Herbert Read's Review of Joyce in "Art and Letters" 1 (1917)
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The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1. -
Tate Papers - the 'Comic Sublime': Eileen Agar at Ploumanac'h
Tate Papers - The 'Comic Sublime': Eileen Agar at Ploumanac'h http://www.tate.org.uk/research/tateresearch/tatepapers/05autumn/walke... ISSN 1753-9854 TATE’S ONLINE RESEARCH JOURNAL The 'Comic Sublime': Eileen Agar at Ploumanac'h Ian Walker Fig.1 Eileen Agar 'Rockface', Ploumanach 1936 Black and white photograph reproduced from original negative Tate Archive Photographic Collection 5.4.3 © Tate Archive 2005 On Saturday 4 July 1936, the International Surrealist Exhibition in London came to an end. In that same month, the Architectural Review magazine announced a competition. In April, they had published Paul Nash's article 'Swanage or Seaside Surrealism'.1 Now, in July, the magazine offered a prize for readers who sent in their own surrealist holiday photographs – 'spontaneous examples of surrealism discerned in English holiday resorts'. The judges would be Nash and Roland Penrose .2 At face value, this could be taken as a demonstration of the irredeemable frivolity of surrealism in England (it is difficult to imagine a surrealist snapshot competition in Paris judged by André Breton and Max Ernst ). But in a more positive light, it exemplifies rather well the interest that the English had in popular culture and in pleasure. Holidays were very important in English surrealism and some of its most interesting work was made during them. This essay will examine closely one particular set of photographs made by Eileen Agar in that month of July 1936 which illustrate this relationship between surrealism in England and pleasure. Eileen Agar had been one of the English stars of the surrealism exhibition, even though she had apparently not thought of herself as a 'surrealist' until the organizers of the show – Roland Penrose and Herbert Read – came to her studio and declared her to be one. -
The Perils and Rewards of Annotating Ulysses
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 2013 Getting on Nicely in the Dark: The Perils and Rewards of Annotating Ulysses Barbara Nelson The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Nelson, Barbara, "Getting on Nicely in the Dark: The Perils and Rewards of Annotating Ulysses" (2013). Graduate Student Theses, Dissertations, & Professional Papers. 491. https://scholarworks.umt.edu/etd/491 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. GETTING ON NICELY IN THE DARK: THE PERILS AND REWARDS OF ANNOTATING ULYSSES By BARBARA LYNN HOOK NELSON B.A., Stanford University, Palo Alto, CA, 1983 presented in partial fulfillment of the requirements for the degree of Master of Arts in English The University of Montana Missoula, MT December 2012 Approved by: Sandy Ross, Associate Dean of The Graduate School Graduate School John Hunt, Chair Department of English Bruce G. Hardy Department of English Yolanda Reimer Department of Computer Science © COPYRIGHT by Barbara Lynn Hook Nelson 2012 All Rights Reserved ii Nelson, Barbara, M.A., December 2012 English Getting on Nicely in the Dark: The Perils and Rewards of Annotating Ulysses Chairperson: John Hunt The problem of how to provide useful contextual and extra-textual information to readers of Ulysses has vexed Joyceans for years. -
Mapping Topographies in the Anglo and German Narratives of Joseph Conrad, Anna Seghers, James Joyce, and Uwe Johnson
MAPPING TOPOGRAPHIES IN THE ANGLO AND GERMAN NARRATIVES OF JOSEPH CONRAD, ANNA SEGHERS, JAMES JOYCE, AND UWE JOHNSON DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Kristy Rickards Boney, M.A. ***** The Ohio State University 2006 Dissertation Committee: Approved by: Professor Helen Fehervary, Advisor Professor John Davidson Professor Jessica Prinz Advisor Graduate Program in Professor Alexander Stephan Germanic Languages and Literatures Copyright by Kristy Rickards Boney 2006 ABSTRACT While the “space” of modernism is traditionally associated with the metropolis, this approach leaves unaddressed a significant body of work that stresses non-urban settings. Rather than simply assuming these spaces to be the opposite of the modern city, my project rejects the empty term space and instead examines topographies, literally meaning the writing of place. Less an examination of passive settings, the study of topography in modernism explores the action of creating spaces—either real or fictional which intersect with a variety of cultural, social, historical, and often political reverberations. The combination of charged elements coalesce and form a strong visual, corporeal, and sensory-filled topography that becomes integral to understanding not only the text and its importance beyond literary studies. My study pairs four modernists—two writing in German and two in English: Joseph Conrad and Anna Seghers and James Joyce and Uwe Johnson. All writers, having experienced displacement through exile, used topographies in their narratives to illustrate not only their understanding of history and humanity, but they also wrote narratives which concerned a larger global ii community. -
Mitl58 Pages.V3 Web.Indd
leonardo reviews editor-in-chief Michael Punt associate editors Hannah Drayson, Dene Grigar, Jane Hutchinson A full selection of reviews is published monthly on the Leonardo website: <leonardoreviews.mit.edu>. EXHIBITIONS ambivalent “moral autonomy” with work of artists such as Jasper Johns, respect to historical relations with Robert Rauschenberg and Andy LEON GOLUB POWERPLAY: both capitalism and modern (mass) Warhol—did much to undermine THE POLITICAL PORTRAITS society. A self-critique of the arts as a the dominance of formalist theory. curated by Jon Bird. National Portrait form of essentialism frequently took Others have joined critics such as Gallery, London, U.K., 18 March–25 the form of an opposition between Rosalind Krauss and Carol Duncan, September 2016. Exhibit website: representation and abstraction. Inter- who attacked modernism’s myths of <www.npg.org.uk/whatson/display/2016/ woven into the canonical narrative originality and “centeredness” and its leon-golub-powerplay-the-political was a belief in the expressive and position of “privileged” and gendered -portraits.php>. existential capacity of art to operate as hegemony in dismantling Greenberg’s Reviewed by Giovanna Costantini. a method of individuation along with paradigm. Email: <costantini.giovanna.l@ a set of other features. These include There are reasons to regard the gmail.com>. the pursuit of effects of detachment “historic moment” as relevant in and depersonalization, mechaniza- reconstructing a definition of mod- doi:10.1162/LEON_r_01363 tion and technology; an emphasis on ernism and to confront the role of Suppose someone comes along surface reflexivity; a tendency toward history as the canyon (versus the who does not know “bridge,” and transcendentalism; and attention to canon) of art’s operative field. -
Études Britanniques Contemporaines
Études britanniques contemporaines Revue de la Société dʼétudes anglaises contemporaines provided by Institutional Research Information System University of Turin View metadata, citation and similar papers at core.ac.uk CORE brought to you by 57 | 2019 Narrative Democracy Theorising Democracy and Fiction Herbert Read: Neither Liberalism nor Communism. Discussing Art and Democracy from an Anarchist Point of View Herbert Read : ni libéralisme ni communisme. Perspective anarchiste sur l’art et la démocratie SILVIA PIREDDU Résumés Français English Cet article examine les travaux de Herbert Read (1893-1968) pour discuter de sa vision anarchiste de l’art et de la société et de ses relations avec la démocratie. En tant que poète, essayiste et critique d’art, il a présenté le surréalisme et l’existentialisme au public britannique. La psychanalyse freudienne a également éclairé sa vision de l’anarchisme, de l’esthétique et de l’éducation. Dans cette perspective, il considérait les arts comme un outil de réforme de la société et l’anarchisme comme une réaffirmation de la liberté naturelle, c’est-à-dire une communion directe avec la vérité universelle. Dans la vision de Read, l’amélioration des conditions matérielles, la prospérité économique et l’émancipation politique se sont développées à partir de la capacité des individus à être et à exprimer leur créativité naturelle. Sa position est contradictoire car l’essence de l’anarchisme de Read est enracinée dans le ruralisme britannique, mais elle est en même temps présentée comme le système de gouvernance le plus progressiste et le plus fiable pour les êtres humains. L’anarchisme de Read offrait une vision différente de la société, l’individu pouvant exister au-delà de toute représentation idéale de demos. -
Introduction
Notes Introduction 1. Herbert Read to T.S. Eliot: 1 October 1949: Herbert Read Archive, University of Victoria (hereafter HRAUV), HR/TSE-170. 2. Herbert Read, The Contrary Experience: Autobiographies (London, 1963), 353, 350. 3. Isaiah Berlin, The Roots of Romanticism (London, [1965] 2000), 97. 4. For a useful discussion, see: Peter Ryley, Making Another World Possible: Anar- chism, Anti-capitalism and Ecology in Late 19th and Early 20th Century Britain (New York, 2013); Mark Bevir, The Making of British Socialism (Princeton, 2011), 256–277. 5. Martin A. Miller, Kropotkin (Chicago, 1976), 166–167; Rodney Barker, Political Ideas in Modern Britain (London, 1978), 42 passim. 6. H. Oliver, The International Anarchist Movement in Late Victorian London (London, 1983), 136; see also: 92, 132–137. For a discussion of the signifi- cance of the Congress, see: Davide Turcato, Making Sense of Anarchism: Errico Malatesta’s Experiments with Revolution (Basingstoke, 2012), 136–139. 7. W. Tcherkesoff, Let Us Be Just: (An Open Letter to Liebknecht) (London, 1896), 7. 8. The report offered short biographies of Francesco Merlino, Gustav Landauer, Louise Michel, Amilcare Cipriani, Augustin Hamon, Élisée Reclus, Ferdinand Domela Nieuwenhuis, Bernard Lazare, and Peter Kropotkin. N.A., Full Report of the Proceedings of the International Workers’ Congress, London, July and August, 1896 (London, 1896), 67–72. 9. N.A., Full Report of the Proceedings, 21, 17. 10. Matthew S. Adams, ‘Herbert Read and the fluid memory of the First World War: Poetry, Prose, and Polemic’, Historical Research (2014), 1–22; Janet S.K. Watson, Fighting Different Wars: Experience, Memory, and the First World War in Britain (Cambridge, 2004), 226. -
Joseph Prescott
Joseph Prescott: An Inventory of His Papers at the Harry Ransom Center Descriptive Summary Creator: Prescott, Joseph, 1913-2001 Title: Joseph Prescott Papers Dates: 1867, 1903-2000, undated Extent: 55 document boxes, 14 card boxes (cb), 4 oversize boxes (osb) (32.19 linear feet), 1 galley folder (gf), 1 oversize folder (osf) Abstract: The papers of noted American James Joyce scholar Joseph Prescott include manuscripts of his books, articles, and reviews, his correspondence, and his voluminous research materials on Joyce and other literary figures. Correspondents include Sylvia Beach, Richard Ellmann, Stuart Gilbert, Lucie Léon (Mrs. Paul Léon), Harriet Shaw Weaver, and many others. A small amount of teaching files and personal and family papers are present, as well as numerous works by other scholars, mainly in the form of offprints and papers given at conferences. Call Number: Manuscript Collection MS-04931 Language: Most of the materials are written in English, although materials in French, German, Italian, and Hebrew are also present. Access: Open for research. Researchers must create an online Research Account and agree to the Materials Use Policy before using archival materials. A small amount of documents containing confidential information have been replaced with redacted photocopies. Items in cold storage may be accessed but require 24 hours advance notice. Use Policies: Ransom Center collections may contain material with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in the collections without the consent of those individuals may have legal ramifications (e.g., a cause of action under common law for invasion of privacy may arise if facts concerning an individual's private life are published that would be deemed highly offensive to a reasonable person) for which the Ransom Center and The University of Texas at Austin assume no responsibility. -
Works of James Joyce
Guide to James Joyce holdings in the Rosenbach Museum & Library 14 May 2021 HISTORICAL NOTE Dr. A.S.W. Rosenbach was well known as a collector of English literature but is perhaps best known for owning Joyce’s original manuscript for Ulysses. Joyce had sold the manuscript shortly before the book was published in 1922, to John Quinn, an Irish American lawyer and collector who had defended the publishers of The Little Review when they were prosecuted for obscenity in 1920. Quinn sold the manuscript with many others from his collection in January 1924, and Dr. Rosenbach purchased it for $1,975, slightly below the reserve price of $2,000. Joyce attempted to buy back his manuscript, but Rosenbach refused to sell. Rosenbach did, however, offer to buy the corrected page proofs of Ulysses. Dr. Rosenbach and Joyce never met. Dr. Rosenbach also owned a handful of other Joyce works, including a first edition of Ulysses, given to him by the publisher and auctioneer Mitchell Kennerley in 1922, when it was still banned in the United States. All these objects are marked below with an asterisk (*). The Rosenbach has expanded these holdings considerably, and continues to collect works by and about Joyce. The guide is updated as new material is acquired. Objects acquired since 2014 are marked with a “+”. SCOPE & CONTENT This collections guide serves as an overview of the Joyce holdings, providing titles and call numbers. For complete catalog information and to view the materials in person, please make a research appointment and use the call number for reference. -
Fellini Hans Henny Jahnn Hedayat Rilke Valéry Musil Esterházy Emilio Villa & More
FELLINI HANS H ENNY JAHNN HEDAYAT RILKE VALÉRY MUSIL ESTERHÁZY EMILIO VILLA & MORE Volume VIII, No. 2 (winter 2014) ! !!! MAST HEAD ! Publisher: Contra Mundum Press Location: New York, London, Melbourne Editors: Rainer J. Hanshe, Erika Mihálycsa PDF Design: Giuseppe Bertolini Logo Design: Liliana Orbach Advertising & Donations: Giovanni Piacenza (To contact Mr. Piacenza: [email protected]) CMP Website: Bela Fenyvesi & Atrio LTD. Letters to the editors are welcome and should be e-mailed to: [email protected] Hyperion is published biannually by Contra Mundum Press, Ltd. P.O. Box 1326, New York, NY 10276, U.S.A. W: http://contramundum.net For advertising inquiries, e-mail Giovanni Piacenza: [email protected] Contents © 2014 Contra Mundum Press & each respective author. All Rights Reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, or any information storage and retrieval system, without permission in writing from Contra Mundum Press. Republication is not permitted within six months of original publication. After two years, all rights revert to each respective author. If any work originally published by Contra Mundum Press is republished in any format, acknowledgement must be noted as following and include, in legible font (no less than 10 pt.), a direct link to our site: “Author, work title, Hyperion: On the Future of Aesthetics, Vol. #, No. # (YEAR) page #s. Originally published by Hyperion. Reproduced with permission of -
Herbert Read and the Reorientation of British Anarchism
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Loughborough University Institutional Repository Article in press, History of European Ideas – estimated publication date 19th November, 2012 Art, Education, and Revolution: Herbert Read and the Reorientation of British Anarchism Matthew S. Adams∗ Department of History, 43 North Bailey, Durham University, Durham, DH1 3EX, UK, Received dates: 13/3/12 – 25/9/12 – 26/9/12 Abstract It is popularly believed that British anarchism underwent a ‘renaissance’ in the 1960s, as conventional revolutionary tactics were replaced by an ethos of permanent protest. Often associated with Colin Ward and his journal Anarchy, this tactical shift is said to have occurred due to growing awareness of Gustav Landauer’s work. This article challenges these readings by focusing on Herbert Read’s book Education through Art, a work motivated by Read’s dissatisfaction with anarchism’s association with political violence. Arguing that aesthetic education could remodel social relationships in a non-hierarchical fashion, Read pioneered the reassessment of revolutionary tactics in the 1940s that is associated with the 1960s generation. His role in these debates has been ignored, but the broader political context of Read’s contribution to anarchist theory has also been neglected. The reading of Read’s work advanced here recovers his importance to these debates, and highlights the presence of an indigenous strand of radical thought that sought novel solutions for the problems of the age. Keywords: Anarchism, education, pacifism, aesthetics, revolution, Herbert Read. ∗ E-mail: [email protected] Article in press, History of European Ideas – estimated publication date 19th November, 2012 1. -
The View from the Waste Land: How Modernist Poetry in England Survived the Great War
UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS Martin John Fletcher The view from The Waste Land: how Modernist poetry in England survived the Great War PORTO ALEGRE 2016 UNIVERSIDADE FEDERAL DO RIO GRANDE DO SUL INSTITUTO DE LETRAS PROGRAMA DE PÓS-GRADUAÇÃO EM LETRAS The view from The Waste Land: how Modernist poetry in England survived the Great War Tese de doutorado em Literatura Inglesa, submetida como requisito parcial para a obtenção do título de doutor. Orientadora: Profa. Dra. Kathrin Rosenfield Doutorando: Martin Fletcher Area de concentração: Literatura inglesa PORTO ALEGRE 2016 CIP - Catalogação na Publicação Fletcher, Martin The view from 'The Waste Land': how Modernist poetry in England survived the Great War / Martin Fletcher. -- 2016. 233 f. Orientadora: Profa. Dra. Kathrin Rosenfield. Tese (Doutorado) -- Universidade Federal do Rio Grande do Sul, Instituto de Letras, Programa de Pós- Graduação em Letras, Porto Alegre, BR-RS, 2016. 1. T. S. Eliot; Ezra Pound; Imagism; Herbert Read; Harold Monro.. I. Rosenfield, Profa. Dra. Kathrin, orient. II. Título. Elaborada pelo Sistema de Geração Automática de Ficha Catalográfica da UFRGS com os dados fornecidos pelo(a) autor(a). For Ana, my wonderful Carioca wife, and my loving son Edward For my mother, Grace May, who has supported me in all I have done, and my brother Graham, a true friend In memory of Rupert Brooke, Wilfred Owen and all the Great War poets who gave their lives selflessly and gifted us with their poetry THANKS AND