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Transatlantica, 1 | 2016 Beyond the American Difficult Poem: Paul Celan’S “Du Liegst” 2
Transatlantica Revue d’études américaines. American Studies Journal 1 | 2016 Modernist Revolutions: American Poetry and the Paradigm of the New Beyond the American Difficult Poem: Paul Celan’s “Du liegst” Xavier Kalck Electronic version URL: http://journals.openedition.org/transatlantica/8096 DOI: 10.4000/transatlantica.8096 ISSN: 1765-2766 Publisher AFEA Electronic reference Xavier Kalck, “Beyond the American Difficult Poem: Paul Celan’s “Du liegst””, Transatlantica [Online], 1 | 2016, Online since 16 January 2017, connection on 29 April 2021. URL: http:// journals.openedition.org/transatlantica/8096 ; DOI: https://doi.org/10.4000/transatlantica.8096 This text was automatically generated on 29 April 2021. Transatlantica – Revue d'études américaines est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Beyond the American Difficult Poem: Paul Celan’s “Du liegst” 1 Beyond the American Difficult Poem: Paul Celan’s “Du liegst” Xavier Kalck 1 In the 2012 Routledge Companion to Experimental Literature, one finds the following statement: “The one feature that all literary experiments share is their commitment to raising fundamental questions about the very nature and being of verbal art itself” (Bray, 1). Quite circuitously, the definition of the thing is that it defines itself. The conclusion follows that “[e]xperiment is one of the engines of literary change and renewal; it is literature’s way of reinventing itself” (Bray, 1). But when any attribute is deemed so fundamental or substantial that it partakes of the nature of the thing described, does it still deserve to be called an attribute? The editors later attempt a measure of clarification, observing that the adjective “experimental” may be understood either as another word for “radical” or “avant-garde,” with the expected political undertones, but may also mean “innovative” in the epistemological sense of questioning cultural traditions. -
The Thing Poetry of Marianne Moore and Francis Ponge »
« Reflecting the Other: The Thing Poetry of Marianne Moore and Francis Ponge » by Vanessa Jane Robinson A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Centre for Comparative Literature University of Toronto © Copyright by Vanessa Jane Robinson 2012 « Reflecting the Other: The Thing Poetry of Marianne Moore and Francis Ponge » Vanessa Jane Robinson Doctor of Philosophy Centre for Comparative Literature University of Toronto 2012 Abstract Across continents and independently of one another, Marianne Moore (1887-1972) and Francis Ponge (1899-1988) both made names for themselves in the twentieth century as poets who gave voice to things. Their entire oeuvres are dominated by poems that attempt to reconstruct an external thing (inanimate object, plant or animal being) through language, while emphasizing the necessary distance that exists between the writing self and the written other. Furthermore, their thing poetry establishes an “essential otherness” to the subject of representation that (ideally) rejects an objectification of that subject, thereby rendering the “thing” a subject-thing with its own being-for-itself. This dissertation argues that the thing poetry of Marianne Moore and Francis Ponge successfully challenged the hierarchy between subject and object in representation by bringing the poet’s self into a dialogue with the encountered thing. The relationship between the writing self and the written other is akin to what Maurice Merleau-Ponty refers to in Le visible et l’invisible when he describes the act of perceiving what is visible as necessitating one’s own visibility to another. The other becomes a mirror of oneself and vice versa, Merleau-Ponty explains, to the extent that together they compose a single image. -
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. -
Poetics History February 2021
Stanford Workshop in Poetics Faculty Chair: Marisa Galvez Graduate Coordinator: Lorenzo Bartolucci The Workshop in Poetics was founded in 2007 by Professors Roland Greene and Nicholas Jenkins and has met regularly ever since. Its core members are about twenty graduate students and several members of the Stanford faculty. Everyone is welcome. The workshop’s main purpose is to offer Ph.D. students a place to present their work in progress in a community of peers and faculty. Not bound by language or period, the group has discussed most of the literatures studied at Stanford. The workshop’s events follow several formats. The most common format is a discussion of work in progress by either a member of the group or a visiting speaker; for these events, the paper under discussion is circulated in advance. Some events concern the state of the field, identifying a topic or issue or a recent book for general discussion, often introduced by the author. A third category deals with neglected classics in poetics, usually books or articles that once were widely known and are still important but that are now seldom found in curricula or criticism. In the history below, each event is designated work in progress [WP], state of the field [SF], or lost classic [LC]. Student members find the workshop especially useful because it augments their coursework and dissertation writing with fresh perspectives and an attentive, often challenging community of interlocutors. Many advanced dissertations in the group have been discussed in two meetings, and in principle nearly every chapter by a member can find an occasion to be presented. -
Radio Transmission Electricity and Surrealist Art in 1950S and '60S San
Journal of Surrealism and the Americas 9:1 (2016), 40-61 40 Radio Transmission Electricity and Surrealist Art in 1950s and ‘60s San Francisco R. Bruce Elder Ryerson University Among the most erudite of the San Francisco Renaissance writers was the poet and Zen Buddhist priest Philip Whalen (1923–2002). In “‘Goldberry is Waiting’; Or, P.W., His Magic Education As A Poet,” Whalen remarks, I saw that poetry didn’t belong to me, it wasn’t my province; it was older and larger and more powerful than I, and it would exist beyond my life-span. And it was, in turn, only one of the means of communicating with those worlds of imagination and vision and magical and religious knowledge which all painters and musicians and inventors and saints and shamans and lunatics and yogis and dope fiends and novelists heard and saw and ‘tuned in’ on. Poetry was not a communication from ME to ALL THOSE OTHERS, but from the invisible magical worlds to me . everybody else, ALL THOSE OTHERS.1 The manner of writing is familiar: it is peculiar to the San Francisco Renaissance, but the ideas expounded are common enough: that art mediates between a higher realm of pure spirituality and consensus reality is a hallmark of theopoetics of any stripe. Likewise, Whalen’s claim that art conveys a magical and religious experience that “all painters and musicians and inventors and saints and shamans and lunatics and yogis and dope fiends and novelists . ‘turned in’ on” is characteristic of the San Francisco Renaissance in its rhetorical manner, but in its substance the assertion could have been made by vanguard artists of diverse allegiances (a fact that suggests much about the prevalence of theopoetics in oppositional poetics). -
The Authenticity of Ambiguity: Dada and Existentialism
THE AUTHENTICITY OF AMBIGUITY: DADA AND EXISTENTIALISM by ELIZABETH FRANCES BENJAMIN A thesis submitted to The University of Birmingham For the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages College of Arts and Law University of Birmingham August 2014 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ii - ABSTRACT - Dada is often dismissed as an anti-art movement that engaged with a limited and merely destructive theoretical impetus. French Existentialism is often condemned for its perceived quietist implications. However, closer analysis reveals a preoccupation with philosophy in the former and with art in the latter. Neither was nonsensical or meaningless, but both reveal a rich individualist ethics aimed at the amelioration of the individual and society. It is through their combined analysis that we can view and productively utilise their alignment. Offering new critical aesthetic and philosophical approaches to Dada as a quintessential part of the European Avant-Garde, this thesis performs a reassessment of the movement as a form of (proto-)Existentialist philosophy. The thesis represents the first major comparative study of Dada and Existentialism, contributing a new perspective on Dada as a movement, a historical legacy, and a philosophical field of study. -
THE TWENTIETH CENTURY, 1900-45 by Owen HEATHCOTE and DAVID Loose LEY, Lecturersinfrenchstudiesat the University Ofbradford
French Studies THE TWENTIETH CENTURY, 1900-45 By OwEN HEATHCOTE and DAVID LoosE LEY, LecturersinFrenchStudiesat the University ofBradford I. EssAYs, STUDIES Angles, Circumnavigations, posthumously reprints articles on, among others, Alain, Aragon, Claudel, Copeau, Drieu la Rochelle, Du Bos, Fernandez, Gide, Giono, Larbaud, Paulhan, Riviere, Supervielle, Valery. Shari Benstock, Women of the Left Bank: Paris, rgoo-1940, Austin, Texas U.P., 5I8 pp., is an original study which, though chiefly concerned with the lives and works of American expatriates (Colette is an exception), sheds light on the modernist culture of literary Paris by investigating the contribution of women to it and the specificity of their experience within it. Claudel Studies, I 3, no. 2, I I I pp., subtitled 'Satan, Devil, or Mephistopheles?', addresses the problem of evil conceived as existing independently of the individual: A. Espiau de la Maestre on Satan in Claudel's theatre, S. Maddux on Bernanos, M. M. Nagy on Valery, C. S. Brosman on Gide, L. M. Porter on Mauriac's Les Anges noirs, P. Brady on Proust and Des vignes, M.G. Rose on Green, and B. Stiglitz on Malraux. Hommage Dicaudin is a rich volume focusing on the birth of the modern and straddling I 9th and 20th cs. Of relevance to our period are the third section, 'de !'esprit nouveau', the fourth, devoted naturally to Apollinaire, and the fifth, 'derives de l'esprit nouveau', containing pieces on the unconscious in Soupault, and on Apollinaire andjouve. Others figuring here arejammes, Cendrars, Reverdy, and Aragon. Hommages Petit•contains inidits by Green, Claude!, and Mauriac and eight articles on C. -
Architecture's Ephemeral Practices
____________________ A PATAPHYSICAL READING OF THE MAISON DE VERRE ______183 A “PATAPHYSICAL” READING OF THE MAISON DE VERRE Mary Vaughan Johnson Virginia Tech The Maison de Verre (1928-32) is a glass-block the general…(It) is the science of imaginary house designed and built by Pierre Chareau solutions...”3 According to Roger Shattuck, in (1883-1950) in collaboration with the Dutch his introduction to Jarry’s Exploits & Opinions architect Bernard Bijvoët and craftsman Louis of Dr. Faustroll, Pataphysician, “(i)f Dalbet for the Dalsace family at 31, rue St. mathematics is the dream of science, ubiquity Guillaume in Paris, France. A ‘pataphysical the dream of mortality, and poetry the dream reading of the Maison de Verre, undoubtedly of speech, ‘pataphysics fuses them into the one of the most powerful modern icons common sense of Dr. Faustroll, who lives all representing modernism’s alliance with dreams as one.” In the chapter dedicated to technology, is intended as an alternative C.V. Boys, Jarry, for instance, with empirical history that will yield new meanings of precision, describes Dr. Faustroll’s bed as modernity. Modernity in architecture is all too being 12 meters long, shaped like an often associated with the constitution of an elongated sieve that is in fact not a bed, but a epoch, a style developed around the turn of boat designed to float on water according to the 20th century in Europe albeit intimately tied Boys’ principles of physics.4 The image of a to its original meaning related to an attitude boat that is also a bed, at the same time, towards the passage of time.1 To be truly brings to mind the poem by Robert Louis modern is to be in the present. -
Cat151 Working.Qxd
Catalogue 151 election from Ars Libri’s stock of rare books 2 L’ÂGE DU CINÉMA. Directeur: Adonis Kyrou. Rédacteur en chef: Robert Benayoun. No. 4-5, août-novembre 1951. Numéro spé cial [Cinéma surréaliste]. 63, (1)pp. Prof. illus. Oblong sm. 4to. Dec. wraps. Acetate cover. One of 50 hors commerce copies, desig nated in pen with roman numerals, from the édition de luxe of 150 in all, containing, loosely inserted, an original lithograph by Wifredo Lam, signed in pen in the margin, and 5 original strips of film (“filmomanies symptomatiques”); the issue is signed in colored inks by all 17 contributors—including Toyen, Heisler, Man Ray, Péret, Breton, and others—on the first blank leaf. Opening with a classic Surrealist list of films to be seen and films to be shunned (“Voyez,” “Voyez pas”), the issue includes articles by Adonis Kyrou (on “L’âge d’or”), J.-B. Brunius, Toyen (“Confluence”), Péret (“L’escalier aux cent marches”; “La semaine dernière,” présenté par Jindrich Heisler), Gérard Legrand, Georges Goldfayn, Man Ray (“Cinémage”), André Breton (“Comme dans un bois”), “le Groupe Surréaliste Roumain,” Nora Mitrani, Jean Schuster, Jean Ferry, and others. Apart from cinema stills, the illustrations includes work by Adrien Dax, Heisler, Man Ray, Toyen, and Clovis Trouille. The cover of the issue, printed on silver foil stock, is an arresting image from Heisler’s recent film, based on Jarry, “Le surmâle.” Covers a little rubbed. Paris, 1951. 3 (ARP) Hugnet, Georges. La sphère de sable. Illustrations de Jean Arp. (Collection “Pour Mes Amis.” II.) 23, (5)pp. 35 illustrations and ornaments by Arp (2 full-page), integrated with the text. -
5.00 #214 February/MARCH 2008 the Jack Kerouac School of Disembodied Poetics Summer Writing Program 2008
$5.00 #214 FEBRUARY/MARCH 2008 The Jack Kerouac School of Disembodied Poetics Summer Writing Program 2008 7EEKLY7ORKSHOPSs*UNEn*ULYs"OULDER #/ WEEK ONE: June 16–22 The Wall: Troubling of Race, Class, Economics, Gender and Imagination Samuel R. Delany, Marcella Durand, Laird Hunt, Brenda Iijima, Bhanu Kapil, Miranda Mellis, Akilah Oliver, Maureen Owen, Margaret Randall, Max Regan, Joe Richey, Roberto Tejada and Julia Seko (printshop) WEEK TWO: June 23–29 Elective Affinities: Against the Grain: Writerly Utopias Will Alexander, Sinan Antoon, Jack Collom, Linh Dinh, Anselm Hollo, Daniel Kane, Douglas Martin, Harryette Mullen, Laura Mullen, Alice Notley, Elizabeth Robinson, Eleni Sikelianos, Orlando White and Charles Alexander (printshop) WEEK THREE: June 30–July 6 Activism, Environmentalism: The Big Picture Amiri Baraka, Lee Ann Brown, Junior Burke, George Evans, Bobbie Louise Hawkins, Lewis MacAdams, Eileen Myles, Kristin Prevallet, Selah Saterstrom, Stacy Szymaszek, Anne Waldman, Daisy Zamora and Karen Randall (printshop) WEEK FOUR: July 7–13 Performance, Community: Policies of the USA in the Larger World Dodie Bellamy, Rikki Ducornet, Brian Evenson, Raymond Federman, Forrest Gander, Bob Holman,Pierre Joris, Ilya Kaminsky, Kevin Killian, Anna Moschovakis, Sawako Nakayasu, Anne Tardos, Steven Taylor, Peter & Donna Thomas (printshop) Credit and noncredit programs available Poetry s&ICTIONs4RANSLATION Letterpress Printing For more information on workshops, visit www.naropa.edu/swp. To request a catalog, call 303-245-4600 or email [email protected]. Keeping the world safe for poetry since 1974 THE POETRY PROJECT ST. MARK’S CHURCH in-the-BowerY 131 EAST 10TH STREET NEW YORK NY 10003 NEWSLETTER www.poetryproject.com #214 FEBRUARY/MARCH 2008 NEWSLETTER EDITOR John Coletti 4 ANNOUNCEMENTS DISTRIBUTION Small Press Distribution, 1341 Seventh St., Berkeley, CA 94710 6 READING REPORTS THE POETRY PROJECT LTD. -
Anthropoetics XX, No. 2 Spring 2015
Anthropoetics XX, 2 Anthropoetics XX, no. 2 Spring 2015 Peter Goldman - Originary Iconoclasm: The Logic of Sparagmos Adam Katz - An Introduction to Disciplinarity Benjamin Matthews - Victimary Thinking, Celebrity and the CCTV Building Robert Rois - Shared Guilt for the Ambush at Roncevaux Samuel Sackeroff - The Ends of Deferral Matthew Schneider - Oscar Wilde on Learning Outcomes Assessment Kieran Stewart - Origins of the Sacred: A Conversation between Eric Gans and Mircea Eliade Benchmarks Download Issue PDF Subscribe to Anthropoetics by email Anthropoetics Home Anthropoetics Journal Anthropoetics on Twitter Subscribe to Anthropoetics RSS Home Return to Anthropoetics home page Eric Gans / [email protected] Last updated: 11/24/47310 12:58:33 index.htm[5/5/2015 3:09:12 AM] Goldman - Originary Iconoclasm Anthropoetics 20, no. 2 (Spring 2015) Originary Iconoclasm: The Logic of Sparagmos Peter Goldman Department of English Westminster College Salt Lake City, Utah 84105 www.westminstercollege.edu [email protected] The prohibition of "graven images" in the Jewish scriptures seems to have no precedent in the ancient world. Surrounded by polytheistic religions populated with a multitude of religious images, the ancient Hebrews somehow divined that the one true God could not be figured, and that images were antithetical to his worship. It's true, of course, and significant, that every known culture has taboos regarding representations qua representations, often but not exclusively iconic figures.(1) But only the Hebrews derived a prohibition on images from the recognition that God is both singular and essentially spiritual, hence resistant to material representation.(2) In the ancient world, images were connected to the divine, either as the privileged route to god's presence, both dangerous and desirable; or as forbidden temptations to idolatry, the worship of "false gods," however defined. -
Influence and Cannibalism in the Works of Blaise Cendrars and Oswald De Andrade
Modernist Poetics between France and Brazil: Influence and Cannibalism in the Works of Blaise Cendrars and Oswald de Andrade Sarah Lazur Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 1 © 2019 Sarah Lazur All rights reserved 2 ABSTRACT Modernist Poetics between France and Brazil: Influence and Cannibalism in the Works of Blaise Cendrars and Oswald de Andrade Sarah Lazur This dissertation examines the collegial and collaborative relationship between the Swiss-French writer Blaise Cendrars and the Brazilian writer Oswald de Andrade in the 1920s as an exemplar of shifting literary influence in the international modernist moment and examines how each writer’s later accounts of the modernist period diminished the other’s influential role, in revisionist histories that shaped later scholarship. In analyzing a broad range of source texts, published poems, fiction and essays as well as personal correspondence and preparatory materials, I identify several areas of likely mutual influence or literary cannibalism that defied contemporaneous expectations for literary production from European cultural capitals or from the global south. I argue that these expectations are reinforced by historical circumstances, including political and economic crises and cultural nationalism, and by tracing the changes in the authors’ accounts, I give a fuller narrative that is lacking in studies approaching either of the authors in a monolingual context. 3 Table of Contents Abbreviations ii Acknowledgements iii Introduction 1 Chapter 1 – Foreign Paris 20 Chapter 2 – Primitivisms and Modernity 57 Chapter 3 – Collaboration and Cannibalism 83 Chapter 4 – Un vaste malentendu 121 Conclusion 166 Bibliography 170 i Abbreviations ABBC A Aventura Brasileira de Blaise Cendrars: Eulalio and Calil’s major anthology of articles, correspondence, essays, by all major participants in Brazilian modernism who interacted with Cendrars.