Documents (Pdf)

Total Page:16

File Type:pdf, Size:1020Kb

Documents (Pdf) Documents_ 18.7 7/18/01 11:40 AM Page 212 Documents 1915 1918 Exhibition of Paintings by Cézanne, Van Gogh, Picasso, Tristan Tzara, 25 poèmes; H Arp, 10 gravures sur bois, Picabia, Braque, Desseignes, Rivera, New York, Zurich, 1918 ca. 1915/16 Flyer advertising an edition of 25 poems by Tristan Tzara Flyer with exhibition catalogue list with 10 wood engravings by Jean (Hans) Arp 1 p. (folded), 15.3x12 Illustrated, 1 p., 24x16 1916 Tristan Tzara lira de ses oeuvres et le Manifeste Dada, Autoren-Abend, Zurich, 14 July 1916 Zurich, 23 July 1918 Program for a Dada event in the Zunfthaus zur Waag Flyer announcing a soirée at Kouni & Co. Includes the 1 p., 23x29 above advertisement Illustrated, 2 pp., 24x16 Cangiullo futurista; Cafeconcerto; Alfabeto a sorpresa, Milan, August 1916 Program published by Edizioni futuriste di “Poesia,” Milan, for an event at Grand Eden – Teatro di Varietà in Naples Illustrated, 48 pp., 25.2x17.5 Pantomime futuriste di Francesco Cangiullo, Rome, 1916 Flyer advertising an event at the Club al Cantastorie 1 p., 35x50 Galerie Dada envelope, Zurich, 1916 1 p., 12x15 Stationary headed ”Mouvement Dada, Zurich,“ Zurich, ca. 1916 1 p., 14x22 Stationary headed ”Mouvement Dada, Zeltweg 83,“ Zurich, ca. 1916 Club Dada, Prospekt des Verlags Freie Strasse, Berlin, 1918 1 p., 12x15 Booklet with texts by Richard Huelsenbeck, Franz Jung, and Raoul Hausmann Mouvement Dada – Abonnement Liste, Zurich, ca. 1916 Illustrated, 16 pp., 27.1x20 Subscription form for Dada publications 1 p., 28x20.5 Centralamt der Dadaistischen Bewegung, Berlin, ca. 1918–19 1917 Stationary of Richard Huelsenbeck with heading of the Sturm Ausstellung, II Serie, Zurich, 14 April 1917 Dada Movement Central Office Catalogue of an exhibition at the Galerie Dada. 1 p., 23x20 Includes program of a Sturm soirée at the Galerie Dada Illustrated, 3 pp., 23.5x14.5 Die Schuld am Kriege, Berlin, 1918–19 Handbill attributed to Johannes Baader, with a spurious Abend Neuer Kunst, Zurich, 28 April 1917 citation from Matthew Program for an event at the Galerie Dada 1 p., 11.5x11.5 Illustrated, 1 p., 29x23 1919 Soirée Hans Heusser, Zurich, 25 May 1917 212 Program of a soirée at the Galerie Dada 1 p., 28.5x23 Ausstellung von Graphik, Broderie, Relief, Zurich, 1917 Flyer of an exhibition at the Galerie Dada Illustrated, 4 pp., 22.7x14.3 Circuit total par la lune et par la couleur, Zurich, 1917 Poem by Tristan Tzara for Marcel Janco Illustrated, 2 pp., 29x23 Kleine Grosz Mappe, Berlin, 1917 Flyer advertising 20 original lithographs by George Grosz, published by Der Malik-Verlag Illustrated, 4 pp., 28.5x21.5 Soirée Dada, Berlin, 15 May 1919 Invitation to and program of a Dada soirée Illustrated, 1 p., 21.7x17.2 Documents_ 18.7 7/18/01 11:40 AM Page 213 Matinée Mouvement Dada, Paris, 5 February 1920 1921 Invitation to a Dada matinée at the Salon des Dada soulève tout, Paris, 12 January 1921 Indépendants Manifesto signed by André Breton, Paul Eluard, Max Ernst, Typographic illustration, 1 p., 26.7x18.8 Man Ray, Benjamin Péret, Francis Picabia, Philippe Soupault, Tristan Tzara, et al., published by Au Sans Pareil Premier Spectacle-concert, Paris, February 1920 2 pp., 27.5x21.3 Flyer of an event at the Comédie des Champs-Elysées 1 p., 43x56 Der Oberdada in Berlin, Berlin, 20 January 1921 Announcement of a Dada ball Manifestation Dada, Paris, 27 March 1920 Illustrated, 2 pp., 11x15.5 Program of a Dada event at the Maison de l’Oeuvre Illustrated, 2 pp., 27x37.5 Moulin de la mort, Paris, 1 April 1921 Manifesto by Vincent Huidobro 8. Dada Soirée, Zurich, 1919 Festival DADA, Paris, 26 May 1920 Illustrated, 2 pp., 27.5x21.5 Program of a Dada soirée Program of a Dada festival at the Salle Gaveau 2 pp., 22x28 Illustrated, 2 pp., 37x25.3 Mise en accusation et jugement de M. Maurice Barrès par Dada, Paris, 13 May 1921 A, Moscow, 1920 Program of the indictment of Maurice Barrès at the Salle Poems by B. Pereleshin, A. Rakitnikov, and N. Sokolov des Sociétés Savantes 2 pp. (folded), 34.5x22.3 Illustrated, 2 pp., 24.5x32 Cinéma calendrier du coeur abstrait, Paris, 1920 Mise en accusation et jugement de M. Maurice Barrès Flyer advertising a book of poems by Tristan Tzara with par Dada, Paris, 13 May 1921 19 woodcuts by Jean (Hans) Arp. Includes three of the Invitation to the indictment of Maurice Barrès at the Salle poems. des Sociétés Savantes 4 pp., 13.5x11 1 p., 9x12.5 Dada Ausstellung, Dada-Vorfrühling, Cologne, 1920 Soirée Dada, Paris, 10 June 1921 Exhibition catalogue Program of a Dada soirée at the Galerie Montaigne Illustrated, 4 pp., 22.5x15.5 1 p., 27x21 Dada-Reklame-Gesellschaft, Berlin-Charlottenburg, 1920 Salon Dada, Exposition Internationale, Paris, Advertisement of Dada advertising company 6–30 June 1921 Illustrated, 1 p., 23x29.5 Catalogue of the first international Dada exhibition in Dadaco (DaDa. Was ist dada?), Kurt Wolff Verlag, France at the Galerie Montaigne Munich, 1919 Illustrated, 16 pp., 27x21 Printing proof of an unpublished Dada anthology by Johannes Baader, George Grosz, Raoul Hausmann, John Salon Dada, invitation, Paris, 6–30 June 1921 Heartfield, Richard Huelsenbeck, and Walter Mehring. Its Invitation to the Salon Dada at the Galerie Montaigne forthcoming publication in January 1920 was announced 2 pp., 14x9.5 in Der Zeltweg (November 1919) and in Der Dada 1, no. 2 (December 1919). Les Trois Manifestations Dada, Paris, Illustrated, 16 pp., 32x24 10, 18, 30 June 1921 Invitation to three Dada events at the Galerie Montaigne Dadaisten gegen Weimar, Oberdada als Präsident des 2 pp., 9.5x14 Erdballs, Berlin, 1919 Announcement of a Dada event Tabu, Paris, 1 November 1921 2 pp., 23.5x21 Manifesto by Jean Crotti Dada Leaflets, Paris, 1920 1 p., 27.5x21 213 Der Blutige Ernst, Berlin, 1919 4 small leaflets with texts by Tristan Tzara, titled: Advertisement for the satirical weekly Der Blutige Ernst DADA, Société Anonyme pour l’exploitation du Soirée Dada, Paris, 21 December 1921 Illustrated, 2 pp., 40x28 vocabulaire; DADA ne signifie RIEN; Chacque spectateur Program (in Russian) of a Dada soirée organized by est un intrigant; Un autre: TAISEZ VOUS Sergei Charchoune and Illiazd (Ilia Zdanévitch) at the Der Lustgalgen/ Merzplastik, Hanover, ca. 1919 7x10.5 Café Caméléon Postcard reproduction of a work by Kurt Schwitters 1 p., 21.5x13.7 et al., 14x9 Dadaistisches Manifest, Hanover, 1920 Leaflet published in Der Zweemann, with a handwritten Der Oberdada, Berlin, 1921 Was ist der Dadaismus und was will er in Deutschland, note signed by Hannah Höch Invitation to a Dada ball Hanover, 1919 3 pp.,28.5x22 Illustrated, 1 p., 15.5x11.5 Leaflet with text by Raoul Hausmann, later published in Der Zweemann 1, no. 2 (December 1919), pp. 18–19, Stationary headed Mouvement Dada, Berlin, Genève, Excursions & visites Dada, Paris, 1921 2 pp., 20.7x14.8 Madrid, New York, Zurich, Paris, Paris, 1920 Flyer advertising the first of a series of Dada excursions 1 p., 27.5x21 Illustrated, 1 p., 27.5x22 1920 La seule expression de l’homme moderne; Lire Dada, Proverbe, n.p., 1920 Invitation to the opening of a Max Ernst exhibition, Paris, 20 January 1920 Subscription form for the periodical Proverbe Paris, 1921 Leaflet listing members of the Dada movement 1 p., 13.2x8.2 1 p., 8x12.5 1 p., 13.5x11 Dadaism, Kompiljatsja, USSR, ca. 1920 Ouverture de la grande saison Dada; Exposition Dada Premier Vendredi de littérature, Paris, 23 January 1920 Booklet by Sergei Charchoune Max Ernst, Paris, 1921 Flyer of a literary event at the Palais des Fêtes Illustrated (on cover), 16 pp., 16x12 (folded) Flyer advertising the opening of the Dada season and a 1 p., 21.2x16 Max Ernst exhibition 1 p., 12x14 Documents_ 18.7 7/18/01 11:40 AM Page 214 Exposition Dada Max Ernst, Paris, 1921 La Révolution surréaliste, Paris, 1924 1927 Exhibition catalogue with introduction by André Breton Subscription form for the Surrealist periodical Lautréamont envers et contre tout (A propos d’une Illustrated, 6 pp., 22x13.5 La Révolution surréaliste réédition), Paris, April 1927 2 pp., 21x13.3 Leaflet signed by Louis Aragon, André Breton, Grande Après midi Dada, Paris, 1921 and Paul Eluard Announcement of a Dada conference and the Dada Salon 3 pp., 27.7x21.4 Illustrated, 2 pp., 21x13.5 Au grand jour, Paris, 1927 La Mare aux mitrailleuses, suivie de Le Passager du Booklet published by Editions Surréalistes, May 1927 transatlantique, Paris, 1921 28 pp., 16.4x12.2 Flyer advertising a book by Benjamin Péret with preface by André Breton and 10 illustrations by Max Ernst, to be A la grande nuit ou le bluff surréaliste, Paris, June 1927 published by Gallimard Booklet by Antonin Artaud, published by the author Illustrated, 1 p., 22.6x17.7 15 pp., 16.5x13 Le Passager du transatlantique, Paris, 1921 Permettez!, Paris, 1927 Flyer announcing the publication of a book of poems by Leaflet criticizing the inauguration of a memorial to Benjamin Péret with 4 drawings by Jean (Hans) Arp Surrealist leaflets, Paris, 1924 Arthur Rimbaud 1 p., 12x16 9 small leaflets issued by the Bureau de Recherches 4 pp., 27x21.2 Surréalistes, with texts by Tristan Tzara and Paul Eluard: 1922 Parents! racontez vos rêves à vos enfants/ Vous qui ne 1928 Une exposition de poèmes de Vincent Huidobro, Paris, voyez pas, pensez à ceux qui voient/ Le Surréalisme c’est Avis, Brussels, March 1928 16 May–2 June 1922 l’écriture niée/ Le parapluie de chocolat est dédoré. Leaflet protesting against Giorgio de Chirico’s exhibition Poetry and critical texts on the poet Vincent Huidobro, Trempez-le dans la porte et nattez/ On ne saurait rien at the gallery Le Centaure, signed by Louis Aragon, published by the Galerie G.
Recommended publications
  • Roger Caillois, Games of Chance and the Superstar Roger Caillois, Games of Chance and the Superstar
    Roger Caillois, Games of Chance and the Superstar Roger Caillois, Games of Chance and the Superstar Loek Groot Superstars are not by accident a conspicuous phenomenon in our culture, but inherently belong to a meritocratic society with mass media, free enterprise, and competition. To make this contention plausible I will use Caillois’s book, Man, Play and Games,1 to compare the mechanisms underlying the superstar phenomenon with a special kind of game, as set out by Caillois. As far as I know, Caillois’s book is not quoted in the literature dealing with income distribution theories, although the comparison with play and games is, for limited purposes, interesting. In play and games we find almost all elements which play a role in theories of just income distribution: equality of opportunity, chance, talent, competition and skill, reward, entitlement, winners and losers, etc. These are not chance similarities, for “. games are largely dependent upon the cultures in which they are practised. They affect their preferences, prolong their customs, and reflect their beliefs . One ...can . posit a truly reciprocal relationship between a society and the games it likes to play”.2 Moreover, as we will see, superstars combine the four basic characteristics of play that make their activities a special kind of play. Play or work Johan Huizinga,3 cited by Caillois, considers play as an activity which is not serious (that is, standing outside ordinary life), with no material interest and where no profit can be gained. Caillois disputes Huizinga’s belief that in games no material interests are involved. He sees this belief as a result of Huizinga’s restriction of his analysis to competitive games, and the consequent omission of games of chance.
    [Show full text]
  • Issue of Blake
    BLAKE AN ILLUSTRATED QUARTERLY PBOCJLAllATION TIRED OF THE SPECTACLE OF SHORT STORIES, NOVELS, POEMS AND PLAYS STILL UNDER THE HEGEMONY OF THE BANAL WORD, MONO­ TONOUS SYNTAX, STATIC PSYCHOLOGY, DESCRIPTIVE NATURALISM, AND DESIROUS OF CRYSTALLIZING A VIEWPOINT ••• WE HEREBY DECLARE THAT : 1. THE REVOLUTION IN THE ENGLISH LANGUAGE IS AN AC­ COl\IPLISHED FA CT. 2. THE lllAGINATION IN SEARCH OF A FABULOUS WORLD IS AUTONOMOUS AND UNCONFINED. (Prudence is a rich, ugly old maid courted by Incapacity ... Blake) 3. PURE POETRY IS A LYRICAL ABSOLUTE THAT SEEKS AN A PRIORI BEAUTY WITHIN OURSELVES ALONE. (Bring oul number, weight and measure in a year of dearth ... ~lake) 4. NARRATIVE IS NOT .llERE ANECDOTE, BUT THE PROJEC­ TION OF A METAMORPHOSIS OF REALITY. (Enough I Or Too Much !... Blake) 6. THE EXPRESSION OF THESE CONCEPTS CL\lV BE ACHIEVED ONLY THROUGH THE RHYTHMIC " HALLUCINATION OF THE WORD ". (Rimbaud). 6. THE LITERARY CREATOR HAS THE RIGHT TO DISINTE­ GRATE THE PRIMAL llA'ITER OF WORDS IMPOSED ON HDI BY TEXT-BOOKS A.~D DICTIONARIES. (The road of excess leads to the palace of Wisdom ... Blake) 7. HE HAS THE RIGHT TO USE WORDS OF HIS OWN FASH­ IO~NG AND TO DISREGARD EXISTJNG GRAMMATICAL AND SYNTACTICAL LAWS. (The tigers of wrath are wiser lhan the horses of inslruclion ... Blake) 8. THE" LITANY OF WORDS" IS ADMI'ITED AS AN INDEPEN­ DE~T lJ-:\TIT. 9. WE ARE NOT CONCERNED WITH THE PROPAGATION OF SOCIOLOGICAL IDEAS, EXCEPT TO Ei\IANCJPATE THE CREATIVE El,E..\lEi"VTS FROl\I THE PRESENT IDEOLOGY. 10. TL\IE IS A TYRANNY TO BE ABOLISHED.
    [Show full text]
  • Acción Surrealista Y Medios De Intervención. El Surrealismo En Las Revistas, 1930 – 1939
    Acción surrealista y medios de intervención. El surrealismo en las revistas, 1930 – 1939 Javier MAÑERO RODICIO CES Felipe II, Universidad Complutense de Madrid [email protected] Entregado: 19/9/2012 Aceptado: 4/7/2013 RESUMEN Sobre la base de un estudio previo, El surrealismo en las revistas 1919 – 1929, pero de forma autónoma, se aborda a continuación la segunda década surrealista, revisitada siempre al hilo de las revistas que aglutinaron al movimiento. Tras analizar desde Un cadavre la dimensión de la crisis del grupo hacia el cambio de década, asistimos a la adaptación del surrealismo a las extremas condiciones políticas de los años 30 con su revista El surrealismo al servicio de la Revolución. Pero también, y al mismo tiempo, al momento de su máxima difusión y aceptación, particularmente a través del arte. La revista Minotaure será la principal manifestación de este proceso, aunque también son tenidas aquí en cuenta otras cabe- ceras. Palabras clave: Surrealismo, Revistas de arte, A. Breton, G. Bataille, Le surréalisme au service de la Révolution, Documents 34, Minotaure, Cahiers d’Art. Surreal action and means of intervention. Surrealism in the magazines, from 1930 to 1939 ABSTRACT Following on from the previous study, Surrealism in Magazines 1919 – 1929, the second Surrealist decade is now focussed on – at all times with regard to the magazines that united together around the movement. After analysing in Un cadavre the effects of the crisis of 1929, we witness Surrealism’s adap- tation to the extreme political panorama of the 1930’s with the magazine Surrealism in the service of the revolution.
    [Show full text]
  • Art on the Page
    Art on the page Toward a modern illustrated book When Parisian art dealer Ambroise Vollard issued his first publication, Parallèlement, in 1900, a collection of poems by Paul Verlaine illustrated with lithographs by Impressionist painter Pierre Bonnard, he ushered in a new form of illustrated book to mark the new century. In the following decades, he and other entrepreneurial art publishers such as Daniel-Henry Kahnweiler and Albert Skira would take advantage of a widening pool of book collectors interested in modern art by producing deluxe books that featured original prints by artists such as Pablo Picasso, Henri Matisse, Georges Rouault, André Derain and others. These books are generally referred to as livres des artistes and, unlike the fine press publications produced by the Kelmscott Press, the Doves Press or Ashendene Press, the earliest examples were distinguished by their modernity. Breon Mitchell, in his introduction to Beyond illustration, argues that the livre d’artiste can be differentiated from the traditional book in several respects: The illustrations are, in each case, original works of art (woodcuts, lithographs, etchings, engravings) executed by the artist himself and printed under his supervision. The book thus contains original graphics of the kind which find their place on museum walls … The livre d’artiste is also defined by the stature of the artist. Virtually every major painter and sculptor of the twentieth century—Picasso, Braque, Ernst, Matisse, Kokoschka, Barlach, Miró, to name a few—has collaborated in the creation of one or more such works. In many cases, book illustration has occupied such an important place in the total oeuvre of the artist that no student of art history can safely ignore it.
    [Show full text]
  • Drawing Surrealism Didactics 10.22.12.Pdf
    ^ Drawing Surrealism Didactics Drawing Surrealism is the first-ever large-scale exhibition to explore the significance of drawing and works on paper to surrealist innovation. Although launched initially as a literary movement with the publication of André Breton’s Manifesto of Surrealism in 1924, surrealism quickly became a cultural phenomenon in which the visual arts were central to envisioning the world of dreams and the unconscious. Automatic drawings, exquisite corpses, frottage, decalcomania, and collage are just a few of the drawing-based processes invented or reinvented by surrealists as means to tap into the subconscious realm. With surrealism, drawing, long recognized as the medium of exploration and innovation for its use in studies and preparatory sketches, was set free from its associations with other media (painting notably) and valued for its intrinsic qualities of immediacy and spontaneity. This exhibition reveals how drawing, often considered a minor medium, became a predominant mode of expression and innovation that has had long-standing repercussions in the history of art. The inclusion of drawing-based projects by contemporary artists Alexandra Grant, Mark Licari, and Stas Orlovski, conceived specifically for Drawing Surrealism , aspires to elucidate the diverse and enduring vestiges of surrealist drawing. Drawing Surrealism is also the first exhibition to examine the impact of surrealist drawing on a global scale . In addition to works from well-known surrealist artists based in France (André Masson, Max Ernst, Joan Miró, Salvador Dalí, among them), drawings by lesser-known artists from Western Europe, as well as from countries in Eastern Europe and the Americas, Great Britain, and Japan, are included.
    [Show full text]
  • Francis Poulenc and Surrealism
    Wright State University CORE Scholar Master of Humanities Capstone Projects Master of Humanities Program 1-2-2019 Francis Poulenc and Surrealism Ginger Minneman Wright State University - Main Campus Follow this and additional works at: https://corescholar.libraries.wright.edu/humanities Part of the Arts and Humanities Commons Repository Citation Minneman, G. (2019) Francis Poulenc and Surrealism. Wright State University, Dayton, Ohio. This Thesis is brought to you for free and open access by the Master of Humanities Program at CORE Scholar. It has been accepted for inclusion in Master of Humanities Capstone Projects by an authorized administrator of CORE Scholar. For more information, please contact [email protected]. Minneman 1 Ginger Minneman Final Project Essay MA in Humanities candidate Francis Poulenc and Surrealism I. Introduction While it is true that surrealism was first and foremost a literary movement with strong ties to the world of art, and not usually applied to musicians, I believe the composer Francis Poulenc was so strongly influenced by this movement, that he could be considered a surrealist, in the same way that Debussy is regarded as an impressionist and Schönberg an expressionist; especially given that the artistic movement in the other two cases is a loose fit at best and does not apply to the entirety of their output. In this essay, which served as the basis for my lecture recital, I will examine some of the basic ideals of surrealism and show how Francis Poulenc embodies and embraces surrealist ideals in his persona, his music, his choice of texts and his compositional methods, or lack thereof.
    [Show full text]
  • Theatre of the Absurd : Its Themes and Form
    THE THEATRE OF THE ABSURD: ITS THEMES AND FORM by LETITIA SKINNER DACE A. B., Sweet Briar College, 1963 A MASTER'S THESIS submitted in partial fulfillment of the requirements for the degree MASTER OF ARTS Department of Speech KANSAS STATE UNIVERSITY Manhattan, Kansas 1967 Approved by: c40teA***u7fQU(( rfi" Major Professor il PREFACE Contemporary dramatic literature is often discussed with the aid of descriptive terms ending in "ism." Anthologies frequently arrange plays under such categories as expressionism, surrealism, realism, and naturalism. Critics use these designations to praise and to condemn, to denote style and to suggest content, to describe a consistent tone in an author's entire ouvre and to dissect diverse tendencies within a single play. Such labels should never be pasted to a play or cemented even to a single scene, since they may thus stifle the creative imagi- nation of the director, actor, or designer, discourage thorough analysis by the thoughtful viewer or reader, and distort the complex impact of the work by suppressing whatever subtleties may seem in conflict with the label. At their worst, these terms confine further investigation of a work of art, or even tempt the critic into a ludicrous attempt to squeeze and squash a rounded play into a square pigeon-hole. But, at their best, such terms help to elucidate theme and illuminate style. Recently the theatre public's attention has been called to a group of avant - garde plays whose philosophical propensities and dramatic conventions have been subsumed under the title "theatre of the absurd." This label describes the profoundly pessimistic world view of play- wrights whose work is frequently hilarious theatre, but who appear to despair at the futility and irrationality of life and the inevitability of death.
    [Show full text]
  • PICASSO Les Livres D’Artiste E T Tis R a D’ S Vre Li S Le PICASSO
    PICASSO LES LIVRES d’ARTISTE The collection of Mr. A*** collection ofThe Mr. d’artiste livres Les PICASSO PICASSO Les livres d’artiste The collection of Mr. A*** Author’s note Years ago, at the University of Washington, I had the opportunity to teach a class on the ”Late Picasso.” For a specialist in nineteenth-century art, this was a particularly exciting and daunting opportunity, and one that would prove formative to my thinking about art’s history. Picasso does not allow for temporalization the way many other artists do: his late works harken back to old masterpieces just as his early works are themselves masterpieces before their time, and the many years of his long career comprise a host of “periods” overlapping and quoting one another in a form of historico-cubist play that is particularly Picassian itself. Picasso’s ability to engage the art-historical canon in new and complex ways was in no small part influenced by his collaborative projects. It is thus with great joy that I return to the varied treasures that constitute the artist’s immense creative output, this time from the perspective of his livres d’artiste, works singularly able to point up his transcendence across time, media, and culture. It is a joy and a privilege to be able to work with such an incredible collection, and I am very grateful to Mr. A***, and to Umberto Pregliasco and Filippo Rotundo for the opportunity to contribute to this fascinating project. The writing of this catalogue is indebted to the work of Sebastian Goeppert, Herma Goeppert-Frank, and Patrick Cramer, whose Pablo Picasso.
    [Show full text]
  • For Peer Review
    Games and Culture Introduction. The Other Caillois: the many masks of game studies Journal:For Games Peer and Culture Review Manuscript ID Draft Manuscript Type: Caillois Special Issue Roger Caillois, Game studies, Dissymmetry, Gamification, Keywords: Interdisciplinarity, Mimicry, Ludus, Paidia, Marxism, Agency, Alea, Ilinx The legacy of the rich, stratified work of Roger Caillois, the multi-faceted and complex French scholar and intellectual, seems to have almost solely impinged on game studies through his most popular work, Les Jeux et les Hommes (1957). Translated in English as Man, Play and Games (1961), this is the text which popularized Caillois’ ideas among those who do study and research on games and game cultures today, and which most often Abstract: appears in publications that attempt to historicize and introduce to the study of games––perhaps on a par with Johan Huizinga’s Homo Ludens (1938). The purpose of this paper is to introduce the papers and general purposes of a collected edition that aims to shift the attention of game scholars towards a more nuanced and comprehensive view of Roger Caillois, beyond the textbook interpretations usually received in game studies over the last decade or so. http://mc.manuscriptcentral.com/sage/games Page 1 of 16 Games and Culture 1 2 3 4 5 6 Introduction––The Other Caillois: the many masks of game studies 7 8 9 10 11 The legacy of the multi-faceted and complex work of Roger Caillois, the French scholar and 12 intellectual, seems to have almost solely impinged on game studies through his most popular 13 work, Les Jeux et les Hommes (1957).
    [Show full text]
  • Louis Aragon Was One of France's Most Prolific, Prominent, and Contro
    Jennifer Stafford Brown "AU FEU DE CE QUI FUT BRULE CE QUI SERA": LOUIS ARAGON AND THE SUBVERSIVE MEDIEVAL ouis Aragon was one of France's most prolific, prominent, and contro­ Lversial modern poets, causing strong reactions even among those he supported. As a novelist, a poet, an art critic, a member of the surrealist move­ ment and the French Resistance, and an active member of the PCF, he was throughout his long life a major figure of the French cultural landscape. From his well-known surrealist poetry to his cycle of socialist realist novels to the difficult postmodern works he wrote late in his life, his wildly diverse body of writing leaves no shortage of work for biographers and scholars. Aragon never accepted the status quo. As a surrealist, and later as an ardent Communist, he pushed the boundaries of metaphor, image, and style while passionately advocating literary and social change. During the turbulent years that led up to World War II, however, as well as during the war itself, the nature of his work changed subtly. Aragon, faced with national crisis, turned to the creation of a national myth. For him, as for many other authors, this new sense of nationalism had its roots in the Middle Ages. His contemporaries, as well as his later critics, were bewildered and intrigued by the unexpected source for this myth, going as it did against so many of his social and authorial sensibili­ ties: "Le projet d'Aragon est ala fois ideologique et poetique. II recherche les moyens d'une expression nationale, ou pour mieux dire franr;aise, a la fois populaire et savante ..
    [Show full text]
  • Succubations & Incubations
    SUCCUBATIONS & INCUBATIONS SELECTED LETTERS O F ANTONIN ARTAUD (1945-1947) by ANTONIN ARTAUD 1 2 3 SUCCUBATIONS & INCUBATIONS SELECTED LETTERS O F ANTONIN ARTAUD (1945-1947) INFINITY LAND PRESS 4 SUCCUBATIONS & INCUBATIONS SELECTED LETTERS O F ANTONIN ARTAUD (1945-1947) Translated by Peter Valente & Cole Heinowitz with an introduction by Jay Murphy Artworks by INFINITY LAND PRESS 2020 Martin Bladh & Karolina Urbaniak www.infinitylandpress.com 978-1-9160091-4-1 All rights reserved. No part of this publication may be reproduced without the prior permission of Infinity Land Press Ltd. Book design by Karolina Urbaniak INFINITY LAND PRESS Antonin Artaud Photograph by Denise Colomb, 1947 CONTENTS Introduction Artaud’s Will by Jay Murphy Transtators’ Note Letters Translated by Peter Valente & Cole Heinowitz Biographies INTRODUCTION by Jay Murphy Artaud writes he “was never born,” and “will never die.“ But in this exact period of missives, collected and translated by Peter Valente and Cole Heinowitz, Artaud is also overwhelmingly aware that, at least in this form of life, that he has put in question from his earliest writings, he is about to die. So this is the penumbra cast over these ‘late letters.’ Often refused opiates in the asylum for intestinal pains Artaud complained of, the doctors thinking Artaud was merely gaming for drugs, these were likely the first symptoms of the rectal cancer Artaud developed. Not told of this eventual medical diagnosis, nevertheless Artaud realized an end was near. One of Artaud’s very closest confidants, one of his filles du coeur, naître, Paule Thévenin, claimed Artaud died when and likely how he wanted.
    [Show full text]
  • Tristan Tzara
    DADA Dada and dadaism History of Dada, bibliography of dadaism, distribution of Dada documents International Dada Archive The gateway to the International Dada Archive of the University of Iowa Libraries. A great resource for information about artists and writers of the Dada movement DaDa Online A source for information about the art, literature and development of the European Dada movement Small Time Neumerz Dada Society in Chicago Mital-U Dada-Situationist, an independent record-label for individual music Tristan Tzara on Dadaism Excerpts from “Dada Manifesto” [1918] and “Lecture on Dada” [1922] Dadart The site provides information about history of Dada movement, artists, and an bibliography Cut and Paste The art of photomontages, including works by Heartfield, Höch, Hausmann and Schwitters John Heartfield The life and work of the photomontage artist Hannah Hoch A collection of photo montages created by Hannah Hoch Women Artists–Dada and Surrealism An excerpted chapter from Margaret Barlow’s illustrated book Women Artists Helios A beginner’s guide to Dada Merzheft German Dada, in German Dada and Surrealist Film A Bibliography of Materials in the UC Berkeley Library La Typographie Dada D.E.A. memoir in French by Breuil Eddie New York Avant-Garde, 1913-1929 New York Dada and the Armory Show including images and bibliography Excentriques A biography of Arthur Cravan in French Tristan Tzara, a Biography Excerpt from François Buot’s biography of Tzara,L’homme qui inventa la Révolution Dada Tristan Tzara A selection of links on Tzara, founder of the Dada movement Mina Loy’s lunar odyssey An online collection of Mina Loy’s life and work Erik Satie The homepage of Satie 391 Experimental art inspired by Picabia’s Dada periodical 391, with articles on Picabia, Duchamp, Ball and others Man Ray Internet site officially authorized by the Man Ray Trust to offer reproductions of the Man Ray artworks.
    [Show full text]