils, Albert, et quitta Rome peu de temps après pour Monaco, vraisemblablement attirée dans la principauté par le casino de Monte-Carlo. Il était de notoriété publique vers 1890-1895, à Monaco, que l'évêque subvenait aux frais de l'éducation des deux jeunes garçons. En réalité, on ne sait rien de précis sur cette période de la vie de Guillaume, sinon, par ce qu'il en a dit lui-même. -
Richard Kostelanetz
Other Works by Richard Kostelanetz Fifty Untitled Constructivst Fictions (1991); Constructs Five (1991); Books Authored Flipping (1991); Constructs Six (1991); Two Intervals (1991); Parallel Intervals (1991) The Theatre of Mixed Means (1968); Master Minds (1969); Visual Lan guage (1970); In the Beginning (1971); The End of Intelligent Writing (1974); I Articulations/Short Fictions (1974); Recyclings, Volume One (1974); Openings & Closings (1975); Portraits from Memory (1975); Audiotapes Constructs (1975); Numbers: Poems & Stories (1975); Modulations/ Extrapolate/Come Here (1975); Illuminations (1977); One Night Stood Experimental Prose (1976); Openings & Closings (1976); Foreshortenings (1977); Word sand (1978); ConstructsTwo (1978); “The End” Appendix/ & Other Stories (1977); Praying to the Lord (1977, 1981); Asdescent/ “The End” Essentials (1979); Twenties in the Sixties (1979); And So Forth Anacatabasis (1978); Invocations (1981); Seductions (1981); The Gos (1979); More Short Fictions (1980); Metamorphosis in the Arts (1980); pels/Die Evangelien (1982); Relationships (1983); The Eight Nights of The Old Poetries and the New (19 81); Reincarnations (1981); Autobiogra Hanukah (1983);Two German Horspiel (1983);New York City (1984); phies (1981); Arenas/Fields/Pitches/Turfs (1982); Epiphanies (1983); ASpecial Time (1985); Le Bateau Ivre/The Drunken Boat (1986); Resume American Imaginations (1983); Recyclings (1984); Autobiographicn New (1988); Onomatopoeia (1988); Carnival of the Animals (1988); Ameri York Berlin (1986); The Old Fictions -
Program N♪Tes
PROGRAM N♪TES Holger Falk, baritone Julius Drake, piano October 23, 2018 – 7:30 p.m. Forest Hills Church Six Songs after Poems by Johann Gabriel Seidl Franz Schubert Born: Vienna-Himmelpfortgrund, 1797 Died: Vienna, 1828 Composed: 1826-28 In 1826, an aspiring 22-year-old poet by the (Sehnsucht); a celebration of passionate love name of Johann Gabriel Seidl (1804-75) (Bei dir allein); the praise of the simple published a two-volume anthology from pleasures in life (Irdisches Glück), or a which Schubert took the texts for no fewer meditation about where one's real home is than twelve songs—including ione of his (Der Wanderer an den Mond). Im Freien is, very last works, “Die Taubenpost,” in the words of musicologist Susan Youens, published posthumously as the last piece of “a nocturnal serenade to everything and the cycle Schwanengesang. Despite the everyone,” while in the ever-popular inferiority of Seidl's poetic talents, these Taubenpost, “Sehnsucht” (longing) is, for songs gave the composer the chance to once, not a cause for suffering but a source express a wide range of feelings, including of great, quiet happiness. reassurance after a state of restlessness Selections from Hollywooder Liederbuch and Hollywood Elegies Hanns Eisler Born: Leipzig, 1898 Died: East Berlin, 1962 Composed: 1941-42 Next to Kurt Weill, Hanns Eisler was Bertolt contemporaries, Brecht and Eisler first met Brecht's closest musical collaborator. Exact in Berlin in the late 1920s, and their friendship lasted until Brecht's death in were later arranged in various cycles, 1956. After years of wanderings in Europe variously known as the Hollywooder (where they were sometimes together and Liederbuch (Hollywood Songbook) and sometimes not), the two men were reunited Hollywood Elegies. -
The Cambridge History of Modernism Edited by Vincent Sherry Frontmatter More Information
Cambridge University Press 978-1-107-03469-3 — The Cambridge History of Modernism Edited by Vincent Sherry Frontmatter More Information THE CAMBRIDGE HISTORY OF MODERNISM This Cambridge History of Modernism is the first comprehensive history of modernism in the distinguished Cambridge Histories series. It identifies a distinctive temperament of “modernism” within the “modern” period, establishing the circumstances of modernized life as the ground and warrant for an art that becomes “modernist” by virtue of its demonstrably self-conscious involvement in this modern condition. Following this sensibility from the end of the nineteenth century to the middle of the twentieth, tracking its manifestations across pan-European and transatlantic locations, the forty-three chapters offer a remarkable combination of breadth and focus. Prominent scholars of mod- ernism provide analytical narratives of its literature, music, visual arts, architecture, philosophy, and science, offering circumstantial accounts of its diverse personnel in their many settings. These historically informed readings present definitive accounts of the major work of twentieth-century cultural history and provide a new cornerstone for the study of modernism in the current century. vincent sherry is Howard Nemerov Professor in the Human- ities and Professor of English at Washington University in St. Louis. A prominent scholar of modernism, he is the author of Modernism and the Reinvention of Decadence (2015), The Great War and the Language of Modernism (2003), James Joyce’s Ulysses (1995, 2005) and Ezra Pound, Wyndham Lewis, and Radical Modern- ism (1993). He has also written The Uncommon Tongue: The Poetry and Criticism of Geoffrey Hill (1987) and edited the Cambridge Companion to the Literature of the First World War (2005). -
Books at the Borders of Picasso's Les Demoiselles D'avignon
Books at the Borders of Picasso’s Les Demoiselles d’Avignon Karen L. Schiff Abstract This paper proposes that Picasso’s landmark 1907 painting, Les Demoiselles d’Avignon, is full of images of books and pages, especially at the borders of the canvas. The curving shapes which are traditionally seen as “curtains” can alternatively be interpreted as the white pages and brown paper wrappers of open books, rotated 90 degrees. This “visual marginalia” supports the interpretation of Picasso’s famous brothel scene as a semiotic construction, befitting the painting’s early title (devised by Picasso’s writer friends), “The Philosophical Brothel”. The painting also contains iconographic representations of textuality. A slightly open book can be perceived in the middle of the painting, and along the bottom border, an open envelope and writing paper can be seen laid atop the tipped-up table, under the fruit. I claim that Picasso’s images of texts derive from his acquaintance with the text-driven, monumental novel, Don Quixote. I give special attention to the narrative Author’s Preface to the Spanish literary classic, in which the author describes assembling quotations from diverse sources to compose the first and last pages of his book. Picasso visually represents this allusion by depicting pages at the left and right “ends” of his canvas. Other texts and images are considered as sources for the bibliographic imagery, which generally reframes this canvas as a fictive tissue of quotations, akin to the overabundance of texts that Don Quixote is reading in Cervantes’s novel. Picasso’s painted image of a blank leaf of writing paper and its envelope, finally, encourages viewers to see the painting as a letter of communication, for which we ourselves must provide the writing that would represent our interpretations. -
DADA and SURREALISM: (Duchamp, Magritte, Höch, and Oppenheim) ARTISTS ASSOCIATED with the DADA MOVEMENT
CHALLENGING TRADITION: DADA and SURREALISM: (Duchamp, Magritte, Höch, and Oppenheim) ARTISTS ASSOCIATED WITH THE DADA MOVEMENT Online Links: Marcel Duchamp - Wikipedia, the free encyclopedia Readymades of Marcel Duchamp - Wikipedia, the free encyclopedia The Bride Stripped Bare By Her Bachelors, Even - Wikipedia, the free encyclopedia Nihilism - Wikipedia, the free encyclopedia Armory Show - Wikipedia, the free encyclopedia Duchamp and Readymades – Smarthistory Duchamp's Fountain – Smarthistory Duchamp's In Advance of a Broken Arm – Smarthistory Jean Arp's Untitled – Smarthistory Hoch's Kitchen Knife - Smarthistory ARTISTS ASSOCIATED WITH THE DADA MOVEMENT Online Links: Hannah Höch - Wikipedia Hannah Hoch - Whitechapel Gallery exhibition (with video) Hannah Hoch Art Punk Whitechapel - The Guardian Hannah Hoch and Photomontage - Video made by MOMA Schwitter's Merz Picture – Smarthistory Kurt Schwitters Ursonate - Dada Video on YouTube 1928 Dadaist Film by Director Hans Richter - YouTube MAX ERNST Online Links: Max Ernst - Wikipedia, the free encyclopedia Surrealism - Wikipedia, the free encyclopedia André Breton - Wikipedia, the free encyclopedia Ernst's Two Children Threatened by a Nightingale – MOMA Modern Art: Max Ernst - YouTube RENE MAGRITTE Online Links: René Magritte - Wikipedia, the free encyclopedia Review/Art - Magritte And His Defiance Of Life - Review - NYTimes.com ART - ART - Surreal Hero for a Nation of Contradictions - Biography - NYTimes.com Magritte Treacher of Images – Smarthistory Rene Magritte Documentary - YouTube In February of 1913, the Armory of the Sixty- ninth Regiment, National Guard, on Lexington Avenue at 25th Street in New York was the site of an international exhibition of modern art. A total of 1,200 exhibits, including works by Post-Impressionists, Fauves, and Cubists, as well as by American artists, filled eighteen rooms.