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Veronica Orazi ISSN 1540 5877 Ehumanista/IVITRA 17 (2020): 4-23
Veronica Orazi La poesía visual en España (s. XX): del vanguardismo al neovanguardismo Veronica Orazi Università degli Studi di Torino 1. Introducción La reflexión teórica y crítica sobre la ‘poesía visual’ ha atraído y sigue atrayendo la atención de los estudiosos. Es precisamente la necesidad de claridad que inclina a profundizar en este tema: si por un lado era urgente llevar a cabo un análisis sistemático de la poesía visual tal y como se ha manifestado en la Vanguardia y Neovanguardia españolas (Bonet 1978; Bohn 1986; Monegal 1998; Díez de Revenga 1999; Monegal 2000; Muriel Durán 2000; Orazi 2004; Orazi 2016), por otro lado era igualmente imprescindible identificar los rasgos fundamentales de este fenómeno artístico, tanto en lo que se refiere a la producción lírica de aquellos años como a las diferentes fases de la poesía visual tal y como se ha manifestado en distintas épocas y latitudes (Zárate; Ors 1977; Higgins; Mosher; Cózar 1991; Cózar 2014). Los resultados de tales investigaciones permiten comprender que la poesía visual de las Vanguardias del siglo XX y los testimonios antecedentes del fenómeno no identifican una continuidad ideológica y estética, sino que se originan de supuestos y objetivos diferentes, propios de cada momento en que la hibridación de palabra y figura se ha producido. Paradójicamente, uno de los elementos de desviación al aislar las diferentes etapas de la unión texto-imagen y reconocerles su autonomía es su progresiva aclimatación en la sensibilidad moderna, porque la difusión de la denominación general -
Local Contexts | International Networks
Local Contexts | International Networks Avant-Garde Journals in East-Central Europe Local Contexts / International Networks Avant-Garde Journals in East-Central Europe Edited by Gábor Dobó and Merse Pál Szeredi Petőfi Literary Museum – Kassák Museum Kassák Foundation Budapest, 2018 THE AVANT-GARDE AND ITS JOURNALS 2 Proceedings of the International Conference “Local Contexts / International Networks – Avant-Garde Magazines in Central Europe (1910–1935)” held in the Kassák Museum, 17–19 September 2015 kassakmuzeum.hu/en/index.php?p=kutatas&id=104 Editors Gábor Dobó, Merse Pál Szeredi Assistant Editor Sára Bagdi Proofreading Alan Campbell Cover design Klára Rudas Prepress Bence György Pálinkás DigiPhil Coordination Zsófia Fellegi, Gábor Palkó Publisher Petőfi Literary Museum–Kassák Museum Kassák Foundation Responsible Publisher Gergely Prőhle, Edit Sasvári ISBN 978-963-12-5972-8 © Essays: the authors and editors © Design: Klára Rudas and Bence György Pálinkás © Reproductions: the heirs of the authors CC BY-NC-SA 2.5 Published under the Creative Commons Licence Attribution-NonCommercial- ShareAlike 2.5 Generic (creativecommons.org/licenses/by-nc-sa/2.5). The publication was published as part of the research project of the Petőfi Literary Museum – Kassák Museum ‘The Avant-Garde Journals of Lajos Kassák from an Interdisciplinary Perspective’ (NKFI-K 120779). PB 2 Contents 5 Gábor Dobó – Merse Pál Szeredi Introduction 7 Eszter Balázs Artist and/or Public Intellectual? Hungarian Avant-Garde Polemics on ‘New Art’ and the Writer’s Role and Responsibilities -
RUIDOS Y SUSURROS DE LAS VANGUARDIAS Reconstrucción De Obras Pioneras Del Arte Sonoro (1909-1945) Por El Laboratorio De Creaciones Intermedia
Laboratorio de Creaciones Intermedia por el RUIDOS Y SUSURROS DE LAS VANGUARDIAS Reconstrucción de obras pioneras del Arte Sonoro (1909-1945) por el Laboratorio de Creaciones Intermedia VICERRECTORADO DE CULTURA RUIDOS Y SUSURROS DE LAS VANGUARDIAS (1909-1945) RUIDOS y SUSUR R OS DE LAS VANGUARDIAS Reconstrucción de obras pioneras del Arte Sonoro (1909-1945) Laboratorio de Creaciones Intermedia Junto a la publicación de este catálogo, se ha editado un doble cd-audio con la grabación de las obras reconstruídas Laboratorio de Creaciones Intermedia Investigador Responsable Miguel Molina Alarcón Miembros Investigadores Colaboradores Leopoldo Amigo Pérez Torbjörn Hallberg Silvana Andrés Salvador Carlo Prosser Martina Botella Mestres Giacomo del Monte María Pilar Crespo Ricart Jennifer Benigni María Desamparados Cubells Casares Salvatore Castiglione Gema Hoyas Frontera Gianluca Scuderi Francisco Martí Ferrer Emanuele Mazza Valentina Ferraro José Juan Martínez Ballester Coro Antifuturista del Café LeGiubbe Rosse de Florencia Elena Edith Monleón Pradas Dolores Frontera Vicente Ortíz Sausor José G. Ríos Marina Pastor Aguilar Peter Bosch José Francisco Romero Gómez Simone Simons Encarna Saenz Llorente Rita Rodrigues Duarte Encarnaçao Susana Figueira Jakob Gramms Peter Conrad Beyer Kristian Abad Francisco Moukarzel David Ruiz EXPOSICIÓN Pedro del Villar Quiñones Organización Inmaculada Sanpedro Vicerrectorado de Cultura, Universidad Politécnica de Valencia Patricia Pérez Coordinación Felipe Lagos Rojas Lola Gil Claudio Pérez Luis Montes Rojas Irene -
Neotipografia Material Poetics In
NEO-TIPO-GRAFÍA: MATERIAL POETICS IN THE SPANISH HISTORICAL AVANT-GARDE Zachary Rockwell Ludington Severna Park, Maryland Master of Arts, University of Virginia, 2009 Bachelor of Arts, University of North Carolina at Chapel Hill, 2007 A Dissertation presented to the Graduate Faculty of the University of Virginia in Candidacy for the Degree of Doctor of Philosophy Department of Spanish, Italian & Portuguese University of Virginia August, 2014 © 2014 Zachary Rockwell Ludington 2 ACKNOWLEDGEMENTS AND DEDICATION I must first extend my warmest thanks to my advisor, Andrew A. Anderson, for his scholarship and for his sharp and supportive critical eye. My work in this dissertation owes a great deal not only to his previous research but also to his helpful comments and his guidance throughout the course of the project. I would also like to thank every member of the Department of Spanish, Italian & Portuguese at the University of Virginia, past and present. I owe specific debts of gratitude to a few friends in the department who have especially enriched my experience during my time at the University, both academically and personally. They are Fernando Operé, David T. Gies, Gustavo Pellón, Randolph Pope, Mané Lagos, Daniel Chávez, Eli Carter, Omar Velázquez Mendoza, Tally Sanford, Shawn Harris, Julia Garner, Luca Prazeres, Diana Arbaiza, Stephen Silverstein, Jülide Etem, Sarah Bogard, Alejandra Gutiérrez, Keith Howard, Tim McAllister, Adriana Rojas Campbell, Gabrielle Miller, Gillian Price, Melissa Frost, and Diana Galarreta. Friends and colleagues outside the department but ever present and interested in my work are Ana Elia García Pérez, Nathan Brown, John Lyons, Paul A. Cantor, Shaun Cullen, Chicho Lorenzo, Tico Braun, Antonio Reyes, Manuela Jiménez, Brian Carr, and Erik J. -
T H E a R T Field in Buenos Aires
T FIELD IN BUENOS AIRES: H Debates and Artistic Practices By Maria Lúcia Bastos Kern E Maria Lúcia Bastos Kern is professor at the Pontificia Universidade Católica de Rio Grande do Sul. She obtained her Doctorate at Université Paris I-Sorbonne, with the thesis Les origines de la peinture moderniste au Rio Grande do Sul (1981). She is the author of the book Arte argentina: A tradição e modernidade (1996), together with articles and book chapters in specialized publications. She also coordinated the publication of the books América Latina: territorialidade e práticas artísticas (2002); As questões do sagrado na arte contemporânea da América Latina (1997), among others. She is a member and Vice President of the Brazilian Committee of Art History, the Brazilian Association of Art Critics and the National R Association of Art Researchers. She is a I A Researcher of the CNPq (National Research Council) and a member of the Advisory Committee of T Arts and of the Multidisciplinary Committee of the CNPq. The first decades of the XXth century in Buenos Aires were marked Along with the Independence Centennial (1910) and social, eco- by an intense intellectual debate over nationalism, cosmopolitism and nomic and cultural changes resulting from the immigration and mod- modern art, against modernity in Argentina and the fast transformations ernization processes in Argentina, Buenos Aires, the city at the center of its society and culture. This debate was reflected in old and new jour- of the cultural expansion, became cosmopolitan and the nationalism nals, which created a space to spread different concepts regarding the increased. -
The European Artistic Avant-Garde C. 1910-30: Formations, Networks and Trans-National Strategies
Three-day interdisciplinary symposium THE EUROPEAN ARTISTIC AVANT-GARDE C. 1910-30: FORMATIONS, NETWORKS AND TRANS-NATIONAL STRATEGIES Key-notes: Prof. David Cottington, Kingston University, London, Prof. Piotr Piotrowski, Adam Mickiewicz University, Poznan Södertörn University Stockholm 11-13 September 2013 Organized by Dep. of Art History Sites: Auditorium MB 503 and Moderna Museet Symposium The European artistic avant-garde c. 1910-30: formations, networks and trans-national strategies, 2013 INTRODUCTION The European artistic avant-garde c. 1910-30: formations, networks and trans- national strategies, 2013 is an inter-disciplinary symposium on the groupings and trans-national strategies of the burgeoning formation of the artistic avant-garde of Europe c1910-1930, and their relation to other cultural avant-gardes, to be held at Södertörn University, Stockholm. Attention will be given to the avant-gardes of this period across Europe, with a certain focus on those of the Nordic Countries, central and Eastern Europe, and their orientation to the Parisian avant-garde. Keynote speakers are Professor David Cottington, Kingston University London, and Professor Piotr Piotrowski, Adam Mickiewicz University, Poznan. The symposium is arranged by the Department of Art History, School of Culture and Education, Södertörn University and funded by Riksbankens Jubileumsfond (RJ), a Swedish independent foundation with the goal of promoting and supporting research in the Humanities and Social Sciences. The cultural energies released in central Europe by the collapse of the Soviet Union have, over the succeeding two decades, driven the recovery and exploration of the profound and complex histories of avant-garde activities and artistic modernisms across this continent. Moreover, the recent development of archival resources towards new, open access strategies through digital media has facilitated the potential production of new knowledge and renewed questioning of modernist art history. -
Literature in Love
LITERATURE IN LOVE Peter Harrington london even Auguste Rodin’s illustrated Jardins des Supplices, the bible of BDSM (132). Americans in Paris also hold their own, whether it be the formidable salonnière Natalie Clifford Barney (9, 10, 135, 168), known as “the Amazon”, or Harry and Caresse Crosby (42–44), the wildest of the Lost Generation expats. The selection is proudly pansexual, with some great LGBTQ+ items such as a copy of the first gay poetry anthology owned and annotated by Rupert Brooke (25), or the very scarce first published translation of Sappho by a lesbian, the fascinating Renée Vivien (135, 168). We also have some exceptionally strong Oscar Wilde material here (172–175), including original clippings reporting the Love, for all its infinite variety, has not changed so very much trial, with his famous defence of “the love that dare not speak its over the centuries. Literature in Love seeks to present this universal name”, and a truly rare presentation copy of the deluxe issue of experience in its ecstasy and anguish, as expressed in the great love The Ballad of Reading Gaol inscribed to a friend who had bravely stories and poetry across the ages. campaigned against Wilde’s conviction. All these are syncretized Amours ancient as the Song of Solomon (16, 62) are as heart- in the wide embrace of this fundamental human experience. As quickening today as they were millennia ago. It is a pleasure, Frank O’Hara (115) concisely put it, “love is love”, and that, as John therefore, to have introduced, at least on the page, some Lennon knew and sung, is all you need (103). -
VANGUARD LITERARY ,Tollrnal of AHGENTINA by David L
Ai, ANJ\LYSIS CF PRCA ( 1924-1926): VANGUARD LITERARY ,TOllRNAL OF AHGENTINA by David L. Oberstar B.A., College of St. Thomas, 1965 M.A., University of Kansas, 1967 Submitted to the Department of Spanish and Portuguese an1 the Graduate School of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Table of Contents Chapter I. A Brief Survey of Vanguardism in Spanish America and Analysis of the Editorial Policy of Proa l Chapter II. Nonfiction Prose ................. 38 Chapter III. Prose Fiction ................... 85 Chapter IV. Poetry ........ " .. " .............. 130 Conclusion .........••......................... 166 Appendix •.•...............................•••. 172 Author Index ..•.•.................•.•.....•..• 18h Selected Bibliography ...................•..... 187 ii -1- CHAPTER I A BRIEF SURVEY OF VANGUARDISM IN SPANISH AMERICA AND ANALYSIS OF THE EDITORIAL POLICY OF PROA I The intervening period between the two World Wars was filled with a flourish of literary activity in Latin America. This hyperactivity translated itself into a large number of evanescent literary movements which were generally nihilistic and revolutionary in nature. The individuals who belonged to these movements wrote against things: "En contra de las dulces perspectivas, en contra de los cosmopolitas ensuefios del modernismo. Y escribiendo en contra, se dieron al verso suelto, a la idolatr!a de la imagen yala man!a de colec cionar luego esos !dolos metaf6ricos."1 Since the schools or movements spawned by this period were so great in number and most often extremely short-lived, only the more signifi cant or representative ones will be discussed here in order to give an idea of what characterized this era. To find the origins of Vanguardism in Spanish America, it is necessary to examine the politically and socially chaotic period in Europe after the First World War. -
"NOISES and WHISPERS in AVANT GARDES: Early Sound Art Works (1909-1945): a Remake" by Laboratory of Intermedia Creations
"NOISES AND WHISPERS IN AVANT GARDES: Early Sound Art Works (1909-1945): a remake" by Laboratory of Intermedia Creations (Double Audio CD ) CD 1 : ITALIAN FUTURISM (1909-1945) 01- Serata Futurista ("Futurist Evening", 1910-1924) by Filippo Tomaso Marinetti, Antonio and Luigi Russolo, Giacomo Balla, Rodolfo De Angelis, Francesco Cangiullo and other futurist artists. Recreation of a futurist evening from extracts of existing historical recordings by futurist artists: onomatopoeias or Paroles in Libertà by Marinetti (recordings between 1920-1942), of the noise organ or Russolo’s Intonarumori (rec. 1924), variety songs by Rodolfo De Angelis (rec. 1934-36), one radio interview with Giacomo Balla (rec. 1952); or the fragments of the poem Il Sifone d'Oro (1913) by Cangiullo (rec. in 1975). As background sound it includes the sounds of the Café Giubbe Rosse in Florence where futurists used to meet and which still exists nowadays. Editing: Miguel Molina and Leopoldo Amigo. Recording of the Café Giubbe Rosse: Coro Antifuturista de Florencia. Dur.: 1’32’’. 02 - Acciao ("Steel", 1933) by Walter Ruttmann. Two extracts from the original soundtrack of the film "Steel" directed by the German film director Ruttmann in Italy, from the free interpretation of a play by Luigi Pirandello (love duel within the suffocating atmosphere of a foundry). Music is by futurist Gian Franco Malipiero and the sound technician is Vittorio Trentino, who used for the recording the direct sound of a foundry. In the second piece, Rutmann combines - as a "dance" - the sound of the machines with the sound of a dance orchestra, creating a parallelism between the conductor and the foreman of the factory. -
ABSTRACTS 1. Anemona
2ND CEMS INTERNATIONAL CONFERENCE – ABSTRACTS 1. Anemona Alb (University of Oradea, Romania): Chronotope and Theory: temporality revisited in (late) modernist fiction What this paper looks at is the configuration that time - as crystallized events - takes in urban versus rural settings, as represented in modernist and postmodern literature. Indeed, the representational mechanisms of time, informed by poststructuralist theories, are deemed as potentially yielding an insight into the abovementioned parallelism. In terms of analytical frameworks I shall use, inter alia, mechanistic theories, relative time, Bergsonian time, redundant time, mechanical hours (Deleuze and Parnet 1996) and what I term hegemonic time (the all- devouring time of late capitalism). The illustrative texts under scrutiny here belong to Modernist and Postmodern authors, such as W.H. Auden, T.S. Eliot on the one hand, and Helen Fielding, Sophie Kinsella (chick lit) on the other hand. Urban time, the relentless rhythms of the city as opposed to seasonal time in the country, the chronophagous pressures of consumerism , the frenzy of efficiency that urbanites engage in mindlessly versus the innocuous tranquility of the countryside are part and parcel of the eclecticism of theories of temporality. 2. Ştefan Baghiu (Lucian Blaga University of Sibiu): The Socialist Realism Need for Modernism: A Theoretical Framework for Romania’s Novel Translation Process Evgheny Dobrenko concludes his latest collective volume with the reiteration of Hannah Arendt’s well-known paradox of totalitarian regimes, according to which “on the one hand, their professed veneration of transformation induces in them a deep-seated fear of stability and permanence, but on the other hand, for these regimes to function, their institutions require a certain degree of predictability and continuity” (Dobrenko, Jonsson-Skradol, Socialist Realism in Central and Eastern European Literatures Under Stalin, 2018). -
Magic Causality
Magic causality The Function of Metaphor and Language in the Earlier Verse, Essays and Fictions of Jorge Luis Borges, read as Constitutive of a Theory of Generic Incorporation A thesis presented for the degree of Doctor of Philosophy of Murdoch University January 1997 Thomas Christie Lonie BA Hons (Murdoch) English and Comparative Literature Programme School of Humanities, Murdoch University Perth, Western Australia I declare this thesis is my own account of my research and contains as its main content work that has not been previously submitted for a degree at any tertiary education institution. Signed in original hard copies .................................... Thomas Christie Lonie Abstract Borges saw narrative as the bearer of universally re-combinable elements. Although these elements seem sequential, their essential formal integrity guarantees their rearrangement to generate new narratives. The ficción lives beyond its author. However, Borges’ ontological anxieties also have a life of their own that undermines the ficción’s assimilative potential. By developing poetic and linguistic insights Borges creates immortal text through the construction of a symbolic repertoire. Each element of the repertoire has its genesis in the author’s personal development. This history is archaeologised in the early poetry and mediated through a theory of metaphor and the reader’s interaction with the text. Borges sees no need for a Freudian reading theory. Instead he develops an anti- psychological poetics. He enlists the reader as a willing participant in the text by a dual strategy of symbolic incorporation. Firstly, readers identify with characters through vicarious emotional prediction. Secondly, he refreshes the reader’s participation by presenting emblematic devices serving as sub-text to enhance symbolic participation. -
Martinfierrismo En Adán Buenosayres
Son palabras El tránsito del rumbo generacional al rumbo individual. Pasión y muerte del ultraísmo- martinfierrismo en Adán Buenosayres Marisa Martínez Pérsico Universitá degli Studi Guglielmo Marconi, Roma Resumen n este artículo reflexionamos sobre la poderosa influencia Eque el tránsito por el movimiento de vanguardia argentino —conocido como martinfierrismo— ejerció en la literatura madura de algunos de sus antiguos integrantes. Nos concentramos en la figura de Leopoldo Marechal, especialmente en su novela autoficcional Adán Buenosayres, que de acuerdo con nuestra lectura constituye una crónica novelada del ultraísmo en la que se parodian los principios del movimiento de origen peninsular y se incluyen reflexiones metapoéticas sobre el disparate, el humor angélico o la imagen trascendente. También dedicamos algunos párrafos a estudiar la adecuación de los rótulos ultraístas (hispanizantes), martinfierristas (nacionalizantes) o creacionistas para aludir al citado movimiento. Palabras clave Crónica novelada, martinfierrismo, ultraísmo, Adán Buenosayres. 8 The transition of the generational to the individual course. Passion and death of the ultraist- martinfierrist movement in Adán Buenosayres Abstract he aim of this study is to analyse the strong impact that the Tmartinfierrist-ultraist movement had in the mature writing of some of its members. We focus on the figure of Leopoldo Marechal, especially in his autofictional novel Adán Buenosayres, which according to our reading is a chronicle as well as a parody of the Ultraist movement. We also dedicate some paragraphs to study the adequacy of “Ultraism”, “Martinfierrism” or even “Creationism” labels to refer to the Argentine avant-garde movement. Key words Novel-Chronicle, martinfierrist movement, ultraist movement, Adán Buenosayres. Son palabras 9 El tránsito del rumbo generacional..