Revolutions and the Avant-Gardes
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Redalyc.Giorgio Morandi and the “Return to Order”: from Pittura
Anales del Instituto de Investigaciones Estéticas ISSN: 0185-1276 [email protected] Instituto de Investigaciones Estéticas México AGUIRRE, MARIANA Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917- 1928 Anales del Instituto de Investigaciones Estéticas, vol. XXXV, núm. 102, 2013, pp. 93-124 Instituto de Investigaciones Estéticas Distrito Federal, México Available in: http://www.redalyc.org/articulo.oa?id=36928274005 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative MARIANA AGUIRRE laboratorio sensorial, guadalajara Giorgio Morandi and the “Return to Order”: From Pittura Metafisica to Regionalism, 1917-1928 lthough the art of the Bolognese painter Giorgio Morandi has been showcased in several recent museum exhibitions, impor- tant portions of his trajectory have yet to be analyzed in depth.1 The factA that Morandi’s work has failed to elicit more responses from art historians is the result of the marginalization of modern Italian art from the history of mod- ernism given its reliance on tradition and closeness to Fascism. More impor- tantly, the artist himself favored a formalist interpretation since the late 1930s, which has all but precluded historical approaches to his work except for a few notable exceptions.2 The critic Cesare Brandi, who inaugurated the formalist discourse on Morandi, wrote in 1939 that “nothing is less abstract, less uproot- ed from the world, less indifferent to pain, less deaf to joy than this painting, which apparently retreats to the margins of life and interests itself, withdrawn, in dusty kitchen cupboards.”3 In order to further remove Morandi from the 1. -
Modernist Permabulations Through Time and Space
Journal of the British Academy, 4, 197–219. DOI 10.5871/jba/004.197 Posted 18 October 2016. © The British Academy 2016 Modernist perambulations through time and space: From Enlightened walking to crawling, stalking, modelling and street-walking Lecture in Modern Languages read 19 May 2016 ANNE FUCHS Fellow of the Academy Abstract: Analysing diverse modes of walking across a wide range of texts from the Enlightenment period and beyond, this article explores how the practice of walking was discovered by philosophers, educators and writers as a rich discursive trope that stood for competing notions of the morally good life. The discussion proceeds to then investigate how psychological, philosophical and moral interpretations of bad prac- tices of walking in particular resurface in texts by Franz Kafka, Thomas Mann and the interwar writer Irmgard Keun. It is argued that literary modernism transformed walking from an Enlightenment trope signifying progress into the embodiment of moral and epistemological ambivalence. In this process, walking becomes an expression of the disconcerting experience of modernity. The paper concludes with a discussion of walking as a gendered performance: while the male walkers in the modernist texts under discussion suffer from a bad gait that leads to ruination, the new figure of the flâneuse manages to engage in pleasurable walking by abandoning the Enlightenment legacy of the good gait. Keywords: modes of walking, discursive trope, Enlightenment discourse, modernism, modernity, moral and epistemological ambivalence, gender, flâneuse. Walking on one’s two legs is an essential but ordinary skill that, unlike cycling, skate-boarding, roller-skating or ballroom dancing, does not require special proficiency, aptitude or thought—unless, of course, we are physically impaired. -
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. -
Futurism's Photography
Futurism’s Photography: From fotodinamismo to fotomontaggio Sarah Carey University of California, Los Angeles The critical discourse on photography and Italian Futurism has proven to be very limited in its scope. Giovanni Lista, one of the few critics to adequately analyze the topic, has produced several works of note: Futurismo e fotografia (1979), I futuristi e la fotografia (1985), Cinema e foto- grafia futurista (2001), Futurism & Photography (2001), and most recently Il futurismo nella fotografia (2009).1 What is striking about these titles, however, is that only one actually refers to “Futurist photography” — or “fotografia futurista.” In fact, given the other (though few) scholarly studies of Futurism and photography, there seems to have been some hesitancy to qualify it as such (with some exceptions).2 So, why has there been this sense of distacco? And why only now might we only really be able to conceive of it as its own genre? This unusual trend in scholarly discourse, it seems, mimics closely Futurism’s own rocky relationship with photography, which ranged from an initial outright distrust to a later, rather cautious acceptance that only came about on account of one critical stipulation: that Futurist photography was neither an art nor a formal and autonomous aesthetic category — it was, instead, an ideological weapon. The Futurists were only able to utilize photography towards this end, and only with the further qualification that only certain photographic forms would be acceptable for this purpose: the portrait and photo-montage. It is, in fact, the very legacy of Futurism’s appropriation of these sub-genres that allows us to begin to think critically about Futurist photography per se. -
Impressionist & Modern
Impressionist & Modern Art New Bond Street, London I 10 October 2019 Lot 8 Lot 2 Lot 26 (detail) Impressionist & Modern Art New Bond Street, London I Thursday 10 October 2019, 5pm BONHAMS ENQUIRIES PHYSICAL CONDITION IMPORTANT INFORMATION 101 New Bond Street London OF LOTS IN THIS AUCTION The United States Government London W1S 1SR India Phillips PLEASE NOTE THAT THERE IS NO has banned the import of ivory bonhams.com Global Head of Department REFERENCE IN THIS CATALOGUE into the USA. Lots containing +44 (0) 20 7468 8328 TO THE PHYSICAL CONDITION OF ivory are indicated by the VIEWING [email protected] ANY LOT. INTENDING BIDDERS symbol Ф printed beside the Friday 4 October 10am – 5pm MUST SATISFY THEMSELVES AS lot number in this catalogue. Saturday 5 October 11am - 4pm Hannah Foster TO THE CONDITION OF ANY LOT Sunday 6 October 11am - 4pm Head of Department AS SPECIFIED IN CLAUSE 14 PRESS ENQUIRIES Monday 7 October 10am - 5pm +44 (0) 20 7468 5814 OF THE NOTICE TO BIDDERS [email protected] Tuesday 8 October 10am - 5pm [email protected] CONTAINED AT THE END OF THIS Wednesday 9 October 10am - 5pm CATALOGUE. CUSTOMER SERVICES Thursday 10 October 10am - 3pm Ruth Woodbridge Monday to Friday Specialist As a courtesy to intending bidders, 8.30am to 6pm SALE NUMBER +44 (0) 20 7468 5816 Bonhams will provide a written +44 (0) 20 7447 7447 25445 [email protected] Indication of the physical condition of +44 (0) 20 7447 7401 Fax lots in this sale if a request is received CATALOGUE Julia Ryff up to 24 hours before the auction Please see back of catalogue £22.00 Specialist starts. -
Mass Culture and Individuality in Hermann Broch’S Late Works
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sunderland University Institutional Repository MASS CULTURE AND INDIVIDUALITY IN HERMANN BROCH’S LATE WORKS JANET PEARSON A thesis submitted in partial fulfilment of the requirements of the University of Sunderland for the degree of Doctor of Philosophy. APRIL 2015 i Abstract Mass Culture and Individuality in Hermann Broch’s Late Works Janet Pearson This thesis explores Hermann Broch’s thought regarding the relationship between the individual and the mass, in an age of mass-culture. Broch, an Austrian-Jewish intellectual, who emigrated to America in 1938, discussed ideas upon this theme in theoretical essays, including a theory of mass hysteria (Massenwahntheorie) as well as his fictional The Death of Virgil (Der Tod des Vergil). In the study, the analysis of his theoretical work shows that Broch’s views regarding the masses differ from those of other theorists contemporary to him (Le Bon, Freud and Canetti), in that they are closely linked to his theory of value. It also establishes that his ideas about individuality reach back to the earliest philosophers, and that he perceived this dimension of human existence to be changing, through the development of ‘ego- consciousness’. Building upon this, the textual analysis of the Virgil demonstrates that Broch finds similarities between his own era and the age of Augustus, but also indicates that the concept of individuality portrayed in the work goes beyond that discussed in his theoretical writing and points towards a new role for art in the post-industrial age. -
The Individual and the «Spiritual» World in Kafka's Novels
Studies in 20th Century Literature Volume 3 Issue 1 Article 3 8-1-1978 The Individual and the «Spiritual» World in Kafka's Novels Ulrich Fülleborn Universitat Erlangen-Niirnberg Follow this and additional works at: https://newprairiepress.org/sttcl Part of the German Literature Commons, and the Modern Literature Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Fülleborn, Ulrich (1978) "The Individual and the «Spiritual» World in Kafka's Novels," Studies in 20th Century Literature: Vol. 3: Iss. 1, Article 3. https://doi.org/10.4148/2334-4415.1057 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. The Individual and the «Spiritual» World in Kafka's Novels Abstract Following an earlier essay by the same author on 'Perspektivismus und Parabolik' in Kafka's shorter prose pieces, this article gives a description of the structure of Kafka's novels in terms of the concepts 'the individual' (cf. Kierkegaard's 'individuals') and 'the spiritual world' (Kafka: «There is no world but the spiritual one»). Joseph K. and the land-surveyor K. become individuals by leaving the world of everyday life and passing over into the incomprehensible spiritual world of trials and a village-castle community, in the same way that Karl Rossmann had passed over into the 'Nature-theatre of Oklahoma' before them. And they remain as individuals, since in this world they struggle to hold their own. -
Franz Kafka's Transformations
Franz Kafka’s Transformations Andrew Barker ALONE amongst the contributions to the volume, this essay does not address a Scandinavian topic. The theme of transformation in Franz Kafka’s work and life does, however, allow us to recall that Peter Graves is himself a notable example of a changeling, having begun his career at Aberdeen University as a student of German under the venerable Professor Wilhelm (Willy) Witte. What is presented here may thus serve as a reminder of a world Peter inhabited long ago, before he morphed into the Scandinavian polymath we know and honour today. The impetus for the present contribution came from reading James Hawes’ exhilarating study Excavating Kafka (2008).1 This work was promptly written off by Klaus Wagenbach, the doyen of Kafka studies in Germany, who is quoted as saying: ‘Irgendein Dämel kommt daher, weiß nix und schreibt über Kafka’ (Jungen 2008).2 In defence of Wagenbach’s po-faced dismissal of a much younger, non-German scholar’s work, one might plead that his grasp of English was insufficient for him to grasp the book’s satirical and polemical intentions. In fact, Excavating Kafka is the work of a scholar who knows a great deal about Kafka, and writes about him with panache and insight. I can match Hawes neither in my knowledge of Kafka nor the secondary literature, but I share with him a mounting frustration with the commonly-peddled myths about Kafka’s life and work, and it is some of these which I shall address in this short paper. Looking at the work first, I shall concentrate on what is probably Kafka’s most iconic story, Die Verwandlung (1912; ‘Metamorphosis’), the English translation of whose title I find particularly problematic. -
Federico Luisetti, “A Futurist Art of the Past”, Ameriquests 12.1 (2015)
Federico Luisetti, “A Futurist Art of the Past”, AmeriQuests 12.1 (2015) A Futurist Art of the Past: Anton Giulio Bragaglia’s Photodynamism Anton Giulio Bragaglia, Un gesto del capo1 Un gesto del capo (A gesture of the head) is a rare 1911 “Photodynamic” picture by Anton Giulio Bragaglia (1890-1960), the Rome-based photographer, director of experimental films, gallerist, theater director, and essayist who played a key role in the development of the Italian Avant- gardes. Initially postcard photographs mailed out to friends, Futurist Photodynamics consist of twenty or so medium size pictures of small gestures (greeting, nodding, bowing), acts of leisure, work, or movements (typing, smoking, a slap in the face), a small corpus that preceded and influenced the experimentations of European Avant-garde photography, such as Christian Schad’s Schadographs, Man Ray’s Rayographs, and Lazlo Moholy-Nagy’s Photograms. Thanks to historians of photography, in particular Giovanni Lista and Marta Braun, we are familiar with the circumstances that led to the birth of Photodynamism, which took on and transformed the principles proclaimed in the April 11, 1910 Manifesto tecnico della pittura futurista (Technical Manifesto of Futurist Painting) by Umberto Boccioni, Carlo Carrà, Luigi Russolo, Giacomo Balla, and Gino Severini, where the primacy of movement and the nature of “dynamic sensation” challenge the conventions of traditional visual arts: “The gesture which we would reproduce on canvas shall no longer be a fixed moment in universal dynamism. It shall simply be 1 (A Gesture of the Head), 1911. Gelatin silver print, 17.8 x 12.7 cm, Gilman Collection, The Metropolitan Museum of Art, New York]. -
Legitimizing the Artist: Avant-Garde Utopianism and Relational Aesthetics
Queen’s Journal of Visual & Material Culture Issue 2 | 2009 Elise Takehana Legitimizing the Artist: Avant-Garde Utopianism and Relational Aesthetics odernity puts the artist in the peculiar position of having to justify him or herself in a social and economic environment whose values M privilege logic and reason in an efficient and calculable space. The appropriation of religious asceticism by capitalist culture perpetuates a social scene in which all individuals are expected to live according to a pious value system that emphasizes submission to God or the controlling institutions and the denial of pleasures and frivolities.1 The logic of this social scene pushes for a routine, an ordering of human behavior to maintain only its purposeful, necessary, and true components. It is in this pragmatic and ascetic space that the artist is forced to argue his or her usefulness and legitimize his or her existence to the community. In looking at this act of rationalization, let us take three concise steps to map the dual function of the rational and irrational elements of legitimizing art and what space art has occupied because of this act of legitimation. First we must examine the diminished position the artist has because of the marginalization of art, which the capitalist economy turns to commodity, and the skepticism science, which Nietzsche views as the successor of asceticism, holds towards art. Second, we will take the Futurist movement as a hyperbolic example of avant-garde attempts to legitimize the artist through an ideological stance perpetuated by manifestos. Their redefinition of the role of the artist as almost a facilitator for a spectator-driven art rationalizes the marginalized position the capitalist economy assigns them while conceptually undermining the bourgeois commoditization of art. -
The Complete Stories
The Complete Stories by Franz Kafka a.b.e-book v3.0 / Notes at the end Back Cover : "An important book, valuable in itself and absolutely fascinating. The stories are dreamlike, allegorical, symbolic, parabolic, grotesque, ritualistic, nasty, lucent, extremely personal, ghoulishly detached, exquisitely comic. numinous and prophetic." -- New York Times "The Complete Stories is an encyclopedia of our insecurities and our brave attempts to oppose them." -- Anatole Broyard Franz Kafka wrote continuously and furiously throughout his short and intensely lived life, but only allowed a fraction of his work to be published during his lifetime. Shortly before his death at the age of forty, he instructed Max Brod, his friend and literary executor, to burn all his remaining works of fiction. Fortunately, Brod disobeyed. Page 1 The Complete Stories brings together all of Kafka's stories, from the classic tales such as "The Metamorphosis," "In the Penal Colony" and "The Hunger Artist" to less-known, shorter pieces and fragments Brod released after Kafka's death; with the exception of his three novels, the whole of Kafka's narrative work is included in this volume. The remarkable depth and breadth of his brilliant and probing imagination become even more evident when these stories are seen as a whole. This edition also features a fascinating introduction by John Updike, a chronology of Kafka's life, and a selected bibliography of critical writings about Kafka. Copyright © 1971 by Schocken Books Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Schocken Books Inc., New York. Distributed by Pantheon Books, a division of Random House, Inc., New York. -
Class Exercise: the Metamorphosis, by Franz Kafka and Expressionism
Class Exercise: The Metamorphosis, by Franz Kafka and Expressionism GW 2050 Jeanne Stauffer-Merle [Bracketed items are addressed to teachers; this site was originally created for the students.] [Students were already given a general background on Kafa's life and themes/interests.] [Difficulties for students with “The Metamorphosis”: 1. That Kafka chose to use this unrealistic device, forcing students to let go of their dependence on the rational. 2. That the image goes beyond symbolism, propelling the image of an interior state into an exterior reality; the difficulty here is that the image is both symbol and “real.” Gregor both is and is not (in the literal German translation) a monstrous vermin (ein ungeheueres Ungeziefer). Kafka gives this creature a vague name, "a monstrous vermin," to allude to its symbolic nature, yet describes the creature very realistically, reminding us that it is not just a traditional symbol, but a part of a concrete reality. Hopefully, after the end of this exercise, students begin to understand this dual nature of Gregor. The intent of this exercise, then, is to give students a tool for interpreting a text that not only moves sharply away from realism, but uses a paradoxical image.] [A way of introducing this concept is with Expressionistic painting, so students see the importance of this kind of image in "The Metamorphosis," as well as helping students to see connections between art and literature. I chose The Scream because it is of the same era as Kafka's work, is iconic and familiar to most students (although most students don't know what Munch is trying to express) and because The Scream so famous, it gives an added authenticity to using Expressionism.] Expressionism: Expression of an inner psychological state as a literal, physical condition.