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Phytopoetics: Upending the Passive Paradigm with Vegetal Violence and Eroticism Joela Jacobs University of Arizona [email protected] Abstract This article develops the notion of phytopoetics, which describes the role of plant agency in literary creations and the cultural imaginary. In order to show how plants prompt poetic productions, the article engages with narratives by modernist German authors Oskar Panizza, Hanns Heinz Ewers, and Alfred Döblin that feature vegetal eroticism and violence. By close reading these texts and their contexts, the article maps the role of plant agency in the co-constitution of a cultural imaginary of the vegetal that results in literary works as well as societal consequences. In this article, I propose the notion of phytopoetics (phyto = relating to or derived from plants, and poiesis = creative production or making), parallel to the concept of zoopoetics.1 Just as zoopoetics describes the role of animals in the creation of texts and language, phytopoetics entails both a poetic engagement with plants in literature and moments in which plants take on literary or cultural agency themselves (see Moe’s [2014] emphasis on agency in zoopoetics, and Marder, 2018). In this understanding, phytopoetics encompasses instances in which plants participate in the production of texts as “material-semiotic nodes or knots” (Haraway, 2008, p. 4) that are neither just metaphor, nor just plant (see Driscoll & Hoffmann, 2018, p. 4 and pp. 6-7). Such phytopoetic effects manifest in the cultural imagination more broadly.2 While most phytopoetic texts are literary, plant behavior has also prompted other kinds of writing, such as scientific or legal Joela Jacobs (2019). -
Claes-Göran Holmberg
fLaMMan claes-Göran holmberg Precursors swedish avant-garde groups were very late in founding their own magazines. in france and Germany, little magazines had been pub- lished continuously from the romantic era onwards. a magazine was an ideal platform for the consolidation of a new movement in its formative phase. it was a collective thrust at the heart of the enemy: the older generation, the academies, the traditionalists. By showing a united front (through programmatic declarations, manifestos, es- says etc.) you assured the public that you were to be reckoned with. almost every new artist group or current has tried to create a mag- azine to define and promote itself. the first swedish little magazine to embrace the symbolist and decadent movements of fin-de-siècle europe was Med pensel och penna (With paintbrush and pen, 1904-1905), published in Uppsala by the society of “Les quatres diables”, a group of young poets and students engaged in aestheticism and Baudelaire adulation. Mem- bers were the poet and student in slavic languages sigurd agrell (1881-1937), the student and later professor of art history harald Brising (1881-1918), the student of philosophy and later professor of psychology John Landquist (1881-1974), and the author sven Lidman (1882-1960); the poet sigfrid siwertz (1882-1970) also joined the group later. the magazine did not leave any great impact on swedish literature but it helped to spread the Jugend style of illu- stration, the contemporary love-hate relationship with the city and the celebration of the intoxicating powers of beauty and deca- dence. -
DER BLAUE REITER Textpuzzle
MDS 3.2 Unterrichtsprojekte in der Sekundarstufe Freiburg vom 29.06. bis 19.07.2014 Ozana Klein, Gabriele Weiß, Alexandra Effe DER BLAUE REITER Textpuzzle Der Blaue Reiter ist die Bezeichnung für eine Künstlergruppe Anfang des 20. Jahrhunderts in München. Der Name wurde von Wassily Kandinsky und Franz Marc gewählt. Beide waren Maler und Künstler. Kandinsky hatte bereits 1909 ein Bild … … mit dem Titel „Der Blaue Reiter“ geschaffen. Was die Bezeichnung betrifft, sagte Kandinsky: „Den Namen „Der Blaue Reiter“ erfanden wir am Kaffeetisch in der Gartenlaube in Sindelsdorf. Beide liebten wir Blau: Marc – Pferde und ich – Reiter. So kam der Name … … von selbst.“ Zur Farbe Blau schrieb Kandinsky einmal: „Sie weckt in ihm die Sehnsucht nach Reinem und Übersinnlichem. Es ist die Farbe des Himmels“. August Macke und Franz Marc waren überzeugt, dass jeder Mensch eine innere und eine äußere Erlebniswelt besitzt, die durch die Kunst … … zusammengeführt werden. Außerdem glaubten sie an die Gleichberechtigung aller Kunstformen. Faktisch zählt der Blaue Reiter zum Expressionismus.Kandinsky und Marc gehörten zuerst einer anderen Künstlergruppe an. Sie hieß „Neue Künstlervereinigung München“. Aber besonders Kandinsky hatte … …immer öfter Streit mit den eher traditionell denkenden Mitgliedern der Gruppe wegen seiner sehr abstrakten Malerei und so traten er und Franz Marc 1911 aus. Sie organisierten noch im selben Jahr die erste Blaue-Reiter-Ausstellung, die … … ein großer Erfolg wurde. Die Künstlergruppe „Der Blaue Reiter“ war geboren. Von Anfang an zur Gruppe gehörten auch August Macke und Gabriele Münter, die langjährige Lebensgefährtin von Kandinsky. Sie lebten zusammen in … …Murnau, in der Nähe von Garmisch Partenkirchen im Voralpenland. Ganz in der Nähe, in Sindelsdorf, wohnten Franz und Marie Marc, zu denen sie engen Kontakt hatten. -
Call#: NXSSO.A1 T68 2016 ~ 1111111111111111111111111111111111111111 1-C .,.0
ILLiad TN: 453217 Call#: 1111111111111111111111111111111111111111 NXSSO.A 1 T68 2016 1-c~ .,.0 ....... Borrower: FHM Location: Atlanta Library North 4 N PROCESS DATE: 1-c -0.> Lending String: 20161003 -+-> *GSU,DLM,TEU,AMH,CSL,EZC,SUS ~~ Patron: ARIEL IFMCharge .......0 Journal Title: The total work of art : r:/). Maxcost: 25.001FM 1-c foundations, articulations, inspirations I 0.> ~ Shipping Address: ......> Volume: Issue: Interlibrary Loans ~ MonthNear: 2016 University of South Florida ~ Pages: 157-182, 259-272 4202 East Fowler Avenue LIB 121 0.> Tampa, Florida 33620 ~ Article Title: The "Translucent (Not: United States -+-> Transparent)" Gesamtglaswerk r./J. Fax: ::r: ro Imprint: New York: Berghahn Books, 2016. (<: ....... NOTICE: THIS MATERIAL MAY BE PROTECTED Ariel: ody or article exchange {_~ BY COPYRIGHT LAW (TITLE 17, U.S. CODE) 0 0.> d ILL Number: 172025970 Or ship via: ARIEL 1111111111111111111111111111111111111111111111111111111 CHAPTERS (""-••.."" The 11 T ranslucent (Not: Transparent)" Gesamtglaswerk JENNY ANGER runo Taut's Glashaus (Glass house, 1914, Figure 8.1) stood on the east Bern bank of the Rhine River, across from the monumental cathedral of Cologne, for just two years. It was accessible to the public for shorter still: a few weeks in the summer of 1914. The outbreak of war-and the need to gar rison soldiers on the German Werkbund's exhibition grounds-might have darkened this temple of light forever. 1 Despite its brief existence, however, the Glashaus contributed to an ideal that aspired to be as enduring and inspi rational as those of its sister temple on the far shore. Following the German tradition of constructing utopian neologisms out of constitutive parts-the Glashaus, for example, or Richard Wagner's Gesamtkunstwerk (total work of art)-I call this ideal the Gesamtglaswerk (total work of glass). -
NATALIA-GONCHAROVA EN.Pdf
INDEX Press release Fact Sheet Photo Sheet Exhibition Walkthrough A CLOSER LOOK Goncharova and Italy: Controversy, Inspiration, Friendship by Ludovica Sebregondi ‘A spritual autobiography’: Goncharova’s exhibition of 1913 by Evgenia Iliukhina Activities in the exhibition and beyond List of the works Natalia Goncharova A woman of the avant-garde with Gauguin, Matisse and Picasso Florence, Palazzo Strozzi, 28.09.2019–12.01.2020 #NataliaGoncharova This autumn Palazzo Strozzi will present a major retrospective of the leading woman artist of the twentieth- century avant-garde, Natalia Goncharova. Natalia Goncharova will offer visitors a unique opportunity to encounter Natalia Goncharova’s multi-faceted artistic output. A pioneering and radical figure, Goncharova’s work will be presented alongside masterpieces by the celebrated artists who served her either as inspiration or as direct interlocutors, such as Paul Gauguin, Henri Matisse, Pablo Picasso, Giacomo Balla and Umberto Boccioni. Natalia Goncharova who was born in the province of Tula in 1881, died in Paris in 1962 was the first women artist of the Russian avant-garde to reach fame internationally. She exhibited in the most important European avant-garde exhibitions of the era, including the Blaue Reiter Munich, the Deutsche Erste Herbstsalon at the Galerie Der Sturm in Berlin and at the post-impressionist exhibition in London. At the forefront of the avant- garde, Goncharova scandalised audiences at home in Moscow when she paraded, in the most elegant area of the city with her face and body painted. Defying public morality, she was also the first woman to exhibit paintings depicting female nudes in Russia, for which she was accused and tried in Russian courts. -
Alfred Döblins Weg
210 -- Sabine Schneider Rutsch, Bettina: Leiblichkeit der Sprache. Sprachlichkeit des Leibes. Wort, Gebärde, Tanz bei Alexander Honold Hugo von Hofmannsthal. Frankfurt a. M. 1998. Schlötterer, Reinhold: ,,Elektras Tanz in der Tragödie Hugo von Hofmannsthals". In: Exotischentgrenzte Kriegslandschaften: Hofmannsthal-Blätter 33 (1986), 5. 47-58. Schneider, Florian: ,,Augenangst? Die Psychoanalyse als ikonoklastische Poetologie". In: Alfred DöblinsWeg zum „Geonarrativ" Hofmannstha/-Jahrbuch 11 (2001), 5. 197- 240. Schneider, Sabine: ,,Das Leuchten der Bilder in der Sprache. Hofmannsthals medienbewusste Berge Meere und Giganten Poetik der Evidenz". In: Hofmannsthal-Jahrbuch 11 (2003), 5. 209-248. Schneider, Sabine: ,,Die Welt der Bezüge. Hofmannsthal zur Autorität des Dichters in seiner Was eigentlich geschieht an den Rändern der durch Atmosphäre, Gravitation und Zeit". In: Colloquium Helveticum 41 (2010), 5. 203-221. Drehbewegung verbundenen Heimatkugel irdischen Lebens? Etwa dann, wenn die Schneider, Sabine: ,,Helldunkel - Elektras Schattenbilder oder die Grenzen der semiotischen zivilisatorischen Makro-Ereignisse von diesem Erdklumpen nicht mehr zusam- Utopie". In: dies.: Verheißung der Bilder. Das andere Medium in der Literatur um 1900. mengehalten werden können? Tübingen 2006, 5. 342- 368. Schneider, Sabine: .,Poetik der Illumination. Hugo von Hofmannsthals Bildreflexionen im Kein Ohr hörte das Schlürfen Schleifen, das seidig volle Wehen an dem fernen Saum. Ge- Gespräch über Gedichte". In: Zeitschrift für Kunstgeschichte 71 (2008), Heft 3, schüttelt wurde die Luft im Rollen und Stürzen der Kugel, die sie mitschleppte. Lag gedreht an 5. 389-404. der Erde, schmiegte sich gedrückt an dem rasenden Körper an, wehte hinter ihm wie ein Seel, Martin: Die Macht des Erscheinens. Textezur Ästhetik. Frankfurt a. M. 2007. aufgelöster Zopf. (BMG 367)1 Sommer, Manfred: Evidenz im Augenblick. -
The Blue Rider
THE BLUE RIDER 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 1 222.04.132.04.13 111:091:09 2 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 2 222.04.132.04.13 111:091:09 HELMUT FRIEDEL ANNEGRET HOBERG THE BLUE RIDER IN THE LENBACHHAUS, MUNICH PRESTEL Munich London New York 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 3 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 4 222.04.132.04.13 111:091:09 CONTENTS Preface 7 Helmut Friedel 10 How the Blue Rider Came to the Lenbachhaus Annegret Hoberg 21 The Blue Rider – History and Ideas Plates 75 with commentaries by Annegret Hoberg WASSILY KANDINSKY (1–39) 76 FRANZ MARC (40 – 58) 156 GABRIELE MÜNTER (59–74) 196 AUGUST MACKE (75 – 88) 230 ROBERT DELAUNAY (89 – 90) 260 HEINRICH CAMPENDONK (91–92) 266 ALEXEI JAWLENSKY (93 –106) 272 MARIANNE VON WEREFKIN (107–109) 302 ALBERT BLOCH (110) 310 VLADIMIR BURLIUK (111) 314 ADRIAAN KORTEWEG (112 –113) 318 ALFRED KUBIN (114 –118) 324 PAUL KLEE (119 –132) 336 Bibliography 368 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 5 222.04.132.04.13 111:091:09 55311_5312_Blauer_Reiter_s001-372.indd311_5312_Blauer_Reiter_s001-372.indd 6 222.04.132.04.13 111:091:09 PREFACE 7 The Blue Rider (Der Blaue Reiter), the artists’ group formed by such important fi gures as Wassily Kandinsky, Franz Marc, Gabriele Münter, August Macke, Alexei Jawlensky, and Paul Klee, had a momentous and far-reaching impact on the art of the twentieth century not only in the art city Munich, but internationally as well. Their very particular kind of intensely colorful, expressive paint- ing, using a dense formal idiom that was moving toward abstraction, was based on a unique spiritual approach that opened up completely new possibilities for expression, ranging in style from a height- ened realism to abstraction. -
Alfred Döblin Essays on Literature Autobiographies
Beyond Alexanderplatz ALFRED DÖBLIN ESSAYS ON LITERATURE AUTOBIOGRAPHIES Selected and translated by C.D. Godwin ©C D Godwin 2019 https://beyond-alexanderplatz.com CONTENTS 1913: To Novelists and their Critics 1 1917: Remarks on the Novel 4 1917-18: Doctor Döblin (unfinished draft) 7 1921: The Thirty Years War (written 1919) 13 1921: The Epicist, his Material, and the Critics 22 1924: Remarks on Mountains Oceans Giants 28 1924: The Spirit of a Naturalistic Age 35 1924: German Conditions, Jewish response 48 1927: Doctor and Writer 52 1928: Two Souls in a Single Breast 56 1929: Construction of the Epic Work 58 1932: Afterword to Giants 76 1936: The Historical Novel and Us 78 1938: Prometheus and the Primitive 92 1948: Epilogue 105 TO NOVELISTS AND THEIR CRITICS: THE BERLIN PROGRAMME Alfred Döblin Der Sturm Nr 158/9, May 1913 The artist toils away in his isolated cell. He himself is two-thirds self-deception and blather. (The door is open for discussion.) Certain things remain immovable over Time: Homer is still enjoyed today; art conserves; but in the course of centuries working methods, like the surface of the Earth, undergo changes; the artist can no longer fly into the arms of Cervantes without becoming motheaten. The world has grown in breadth and depth; old Pegasus, outflanked by technology, has been hoodwinked and transformed into a stubborn mule. I claim that any good speculator, banker, soldier is a better writer than the majority of current authors. Writers of prose, always first to jump on the bandwagon, encompass the world not through new rigorous cold-blooded methods, but rather chew away constantly at “material” and problems of their internal inadequacy. -
Chronik ALFRED DÖBLIN 1878
Leben & Werk - Chronik ALFRED DÖBLIN 1878 - 1957 10. August 1878: Geburt Alfred Döblins in Stettin als viertes und vorletztes Kind jüdischer Eltern, des Schneidermeisters Max Döblin (1846-1921) und seiner Frau Sophie, geb. Freudenheim (1844-1920). 1888: Döblins Vater verlässt Frau und Kinder; die Mutter zieht mit ihren fünf Kindern nach Berlin. 1891-1900: Besuch des Köllnischen Gymnasiums in Berlin. Ausbildung literarischer, philosophischer und musikalischer Neigungen. Lektüre Kleists, Hölderlins, Dostojewskijs, Schopenhauers, Spinozas, Nietzsches. Entstehung erster literarischer und essaysistischer Texte, darunter Alfred Döblin. Kinderfoto um Modern. Ein Bild aus der Gegenwart (1896). 1888 1900: Niederschrift des ersten Romans Jagende Rosse (zu Lebzeiten unveröffentlicht). 1900-1905: Medizinstudium in Berlin und Freiburg i.Br. Beginn der Freundschaft mit Herwarth Walden und Else Lasker-Schüler. Entstehung des zweiten Romans Worte und Zufälle (1902/03; als Buch 1919 unter dem Titel Der schwarze Vorhang veröffentlicht), zweier kritischer Nietzsche Essays (1902/03) und mehrerer Erzählungen, darunter Die Ermordung einer Butterblume. 1905 Promotion bei Alfred Hoche mit einer Studie über Gedächtnisstörungen bei der Korsakoffschen Psychose. 1905-1906: Assistenzarzt an der Kreisirrenanstalt Karthaus-Prüll, Regensburg. 1906 erscheint die Groteske Lydia und Mäxchen. Tiefe Verbeugung in einem Akt als seine erste Buchveröffentlichung. 1906-1908: Assistenzarzt an der Berliner Städtischen Irrenanstalt in Buch. Beginn der Liebesbeziehung zu der Krankenschwester Frieda Kunke (1891-1918). Wissenschaftliche Publikationen in medizinischen Fachzeitschriften. 1908-1911: Assistenzarzt am Städtischen Krankenhaus Am Urban in Berlin. Dort lernt er die Medizinstudentin Erna Reiss (1888-1957), seine spätere Frau, kennen. 1910: Herwarth Waldens Zeitschrift 'Der Sturm' beginnt zu erscheinen. Döblin gehört bis 1915 zu ihren wichtigsten Mitarbeitern. 1911: Eröffnung einer Kassenpraxis am Halleschen Tor in Berlin (zunächst als praktischer Arzt, später als Nervenarzt und Internist). -
GPS Dissertation UPLOAD 18/4/30
“Almost Poetic”: Alfred Döblin’s Subversive Theater Geraldine Poppke Suter Manrode, Germany B.A., Bridgewater College, 2006 M.A., James Madison University, 2008 M.A., University of Virginia, 2013 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Germanic Languages and Literatures University of Virginia May, 2018 Benjamin K. Bennett Jeffrey A. Grossman Volker Kaiser John L. Parker © 2018 Geraldine Poppke Suter Dedicated to the memory of Hans-Jürgen Wrede “Am Bahnhof stand ein Sauerampfer, sah immer nur Züge und nie einen Dampfer. Armer Sauerampfer.” — Hans-Jürgen Wrede, frei nach Joachim Ringelnatz Abstract This dissertation explores elements of objectification, artistic control, and power in three of Döblin’s plays: Lydia und Mäxchen, Comteß Mizzi, and Die Ehe. In the first chapter I address the nature of, and relationships between, characters and things that people these plays, and outline Döblin’s animation of props, and their elevation to the status of characters in his initial play Lydia und Mäxchen, the objectification of characters in his second play Comteß Mizzi, and a combination thereof in his final play Die Ehe. In the second chapter I treat issues of artistic control. While his debut play contains multiple and unconventional loci of control, the focus of his second play lies on artistic restrictions and its consequences. In his final play Döblin addresses social forces which rule different classes. In the third chapter I connect the elements of objectification and uprising with matters of control by arguing that Döblin employs Marxist themes throughout his plays. -
MASTERPIECES from the PEGGY GUGGENHEIM COLLECTION Digitized by the Internet Archive
m,* u i rc H .» MASTERPIECES FROM THE PEGGY GUGGENHEIM COLLECTION Digitized by the Internet Archive in 2012 with funding from Metropolitan New York Library Council - METRO http://archive.org/details/masterpOOsolo MASTERPIECES FROM THE PEGGY GUGGENHEIM COLLECTION MASTERPIECES FROM THE PEGGY GUGGENHEIM COLLECTION GUGGENHEIM MUSEUM The operations and programs of the Peggy Guggenheim Collection are supported by: INTRAPRES.T COLLEZIONE GUGGENHEIM Aermec Imation Arclinea Istituto Poligrafico e Barbero 1891 Zecca dello Stato Bisazza Mosaico Luciano Marcato Cartiere Miliani Rex Built-in Fabriano Safilo Group DLW AG Swatch Gruppo 3M Italia Wella Management by Micbela Bondardo Cornunicazione The trustees of the Solomon R. Guggenheim Foundation gratefully acknowledge the Regione Veneto for the annual subsidy that assures the effective operation of the Peggy Guggenheim Collection. © 1983, 1986, 1993, 1996 The Solomon R. Guggenheim Foundation, New York All rights reserved ISBN 0-892.07-181-8 Originally published in 1983 as Handbook: The Peggy Guggenheim Collection Guggenheim Museum Publications 1 07 1 Fifth Avenue New York. New York 10128 Design by Tsang Seymour Design, New York All works of art reproduced in color were photographed by David Heald Printed in Italv Cover: Jackson Pollock, The Moon Woman, 1942 (plate 73}. CONTENTS 6 FOREWORD Thomas Kre?is 9 THE STORY OF A MUSEUM-COLLECTION Philip Rylands 21 CATALOGUE 215 BIOGRAPHIES 244 WORKS IN THE PEGGY GUGGENHEIM COLLECTION FOREWORD The selection of works illustrated in this extraordinary role Peggy Guggenheim guide to the Peggy Guggenheim assumed as an art collector, and the Collection has been based on several decisive influences that determined her related considerations. -
Jenny Anger Associate Professor
Jenny Anger Associate Professor (o) 641-269-4293 Department of Art and Art History (f) 641-269-4420 Grinnell College [email protected] Grinnell, IA 50112-0806 19 September 2013 Curriculum Vitae Positions Held 2003- Associate Professor of Art, Grinnell College (Chair 2004-06) 2002-03 Chair, Gender and Women’s Studies, Grinnell College 1997-2003 Assistant Professor of Art, Grinnell College 1990-93 Editorial Assistant (1990-91) and Assistant Editor (1991-93), differences: A Journal of Feminist Cultural Studies 1987-90 Teaching Assistant, Brown University and Rhode Island School of Design Education Ph.D. 1997 History of Art and Architecture, Brown University Dissertation: “Modernism and the Gendering of Paul Klee” M.A. 1988 History of Art and Architecture, Brown University Thesis: “Music as Defense in the Aesthetics of Clive Bell and Roger Fry” B.A. 1986 Art History and German, University of Southern California summa cum laude Publications Routledge Encyclopedia of Modernism, s.v. “Société Anonyme”; “Der Sturm”; “Walden, Herwarth.” Forthcoming 2013. Web. “The ‘Translucent (Not: Transparent)’ Gesamtglaswerk.” The Gesamtkunstwerk: Foundations, Articulations, and Inspirations. Ed. David Imhoof, Margaret Menninger, and Anthony Steinhoff. New York: Berghahn, forthcoming 2013. “Der Sturm, the Société Anonyme, and Modern Art in America.” Der Sturm. Zentrum der Avant- Garde. Vol. 2. Aufsätze. Ed. Gerhard Finckh and Andrea von Huelsen-Esch. Exh. cat.: von der Heydt-Museum, Wuppertal, Germany; 2012. 543-70. Jenny Anger, CV, 2/12, 2 Review of Elissa Auther, String, Felt, Thread: The Hierarchy of Art and Craft in American Art (Minneapolis: Minnesota University Press, 2010). www.caareviews.org. Web. Ed. Repeat, Reveal, React: Identities in Flux, Selections from the Grinnell College Art Collection.