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RILKE and the MODERNIST TRADITION: a BRIEF LOOK at “ARCHAIC TORSO of ••• APOLLO”* Pyeaam ABBASI**
Uluslararası Sosyal Araştırmalar Dergisi The Journal of International Social Research Cilt: 6 Sayı: 24 Volume: 6 Issue: 24 Kış 2013 Winter 2013 www.sosyalarastirmalar.com Issn: 1307-9581 RILKE AND THE MODERNIST TRADITION: A BRIEF LOOK AT “ARCHAIC TORSO OF ••• APOLLO”* Pyeaam ABBASI** Abstract The twentieth century is associated with drastic changes as well as disintegration of old beliefs and grand narratives. Modern poets felt that it was high time they searched for new potentialities of language and made changes in form in order to express and explore changes the world was experiencing. The oneness of the world within and the world without is not peculiar to Rilke. He explores human consciousness as well as the interaction between human and the non-human world. This paper argues that his poetry is an invitation to the reader to participate and create. In “Archaic Torso of Apollo” the transfixed poet finds the torso full of life and vitality, a complete work of art and suggestive of the modernist tradition. As a modern poet Rilke would see the world within and the world without as the same aspects of each other. He believes that existence consists of interactions between things and the perceiving selves and that the inner world, familiar to our consciousness, is continuous with, even identical to, the material world we think of as exterior to our conscious selves. The interaction between the poet (subject) and the torso (subject) creates the sense of transformation. The article concludes that transformation seems to be the most critical change that the modern man needs to experience in the chaotic and disjointed world of the 20 th century. -
If I Told Him Stein + Picasso
If I Told Him By Gertrude Stein If I told him would he like it. Would he like it if I told him. Would he like it would Napoleon would Napoleon would would he like it. If Napoleon if I told him if I told him if Napoleon. Would he like it if I told him if I told him if Napoleon. Would he like it if Napoleon if Napoleon if I told him. If I told him if Napoleon if Napoleon if I told him. If I told him would he like it would he like it if I told him. Now. Not now. And now. Now. Exactly as as kings. Feeling full for it. Exactitude as kings. So to beseech you as full as for it. Exactly or as kings. Shutters shut and open so do queens. Shutters shut and shutters and so shutters shut and shutters and so and so shutters and so shutters shut and so shutters shut and shutters and so. And so shutters shut and so and also. And also and so and so and also. Exact resemblance to exact resemblance the exact resemblance as exact resemblance, exactly as resembling, exactly resembling, exactly in resemblance exactly and resemblance. For this is so. Because. Now actively repeat at all, now actively repeat at all, now actively repeat at all. Have hold and hear, actively repeat at all. I judge judge. As a resemblance to him. Who comes first. Napoleon the first. Who comes too coming coming too, who goes there, as they go they share, who shares all, all is as all as as yet or as yet. -
MY GERMANY Graham Mummery Talk Delivered at Ludwig Maximillian University, Munich, Friday 2Nd July 2010 at W-Orte Festival
MY GERMANY Graham Mummery Talk delivered at Ludwig Maximillian University, Munich, Friday 2nd July 2010 at W-Orte Festival I am going to talk to you about my experience of Germany, its language and culture. For clar- ity, I add that when I speak of Germany, or German, I include much that is from outside that geographical and political entity we know as Germany. For example composers such as Mo- zart and Schubert who came from Austria, or writers like Kafka and Rilke, who came from Prague count as German within this definition. This means we are talking about a Germany of my imagination. With its borders so defined, let’s enter. My first awareness of Germany comes in early childhood. My oldest friend, has a German mother. This is prob- ably my first awareness ofany country other my own, and that there might be different languages to English. My friend’s mother comes from Hamlin on the Wese, the town with the story of the Pied Piper, which I remember be- ing read to me from a book of fairy stories, which also included others like Hansel and Gretal and Rumplestiltskin which were written down by the Bothers Grimm. In the book, there were pictures of white castles, like those built by Ludwig II here in Bavaria. One way or another, Germany has been in my imagination from very early. My next glimpse comes through music. In the nineteenth century, Germans visiting Britain called it “Das Land ohne Musik.” An injustice, maybe, but with some truth in it. It was long before an Englishman became Director of the Berlin Philharmonic. -
“The First Futurist Manifesto Revisited,” Rett Kopi: Manifesto Issue: Dokumenterer Fremtiden (2007): 152- 56. Marjorie Perl
“The First Futurist Manifesto Revisited,” Rett Kopi: Manifesto issue: Dokumenterer Fremtiden (2007): 152- 56. Marjorie Perloff Almost a century has passed since the publication, in the Paris Figaro on 20 February 1909, of a front-page article by F. T. Marinetti called “Le Futurisme” which came to be known as the First Futurist Manifesto [Figure 1]. Famous though this manifesto quickly became, it was just as quickly reviled as a document that endorsed violence, unbridled technology, and war itself as the “hygiene of the people.” Nevertheless, the 1909 manifesto remains the touchstone of what its author called l’arte di far manifesti (“the art of making manifestos”), an art whose recipe—“violence and precision,” “the precise accusation and the well-defined insult”—became the impetus for all later manifesto-art.1 The publication of Günter Berghaus’s comprehensive new edition of Marinetti’s Critical Writings2 affords an excellent opportunity to reconsider the context as well as the rhetoric of Marinetti’s astonishing document. Consider, for starters, that the appearance of the manifesto, originally called Elettricismo or Dinamismo—Marinetti evidently hit on the more general title Futurismo while making revisions in December 2008-- was delayed by an unforeseen event that took place at the turn of 1909. On January 2, 200,000 people were killed in an earthquake in Sicily. As Berghaus tells us, Marinetti realized that this was hardly an opportune moment for startling the world with a literary manifesto, so he delayed publication until he could be sure he would get front-page coverage for his incendiary appeal to lay waste to cultural traditions and institutions. -
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. -
“The Double Bind” of 1989: Reinterpreting Space, Place, and Identity in Postcommunist Women’S Literature
“THE DOUBLE BIND” OF 1989: REINTERPRETING SPACE, PLACE, AND IDENTITY IN POSTCOMMUNIST WOMEN’S LITERATURE BY JESSICA LYNN WIENHOLD-BROKISH DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctorial Committee: Associate Professor Lilya Kaganovsky, Chair; Director of Research Professor Nancy Blake Professor Harriet Murav Associate Professor Anke Pinkert Abstract This dissertation is a comparative, cross-cultural exploration of identity construction after 1989 as it pertains to narrative setting and the creation of literary place in postcommunist women’s literature. Through spatial analysis the negotiation between the unresolvable bind of a stable national and personal identity and of a flexible transnational identity are discussed. Russian, German, and Croatian writers, specifically Olga Mukhina, Nina Sadur, Monika Maron, Barbara Honigmann, Angela Krauß, Vedrana Rudan, Dubravka Ugrešić, and Slavenka Drakulić, provide the material for an examination of the proliferation of female writers and the potential for recuperative literary techniques after 1989. The project is organized thematically with chapters dedicated to apartments, cities, and foreign lands, focusing on strategies of identity reconstruction after the fall of socialism. ii To My Family, especially Mom, Dad, Jeffrey, and Finnegan iii Table of Contents Chapter One: Introduction: “We are, from this perspective, -
The Radical Ekphrasis of Gertrude Stein's Tender Buttons Georgia Googer University of Vermont
University of Vermont ScholarWorks @ UVM Graduate College Dissertations and Theses Dissertations and Theses 2018 The Radical Ekphrasis Of Gertrude Stein's Tender Buttons Georgia Googer University of Vermont Follow this and additional works at: https://scholarworks.uvm.edu/graddis Recommended Citation Googer, Georgia, "The Radical Ekphrasis Of Gertrude Stein's Tender Buttons" (2018). Graduate College Dissertations and Theses. 889. https://scholarworks.uvm.edu/graddis/889 This Thesis is brought to you for free and open access by the Dissertations and Theses at ScholarWorks @ UVM. It has been accepted for inclusion in Graduate College Dissertations and Theses by an authorized administrator of ScholarWorks @ UVM. For more information, please contact [email protected]. THE RADICAL EKPHRASIS OF GERTRUDE STEIN’S TENDER BUTTONS A Thesis Presented by Georgia Googer to The Faculty of the Graduate College of The University of Vermont In Partial Fulfilment of the Requirements For the Degree of Master of Arts Specializing in English May, 2018 Defense Date: March 21, 2018 Thesis Examination Committee: Mary Louise Kete, Ph.D., Advisor Melanie S. Gustafson, Ph.D., Chairperson Eric R. Lindstrom, Ph.D. Cynthia J. Forehand, Ph.D., Dean of the Graduate College ABSTRACT This thesis offers a reading of Gertrude Stein’s 1914 prose poetry collection, Tender Buttons, as a radical experiment in ekphrasis. A project that began with an examination of the avant-garde imagism movement in the early twentieth century, this thesis notes how Stein’s work differs from her Imagist contemporaries through an exploration of material spaces and objects as immersive sensory experiences. This thesis draws on late twentieth century attempts to understand and define ekphrastic poetry before turning to Tender Buttons. -
Fence Above the Sea Brigitte Byrd
Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2003 Fence Above the Sea Brigitte Byrd Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FENCE ABOVE THE SEA Name: Brigitte Byrd Department: English Major Professor: David Kirby Degree: Doctor of Philosophy Term Degree Awarded: Summer, 2003 “Fence above the Sea” is a collection of prose poems written in sequences. Writing in the line of Emily Dickinson, Gertrude Stein, and Lynn Hejinian, I experiment with language and challenge its convention. While Dickinson writes about “the landscape of the soul,” I write about the landscape of the mind. While she appropriates and juxtaposes words in a strange fashion, I juxtapose fragments of sentences in a strange fashion. While she uses dashes to display silence, I discard punctuation, which is disruptive and limits the reader to a set reading of the sentence. Except for the period. Stein’s writing is the epitome of Schklovsky’s concept of ostranenie (defamiliarization). Like her poems in Tender Buttons, my poems present a multiplied perspective. On the moment. Like Stein, I write dialogical poems where there is a dialogue among words and between words and their meanings. Also, I expect a dialogue between words and readers, author and readers, text and readers. My prose poems focus on sentences “with a balance of their own. the balance of space completely not filled but created by something moving as moving is not as moving should be” (Stein, “Poetry and Grammar”). Repetitions are essential in everyday life, to the thought process, and thus in this collection. -
Two Women in a Man's Art World
Two Women in a Man’s Art World by John Yau June 9, 2019 Marcia Marcus, “Self Portrait as Athena” (1973), oil and gold leaf on canvas, 58 x 36 inches, © 2019 Marcia Marcus, New York (courtesy Eric Firestone Gallery) You are not likely to find the work of Mimi Gross and Marcia Marcus in the permanent collections of any major New York City museum. I find that both predictable and troubling. I was reminded of the phrase, Other Traditions (2001), the collective title John Ashbery gave to the publication of his six Charles Eliot Norton lectures at Harvard University, when I was looking at Marcia Marcus’s grisaille portrait of “Edwin Dickinson” (1972) in the timely exhibition, Double Portrait: Mimi Gross and Marcia Marcus, at the Shirley Fiterman Art Center at the Borough of Manhattan Community College (May 23–July 27, 2019), curated by Lisa Panzera. Twenty years before the publication of Other Traditions, Ashbery made the following observation about Dickinson in New York (October 13, 1980): Coming on this show fresh from Whitney’s [Edward] Hopper retrospective made me wonder once again if we really know who our greatest artists are. I would be the last to deny Hopper’s importance, but even in the smallest and most slapdash of these oil sketches, Dickinson seems to me a greater and more elevated painter, and all notions of “cerebralism” and “decadence” — two words critics throw around when they can’t find anything bad to say about an artist — are swept away by the freshness of these pictures, in which eeriness and vivacity seem to go hand in hand, as they do in our social life. -
Mausoleum Notes
Notes: Lines cross-referenced in the poem appear verbatim unless otherwise noted. Epigram Cf. The Sound and the Fury, William Faulkner Absence Line 1: Cf. “Keeping Things Whole,” Mark Strand: “In a field/I am the absence/of the field.” Line 14: Cf. “To the Reader,” Charles Baudelaire: trans. James McGowan. “Our sins are stubborn, our contrition lax” Lines 26-28: Adapted from “The Dead Flag Blues,” Godspeed You! Black Emperor. According to interviews, the spoken word section comes from an unfinished screenplay written by guitarist Efrim Menuck. “The car’s on fire, and there’s no driver at the wheel.” Lines 31-35: Cf. “Zone,” Guillaume Appolinare; trans. Ron Padgett. The lines in French read, “between the street Aumot-Thiéville and the avenue des Ternes.” Line 37: “Playing Possum,” Earl Sweatshirt (a.k.a. Thebe Neruda Kgositsile). The line is drawn from the name only. Lines 49-51: Cf. The Unquiet Grave, Cyril Connolly. “There are but two ways to be a good writer: like Homer, Shakespare or Goethe, to accept life completely, or like Pascal, Proust, Leopardi, Baudelaire, to refuse ever to loose sight of its horror.” Lines 53-55: Cf. Canto 3 of Dante Aligheri’s The Inferno. The translated lines read, “THROUGH ME THE WAY INTO ETERNAL SORROW./ THROUGH ME THE WAY AMONG THE LOST PEOPLE./ ABANDON ALL HOPE, YE WHO ENTER HERE.” Trans. Robert M. Durling. Capitalization original. These are words inscribed on the gates of hell. Lines 62-63: Cf. The Waste Land T.S. Eliot, “What are the roots that clutch, what branches grow” Lines 65-66: A common finger-picking technique among guitarists is to keep a quarter note pulse on the root note of a chord with your thumb. -
Stein, Cubism, and Cinema: the Visual in in Our Time*
Stein, Cubism, and Cinema: Th e Visual in In Our Time* Ai Ogasawara In Our Time is one of the most experimental works written by Hemingway in Paris in the 1920s. Although its characteristics can be described in various ways, the aim of this paper is to analyze IOT by focusing on the visual ele- ments in it, and thus draw an analogy with two other visual arts — painting and fi lm. Th is can be viewed as quite a straightforward approach to works written by a representative Modernist writer, since the infl uential connection between visual arts and writing in the Modernist era has been recognized by critics. Th is paper, however, seeks to throw light on this aspect in terms of Hemingway’s relationship with his then-mentor, Gertrude Stein. As is described in his Paris memoir A Moveable Feast, Hemingway often visited Stein at her studio, and learned various things from her. Th ere he saw paintings by Cezanne, Picasso, Matisse, Braque, and Gris. He saw Picasso’s portrait of Stein in which the face showed the features which were to become characteristically Cubist. Th ere was a portrait of Madame Cezanne and Stein told Hemingway that she wrote her Th ree Lives under the intense infl uence of the painting, applying its technique to her writing. Needless to say, Stein talked much about writing, “many truths about rhythms and the uses of words in repetition that were valid and valuable” (MF 17). Th is thesis will explore the visual in IOT, which was crafted under Stein’s infl uence. -
An Interpreter's Guide to Rainer Maria Rilke
Illinois Wesleyan University Digital Commons @ IWU Honors Projects Theatre Arts, School of 1968 An Interpreter's Guide to Rainer Maria Rilke Joseph A. Leese '68 Follow this and additional works at: https://digitalcommons.iwu.edu/theatre_honproj Part of the Speech and Rhetorical Studies Commons, and the Theatre and Performance Studies Commons Recommended Citation Leese '68, Joseph A., "An Interpreter's Guide to Rainer Maria Rilke" (1968). Honors Projects. 13. https://digitalcommons.iwu.edu/theatre_honproj/13 This Article is protected by copyright and/or related rights. It has been brought to you by Digital Commons @ IWU with permission from the rights-holder(s). You are free to use this material in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This material has been accepted for inclusion by faculty at Illinois Wesleyan University. For more information, please contact [email protected]. ©Copyright is owned by the author of this document. 1I111nols Wesleyan Un'1"v. LloI'lU'!elll Bloomington, Ill. 61701 An Interpreter's Guide to I Rad.ner Maria; Rilke by Joseph A. Leese # "RCHIVE,s PT Submitted for Honors Work In the Department of Speech Illinois Wesleyan University Bloomington, Illinois 1968 �rrrnors Wesleyan Vniv. Libraries Bloomington, Ill. 61701 Accepted by the Department of Speech of Illinois Wesleyan University in fulfillment of the requirement for departmental honors. ��:'�lQ� Proje t Adnser Dedicated to Dr.