DOCSLIB.ORG

Elisabeth Mulder Y Ana María Martínez Sagi Fran Garcerá 9

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Elisabeth Mulder Y Ana María Martínez Sagi Fran Garcerá 9 Diciembre de 2020 Nº23 ISSN: 1885-3625 Editorial Universidad de Sevilla Revista Internacional Relacionadas Autoras, contextos y vínculos REVISTA INTERNACIONAL DE CULTURAS Y LITERATURAS (RICL) Número XXIII, diciembre de 2020 http://dx.doi.org/10.12795/RICL.2020.i23 Proyecto de edición del Grupo de investigación Escritoras y Escrituras (HUM753) www.escritorasyescrituras.com DIRECTORAS Dra. Mercedes Arriaga Flórez, Universidad de Sevilla, España Dra. Eva María Moreno Lago, Universidad de Sevilla, España CONSEJO EDITORIAL Dra. Mercedes González de Sande, Universidad de Oviedo, España Dr. Daniele Cerrato, Universidad de Sevilla, España Dra. Milica Lilic, Universidad de Sevilla, España Dra. Milagro Martín Clavijo, Universidad de Salamanca, España Dra. Estela González de Sande, Universidad de Oviedo, España ©RICL Queda rigurosamente prohibida, sin la autorización escrita de los titulares del “Copyright”, bajo las ISSN 1885-362 sanciones establecidas por las leyes, la reproducción DOI: http://dx.doi.org/10.12795/RICL parcial o total de esta obra por cualquier medio o procedimiento, comprendidos la reprografía y el EDITA tratamiento informático, y la distribución de ejemplares Editorial de la Universidad de Sevilla mediante alquiler o préstamo. https://editorial.us.es/es/revista-interna- cional-de-culturas-y-literaturas Las opiniones y los criterios vertidos por los autores en los artículos firmados son responsabilidad exclusiva de https://ojs.publius.us.es/ojs/index.php/ los mismos. CulturasyLiteraturas DISEÑO E IMAGEN DE PORTADA Eva María Moreno Lago MAQUETACIÓN Milica Lilic Comité científico internacional externo Dra. Ada Boubara, Universidad de Tesalónica, Grecia Dra. Alejandra Luz Salinas Guillén, Universidad Nacional Autónoma de México Dra. Angela Giallongo, Universidad de Urbino, Italia Dr. Angelo Rella, Universidad de Szczecin, Polonia Dra. Caterina Benelli, Universidad de Messina, Italia Dra. Daniela De Liso, Università degli Studi di Napoli, Italia Dra. Diana Del Mastro, Universidad de Szczecin, Polonia Dra. Francesca De Cesare, Universidad de Nápoles “L’Orientale”, Italia Dra. Francesca Di Blasio, Universidad de Trento, Italia Dra. Irena Lama, Universidad de Tirana, Albania Dra. Irena Prosenc, Universidad de Lubiana, Eslovenia Dr. Jordi Luengo López, Universidad Pablo de Olavide, de Sevilla, España Dr. Juan Carlos Suárez Villegas, Universidad de Sevilla, España Dra. Júlia Adela Benavent Benavent, Universitat de València, España Dra. Katarzyna Kukowicz-Żarska, Polonia Dra. Lilia del Carmen Granillo Vázquez, Universidad Autónoma Metropolitana, México Dra. Margherita Orsino, Universidad de Toulouse, Francia Dra. María Dolores Adsuar Fernández, Universidad de Murcia, España Dra. Maria Donapetry Camacho, Universidad de Oxford, España Dra. María Eduarda Mirande, Universidad Nacional de Jujuy, Argentina Dra. María Jesús Lorenzo-Modia, Universidade da Coruña, España Dra. Maria Leo, Lablex (Laboratoire de la lexicographie bilingue), Francia Dra. Maria Micaela Coppola, Universidad de Trento, Italia Dra. María Socorro Suárez Lafuente, Universidad de Oviedo, España Dra. Marina Bettaglio, University of Victoria, Canadá Dra. Marina Rosenzvaig, Universidad Nacional de Tucumán, Argentina Dr. Matteo Lefèvre, Università di Roma “Tor Vergata”, Italia Dra. Patrizia Caraffi, Universidad de Bologna - Alma Mater, Italia Dra. Raquel Medina, Aston University, Reino Unido Dra. Rita Fresu, Universidad de Cagliari, Italia Dra. Rocío Luque, Università degli Studi di Udine, Italia Dr. Sebastiano Valerio, Università degli Studi di Foggia, Italia Dra. Ursula Fanning, University College Dublin, Irlanda Lista de evaluadores de este número Alejandra Moreno Álvarez, Universidad de Oviedo Alessandro Ferraro, Universidad de Genova, Italia Alessio Longo, Universidad de Peruggia, Italia Ana Pérez Porras, Universidad de Granada Anna Scicolone, Universidad de Castilla la Mancha Begoña Lasa Álvarez, Universidad de A Coruña Blanca Hernández Quintana, Universidad de Las Palmas de Gran Canaria Carolina Sánchez-Palencia, Universidad de Sevilla Daniel Raffini, Universidad de La Sapienza, Italia Dolores Ramírez Almazán, Universidad de Sevilla Esmeraldina Januario de Sousa, Universidade Estadual do Ceará (UECE) Brasil Estela González de Sande, Universidad de Oviedo Eva Pich Ponce, Universidad de Sevilla Francisco José Cortes Vieco, Universidad Complutense de Madrid Inmaculada Caro Rodríguez, Universidad de Sevilla Irena Prosenc, Universidad de Lubiana, Eslovenia Jordi Luengo López, Universidad Pablo de Olavide Juan Aguilar González, Universidad de Castilla la Mancha Katjia Torres Calzada, Universidad de Sevilla Laura Yolanda Cordero Gamboa, Universidad Autónoma de Puebla, México Leonor Sáez Méndez, Universidad de Murcia Lilia del Carmen Granillo Vázquez, Universidad Autónoma de México Manuel A. Brollón Lozano, Universidad Complutense de Madrid María Angélica Giordano Paredes, UNED de Madrid María García Moreno Celeghin, UNED de Madrid María Isabel García Pérez, Universidad de Salamanca Maria Micaela Coppola, Universidad de Trento, Italia María Reyes Ferrer, Universidad de Murcia María Socorro Suárez Lafuente, Universidad de Oviedo María Teresa Arias Bautista, Ateneo de Madrid Marina Bettaglio, Universidad de Victoria, Canadá Marina Rosenzvaig, Universidad de Tucuman, Argentina Mercedes González de Sande, Universidad de Oviedo Mercedes Tormo Ortiz, UNED de Madrid Milagro Martín Clavijo, Universidad de Salamanca Nieves de Mingo Izquierdo, Universidad a Distancia de Madrid, UDIMA Pedro Álvarez-Cifuentes, Universidad de Oviedo Rocío Cobo Piñero, Universidad de Sevilla Rocío González Naranjo, Universidad de Limoges, Francia Sergio Marín-Conejo, Universidad Pablo de Olavide Sonja Sevo, Universidad de Sevilla Stéphanie Urdician, Universidad Clermont Auveiergne, Francia Verónica Pacheco Costa, Universidad Pablo de Olavide Yanira Hermida Martín, Universidad de Valencia La Revista Internacional de Culturas y International Journal of Culture and Literaturas: Literature: Nuestra revista, fundada en 2005, es una iniciativa Our journal, founded in 2005, is an initiative from del grupo de investigación Escritora y Escrituras the research group Escritoras y Escrituras (Writers (HUM753) de la Universidad de Sevilla y nació and Writings) HUM753, from the University of para acoger resultados de investigaciones de Seville. It was born to gather research results from ambas orillas del Atlántico, siempre en torno a los both sides of the Atlantic, always about gender estudios de género en literatura, comunicación, studies in literature, communication, journalism periodismo y otras disciplinas en diferentes lenguas and other disciplines in different languages y culturas, con un marcado sello interdisciplinar e and cultures, with an interdisciplinary and internacional. La revista pretende dar cabida a las international scope. Our journal aims to acquiesce voces periféricas, a las escrituras emergentes, las all the peripheral voices, the emerging writings, the ginocríticas, las representaciones de lo femenino y gynocritics, and the representations of the feminine de las mujeres en los nuevos soportes de escrituras, and women promoted by new technologies: propiciados por las nuevas tecnologías: los audio-visual discourses, virtual networks, social discursos audiovisuales, los entornos virtuales, networks, different types of feminisms elaborated las redes sociales, los feminismos elaborados en in diverse parts of the world, the semiotics and the diferentes partes del mundo, la semiótica y toda la whole range of cultural studies, constituted as an gama de los estudios culturales, constituyéndose open and plural forum. como un foro abierto y plural. La temática de este número se centra en las relaciones de escritoras, artistas e intelectuales tanto con los eventos que definieron su contexto histórico, social y cultural, como con sus circunstancias personales y profesionales. Entre otros, se abordan los siguientes ejes temáticos: la visión de eventos históricos a través de escritoras, intelectuales y artistas de cualquier época; escritoras, artistas e intelectuales en relación con los movimientos culturales de su tiempo; relaciones de sororidad, colaboración o solidaridad entre mujeres creadoras; rivalidades y enemistades de mujeres creadoras en el marco de la normatividad patriarcal; las mujeres creadoras y sus relaciones con el canon tradicional; alianzas y relaciones de solidaridad entre géneros en el ámbito literario y artístico entre hombres y mujeres intelectuales y creadores. This issue focuses on the relationships of female writers, artists and intellectuals both with the events that defined their historical, social and cultural context, and their personal and professional circumstances. Among others, the following topics are addressed: the vision of historical events through female writers, intellectuals and artists of any era; female writers, artists and intellectuals in relation to the cultural movements of their time; sisterhood, collaboration or solidarity relationships between women creators; rivalries and enmities of women creators within the framework of patriarchal normativity; female creators and their relationships with the traditional canon; alliances and solidarity relations between genders in the literary and artistic field between intellectual and inventive men and women. Índice “Ya no tienen donde morir las ofelias”. Dos autoras en la Barcelona de la vanguardia: Elisabeth Mulder y Ana María Martínez Sagi Fran Garcerá 9 La Raza II: “¿Pero pos why?” Identidad cultural en Estampas
Load more

Recommended publications
  • Ezra Pound and the Rhetoric of Science, 1901–1922
    EZRA POUND AND THE RHETORIC OF SCIENCE, 1901–1922 Kimberly Kyle Howey University College London Thesis submitted in partial fulfillment of the requirements for the degree of doctor of philosophy in European Studies, University College London, January 2009. 1 I, Kimberly Kyle Howey, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 ABSTRACT This thesis identifies science as Ezra Pound’s first extended extra-poetic interest. This reference to science in Pound’s poetic theory and poetry is portrayed as rhetoric, with its emphasis on the linguistic signifier or word rather than the actual concepts and data of science. The material covers over two decades between 1901, when Pound entered university, and 1922, after he left London. Beginning with Pound’s exposure to philology, the thesis establishes a correlation between his educational background and his use of scientific rhetoric in his prose. As he attempted to establish a professional status for the poet, he used metaphors linking literature to the natural sciences and comparisons between the poet and the scientist. Additionally, Pound attempted to organize poetic movements that resembled the professional scientific organizations that were beginning to form in America. In his writings promoting these movements, Pound developed a hygienic theory of poetry— itself an extensive rhetorical project—which produced a clean, bare poem and further linked Pound’s poetic output with the sciences. Beyond his rhetorical use of science, Pound attempted to study the sciences and even adopted a doctor persona for his friends with illnesses—both diagnosing and prescribing cures.
    [Show full text]
  • Alan Munton Replies to a Review in Art History I Don't Like Having My
    Alan Munton replies to a review in Art History I don’t like having my words altered by a reviewer, which is why I am replying to Dr Sarah Victoria Turner’s review of an essay by me. The essay was on Pat Barker’s Life Class, a novel published in 2007. My discussion was in London, Modernism, and 1914, an essay collection edited by Michael Walsh. Barker’s novel, I argued, was a travesty of life at the Slade in 1914, bringing forward the reactionary teaching of Henry Tonks as if it had influenced positively a number of modernist or near-modernist artists: C. R. W. Nevinson, Dora Carrington, Mark Gertler, Paul Nash – all are lightly fictionalised in Life Class. My argument was that Barker’s would-be feminist novel privileges these artists when there were actual women artists who were genuinely active in 1914, notably Helen Saunders and Jessica Dismorr. They were associated with Wyndham Lewis’s Blast, the magazine which was the seismic event of 1914 for young artists, but which Barker somehow forgets to mention at all. I also made the case for Kate Lechmere, who financed Lewis’s Rebel Art Centre and was a cubist artist herself. Faced with this argument, Sarah Victoria Turner decided to have a little feminist fun at my eXpense. Her review appeared in Art History in 2012. Setting aside what I actually said, she pretends to believe that my strategy was “to challenge feminist readings of vorticism and its journal, Blast, which, he argues have been ‘so reprehensible from a feminist point of view’”.
    [Show full text]
  • Winifred Holtby
    The 'Gospel of Detachment': Remembrance, Exile, and Engagement in Women's Lives and Writing in England Between the Wars. Daragh D. Catherine Russell Submitted in partial fulfillment of the requirements for the degree of Master of Arts Daihousie University Halifax, Nova Scotia, Canada 1998 O Copyright by Daragh D. Catherine Russell, 1998 National Library Bibiioaièque nationale du Canada Acquisitions and Aaquisitions et 51biiiraphicSeMces senrices bibliographiques 395 welbgton Street 395, Ne we)nngtm OttawaON K1AW OttawaON K1AW Canada Canada The author has granted a non- L'auteur a accordé une Licence non exclusive licence dowing the exciusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distriiute or sell reproduire, prêter, distri'buer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de micdche/nlm, de reproduction sur papier ou sur format élecironique. The author retams ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts f?om it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Canada This thesis is dedicated to Florence Olden Haggarty (1914--), and to the memory of Blanche Gosse Russell (191 7-1 986). Table of Contents Abstract Acknowledgments 1 Introduction: Noncombatants and Survivors. 2 Testaments of a Generation? Women's War Memoirs and the Problem of Authority. 3 'Detached Cornmitment': Ferninism, Tirne And Tide, and Winifred Holtby.
    [Show full text]
  • 'To Suffragettes. a Word of Advice…'. Blast, Gender and 'Art Under Attack'
    ‘To Suffragettes. A Word of Advice…’. Blast, Gender and ‘Art under Attack’ Ana Gabriela Macedo Universidade do Minho Abstract: “Art under Attack” is the title of an exhibition that took place at Tate Britain in London (Oct. 2013- Jan. 2014). In this paper I will concentrate on an exemplary case of such an iconoclastic attack, which was indexed in this exhibition as political – I am referring to the attack of the suffragette Mary Richardson to Velázquez’s Rokeby Venus, in March 1914. My argument is that militant Suffragettes were in fact the first Guerilla Girls of the 20th century, largely anticipating the latter performative and anti-establishment gesture in the Museum and denouncing the institutional space of art as deeply gendered and discriminatory, and, moreover, reclaiming it as a public space of political citizenship, democratic intervention and anti-iconoclastic debate. This will be discussed in the context of and in a dialogue with the Vorticist aesthetics and the outbreak of World War I. In fact Blast 1, the shocking bright pink Vorticist magazine was published on the 20th June 1914, exactly three months after the Rokeby Venus’ attack, and roughly a month (exactly 33 days), before the first World War was declared through the invasion of Serbia (28 July 2014). Key-words: Suffragette; Gender; Avantgarde; Art; Guerilla Girls Resumo: “Art under Attack” é o título de uma exposição que teve lugar na Tate Britain em Londres (Out. 2013-Jan. 2014). O foco e ponto de partida do presente artigo é a análise de um caso exemplar de ataque iconoclasta, o qual foi identificado nesta exposição como sendo de índole política – trata-se concretamente do famoso ataque da sufragista Mary Richardson à não menos famosa pintura de Diego Velázquez, A Vénus ao espelho.
    [Show full text]
  • Beneath Wyndham Lewis's Praxitella – the Rediscovery of a Lost Vorticist
    Beneath Wyndham Lewis’s Praxitella – The Rediscovery of a lost Vorticist work by Helen Saunders Painting Pairs Project 2020 By Rebecca Chipkin and Helen Kohn Beneath Wyndham Lewis’s Praxitella Rebecca Chipkin and Helen Kohn Introduction The Painting Pairs project enables postgraduate conservation students and art history students at the Courtauld Institute of Art to conduct a technical and art historical analysis of an artwork together. The following paper presents the research findings for the painting Praxitella, c. 1921 by Wyndham Lewis from Leeds Art Gallery. The research was undertaken by Rebecca Chipkin and Helen Kohn from November 2019 until May 2020. Acknowledgements First of all, we would like to thank Leeds Art Gallery for giving us the opportunity to study one of the masterpieces of their collection. In particular, we thank Nigel Walsh. This project would not have been possible without the help of our tutors, scholars, and friends, who gave us new insights, helped us to ask the right questions and see things from new angles. We thank: Silvia Amato, Pippa Balch, Dr Leon Betsworth, Prof Aviva Burnstock, Paul Edwards, Dr Pia Gottschaller, Dr Paul O’Keeffe, Brigid Peppin, Prof David Peters Corbett, Clare Richardson, Dr Karen Serres, and Dr Barnaby Wright. 1 Beneath Wyndham Lewis’s Praxitella Rebecca Chipkin and Helen Kohn Table of Contents A glance at the surface: Praxitella by Wyndham Lewis ........................................................... 3 A look beneath Praxitella: Atlantic City by Helen Saunders ...................................................
    [Show full text]
  • U DHU Papers of Thomas Ernest Hulme 1907-1974
    Hull History Centre: Papers of Thomas Ernest Hulme U DHU Papers of Thomas Ernest Hulme 1907-1974 Biographical background: 'Oh, God, make small The old star-eaten blanket of the sky That I may fold it round me and in comfort lie' The Embankment, T E Hulme, 1909 T E Hulme was born in Staffordshire in 1883. He attended Newcastle School for boys, and read Mathematics at St John's College, Cambridge. He was unable to work in any disciplined manner and he failed to take a degree. He had the unusual distinction of being sent-down twice from Cambridge, after going-up again in 1914 to read Psychology and Mathematics He travelled in Canada between 1906 and 1907 and began writing philosophical and critical pieces which were posthumously published by Herbert Read as 'Speculations: essays on humanism and the philosophy of art' published in 1924. Hulme went on to become one of the first English critics to write about modern art (Csengeri, The collected writings of T E Hulme, Introduction). In 1907 Hulme taught English for a year in Belgium, but quickly gave up such prosaic activity. In 1909 he was a member of the Poets' Club that met at the Cafe Tour d'Eiffel in Fitzrovia where he met Ezra Pound. He was instrumental in introducing Pound to English literary society. Hulme regularly published in A R Orage's journal the New Age. Tom Steele, refering to Hulme's reputation as a pugilist, writes that 'his pronouncements on art and poetry were like so many hard jabs in an ageing culture's kidneys'.
    [Show full text]
  • Woolf, Lewis, and Modernist Exteriority Timothy Vincent
    Duquesne University Duquesne Scholarship Collection Electronic Theses and Dissertations Fall 2005 Moments of Seeing: Woolf, Lewis, and Modernist Exteriority Timothy Vincent Follow this and additional works at: https://dsc.duq.edu/etd Recommended Citation Vincent, T. (2005). Moments of Seeing: Woolf, Lewis, and Modernist Exteriority (Doctoral dissertation, Duquesne University). Retrieved from https://dsc.duq.edu/etd/1313 This Immediate Access is brought to you for free and open access by Duquesne Scholarship Collection. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Duquesne Scholarship Collection. For more information, please contact [email protected]. Moments of Seeing: Woolf, Lewis, and Modernist Exteriority A Dissertation Presented to the Faculty of the McAnulty College and Graduate School of Liberal Arts Duquesne University in partial fulfillment of the requirements for the degree of Doctor of Philosophy By Timothy C. Vincent May 5, 2005 Timothy C. Vincent Moments of Seeing: Woolf, Lewis, and Modernist Exteriority Doctor of Philosophy in English May 5, 2005 APPROVED: __________________________________________________ Dr. Linda A. Kinnahan, Director Professor of English APPROVED: __________________________________________________ Dr. Magali Cornier Michael, First Reader Associate Professor of English APPROVED: __________________________________________________ Dr. Daniel P. Watkins, Second Reader Professor of English APPROVED: __________________________________________________
    [Show full text]
  • The University of Chicago Spiritual Automata
    THE UNIVERSITY OF CHICAGO SPIRITUAL AUTOMATA: CRAFT, REPRODUCTION, AND VIOLENCE, 1850-1930 A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH LANGUAGE AND LITERATURE BY JOSEPH LUIS MOCTEZUMA CHICAGO, ILLINOIS DECEMBER 2018 Copyright © 2018 by Joseph Luis Moctezuma All Rights Reserved TABLE OF CONTENTS ACKNOWLEDGEMENTS ……………….………….……………………….…………iv ABSTRACT ………………….……………….…….……………………………………vi INTRODUCTION …………………………….………………………..............………...1 1.WILLIAM MORRIS AND THE AUTOMATISMS OF CRAFT….…………….........25 2. MINA LOY AND THE AUTOMATISMS OF REPRODUCTION …………....……83 3. WYNDHAM LEWIS AND THE AUTOMATISMS OF VIOLENCE ……….….…122 CODA ….…..…..…..…..….…..……..….…..….....…….…….…..….….….….…..….170 BIBLIOGRAPHY …………………………………………..………………………….172 iii ACKNOWLEDGMENTS This dissertation is the result of the tremendous help and support I received from my peers and faculty at the University of Chicago. I want to first thank my dissertation committee: Maud Ellmann, Bill Brown, and Benjamin Morgan. As the chair of my dissertation committee, Maud Ellmann provided invaluable direction for the course of the project. It was Maud’s suggestion to research the work of Mina Loy that really brought this project into a conceptual groove that fit the rhythm of my thought. Maud’s supervision was crucial in fleshing out all the nuances of my ideas and making sure that my claims never got lost in the mire of abstraction. Bill Brown was equally pivotal as an engaged and committed reader who offered not only critical insight into the quality of the ideas in the dissertation, but also stylistic feedback on best writing practices that have resulted in making me a better writer overall. I was enriched continuously by Bill’s feedback, and I can only hope to reach the level of intellectual clarity enshrined in his work.
    [Show full text]
  • A Companion to Modernist Literature & Culture
    See discussions, stats, and author profiles for this publication at: https://www.researchgate.net/publication/270281429 A Companion to Modernist Literature & Culture Book · January 2006 CITATIONS READS 0 18,693 1 author: Samantha Lavoine Kenyatta University 3 PUBLICATIONS 1 CITATION SEE PROFILE All content following this page was uploaded by Samantha Lavoine on 02 January 2015. The user has requested enhancement of the downloaded file. A C O M P A N I O N T O M ODERNIST L ITERATURE AND C ULTURE EDITED BY DAVID BRADSHAW AND KEVIN J. H. DETTMAR ACTMA01 3 05/12/2005, 09:40 AM A Companion to Modernist Literature and Culture ACTMA01 1 05/12/2005, 09:40 AM Blackwell Companions to Literature and Culture This series offers comprehensive, newly written surveys of key periods and movements and certain major authors, in English literary culture and history. Extensive volumes provide new perspectives and positions on contexts and on canonical and post- canonical texts, orienting the beginning student in new fields of study and providing the experienced undergraduate and new graduate with current and new directions, as pioneered and developed by leading scholars in the field. 1. A Companion to Romanticism Edited by Duncan Wu 2. A Companion to Victorian Literature and Culture Edited by Herbert F. Tucker 3. A Companion to Shakespeare Edited by David Scott Kastan 4. A Companion to the Gothic Edited by David Punter 5. A Feminist Companion to Shakespeare Edited by Dympna Callaghan 6. A Companion to Chaucer Edited by Peter Brown 7. A Companion to Literature from Milton to Blake Edited by David Womersley 8.
    [Show full text]
  • Imagism, Vorticism and the European Avant-Garde
    AESTHETICS OF EXPERIMENT: IMAGISM, VORTICISM AND THE EUROPEAN AVANT-GARDE Sze Wah Sarah LEE Goldsmiths, University of London Thesis submitted in fulfilment of the requirements for the degree of doctor of philosophy in English and Comparative Literature, Goldsmiths, University of London, February 2016 Declaration I, Sze Wah Sarah LEE, hereby confirm that the work presented in the thesis as my own. Signature: Sarah Lee Date: 26 February 2016 Abstract This dissertation is a critical re-assessment of Imagism and Vorticism in relation to the European avant-garde, which both movements aspired towards in their reactions against the contemporary English arts and letters. I explore the implementation of such aspirations in the English arts by chronicling the complex relationship between the English movements and Cubism, the Parisian avant-garde, Italian Futurism and German Expressionism. The thesis argues that Imagism and Vorticism simultaneously modelled themselves on and reacted against their Continental counterparts, in terms of aesthetic concepts, artistic techniques and promotional tactics in creating a modern art. As movements with contributors of different nationalities and working in different artistic media, including poetry, painting and sculpture, there necessarily exists many aesthetic varieties within Imagism and Vorticism apart from foundational consensus shared by group members. In order to address the complexity of the groups’ make-up and the interdisciplinarity of their avant-garde aesthetics, the enquiry is made through a two-fold approach: firstly, by conducting contextual and comparative studies of significant individuals of the movements, including T. E. Hulme, Wyndham Lewis and Ezra Pound, to gauge their individual perspectives on literature, visual arts and aesthetic theories; secondly, by considering the heterogeneous nature of these movements and exploring the group dynamics, tensions and rivalries within the movements and with other contemporary groups.
    [Show full text]
  • Po T Aits F Om Life
    OUP UNCORRECTED PROOF – REVISES, 19/08/17, SPi PO T AITS F OM LIFE Dictionary: NOSD 0003156228.INDD 1 8/19/2017 3:17:11 AM OUP UNCORRECTED PROOF – REVISES, 19/08/17, SPi Dictionary: NOSD 0003156228.INDD 2 8/19/2017 3:17:11 AM OUP UNCORRECTED PROOF – REVISES, 19/08/17, SPi PO"T"AITS F"OM LIFE #$%&'()*+ ,$-&.)*+* /(% 01+$2)$3'/456 JE OME BOYD MAUNSELL 1 Dictionary: NOSD 0003156228.INDD 3 8/19/2017 3:17:11 AM OUP UNCORRECTED PROOF – REVISES, 19/08/17, SPi 3 Great Clarendon Street, Oxford, $89 :%4, United Kingdom Oxford University Press is a department of the University of Oxford. It furthers the University’s objective of excellence in research, scholarship, and education by publishing worldwide. Oxford is a registered trade mark of Oxford University Press in the UK and in certain other countries © Jerome Boyd Maunsell 9>?@ The moral rights of the author have been asserted First Edition published in 9>?@ Impression: ? All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior permission in writing of Oxford University Press, or as expressly permitted by law, by licence, or under terms agreed with the appropriate reprographics rights organization. Enquiries concerning reproduction outside the scope of the above should be sent to the ights Department, Oxford University Press, at the address above You must not circulate this work in any other form and you must impose this same condition on any acquirer Published in the United States of America
    [Show full text]
  • 1 Lawrence Atkinson, Sculpture, and Vorticist Multimediality Seven Years
    Lawrence Atkinson, Sculpture, and Vorticist Multimediality1 Seven years after the ‘little magazine’ BLAST published the Vorticist manifesto, one of its signatories won the Grand Prix for sculpture at the 1921 Milan Exhibition. The prize was given to a work titled L’Oiseau , and the artist in question was Lawrence Atkinson (1873- 1931). At the time, Atkinson had also made his name as a painter, poet, and music teacher, and especially as an acclaimed performer of classical lieder. He had exhibited at the Allied Artists’ Association in 1913, appeared in the ‘Invited to Show’ section of the ‘First Exhibition of the Vorticist Group’ at the Doré Gallery in 1915, and between 1916 and 1919 exhibited his work as a non-member at consecutive shows of the London Group.2 Aldous Huxley, who was introduced to Atkinson through Osbert Sitwell, described the artist in a 1918 letter to Ottoline Morrell as a ‘fabulous little man […] of incredible energy’ who was equally at home ‘drinking champagne at lunch and talking about the zeitgeist and the great currents of thought of [the] age’ as he was devoting ‘one half of the night […] to vortex- painting’. 3 Later that year, Atkinson’s The Sky Pilot adorned the front cover of the ‘Third Cycle’ of the Sitwellian magazine Wheels . The September 1919 volume of Coterie featured his drawing Still Life .4 His attempts to unite sculptural aesthetics and musical principles would soon be documented in what remains the only monograph devoted to his work, Horace Shipp’s The New Art: A Study of the Principles of Non-Representational Art and Their Application in the Work of Laurence Atkinson (1922), which Shipp based on conversations with Atkinson himself.
    [Show full text]