Preface to the Book
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The Blue Review Literature Drama Art Music
Volume I Number III JULY 1913 One Shilling Net THE BLUE REVIEW LITERATURE DRAMA ART MUSIC CONTENTS Poetry Rupert Brooke, W.H.Davies, Iolo Aneurin Williams Sister Barbara Gilbert Cannan Daibutsu Yone Noguchi Mr. Bennett, Stendhal and the ModeRN Novel John Middleton Murry Ariadne in Naxos Edward J. Dent Epilogue III : Bains Turcs Katherine Mansfield CHRONICLES OF THE MONTH The Theatre (Masefield and Marie Lloyd), Gilbert Cannan ; The Novels (Security and Adventure), Hugh Walpole : General Literature (Irish Plays and Playwrights), Frank Swinnerton; German Books (Thomas Mann), D. H. Lawrence; Italian Books, Sydney Waterlow; Music (Elgar, Beethoven, Debussy), W, Denis Browne; The Galleries (Gino Severini), O. Raymond Drey. MARTIN SECKER PUBLISHER NUMBER FIVE JOHN STREET ADELPHI The Imprint June 17th, 1913 REPRODUCTIONS IN PHOTOGRAVURE PIONEERS OF PHOTOGRAVURE : By DONALD CAMERON-SWAN, F.R.P.S. PLEA FOR REFORM OF PRINTING: By TYPOCLASTES OLD BOOKS & THEIR PRINTERS: By I. ARTHUR HILL EDWARD ARBER, F.S.A. : By T. EDWARDS JONES THE PLAIN DEALER: VI. By EVERARD MEYNELL DECORATION & ITS USES: VI. By EDWARD JOHNSTON THE BOOK PRETENTIOUS AND OTHER REVIEWS: By J. H. MASON THE HODGMAN PRESS: By DANIEL T. POWELL PRINTING & PATENTS : By GEO. H. RAYNER, R.P.A. PRINTERS' DEVICES: By the Rev.T. F. DIBDIN. PART VI. REVIEWS, NOTES AND CORRESPONDENCE. Price One Shilling net Offices: 11 Henrietta Street, Covent Garden, W.G. JULY CONTENTS Page Post Georgian By X. Marcel Boulestin Frontispiece Love By Rupert Brooke 149 The Busy Heart By Rupert Brooke 150 Love's Youth By W. H. Davies 151 When We are Old, are Old By Iolo Aneurin Williams 152 Sister Barbara By Gilbert Cannan 153 Daibutsu By Yone Noguchi 160 Mr. -
Modernist Permabulations Through Time and Space
Journal of the British Academy, 4, 197–219. DOI 10.5871/jba/004.197 Posted 18 October 2016. © The British Academy 2016 Modernist perambulations through time and space: From Enlightened walking to crawling, stalking, modelling and street-walking Lecture in Modern Languages read 19 May 2016 ANNE FUCHS Fellow of the Academy Abstract: Analysing diverse modes of walking across a wide range of texts from the Enlightenment period and beyond, this article explores how the practice of walking was discovered by philosophers, educators and writers as a rich discursive trope that stood for competing notions of the morally good life. The discussion proceeds to then investigate how psychological, philosophical and moral interpretations of bad prac- tices of walking in particular resurface in texts by Franz Kafka, Thomas Mann and the interwar writer Irmgard Keun. It is argued that literary modernism transformed walking from an Enlightenment trope signifying progress into the embodiment of moral and epistemological ambivalence. In this process, walking becomes an expression of the disconcerting experience of modernity. The paper concludes with a discussion of walking as a gendered performance: while the male walkers in the modernist texts under discussion suffer from a bad gait that leads to ruination, the new figure of the flâneuse manages to engage in pleasurable walking by abandoning the Enlightenment legacy of the good gait. Keywords: modes of walking, discursive trope, Enlightenment discourse, modernism, modernity, moral and epistemological ambivalence, gender, flâneuse. Walking on one’s two legs is an essential but ordinary skill that, unlike cycling, skate-boarding, roller-skating or ballroom dancing, does not require special proficiency, aptitude or thought—unless, of course, we are physically impaired. -
Mind-Crafting: Anticipatory Critique of Transhumanist Mind-Uploading in German High Modernist Novels Nathan Jensen Bates a Disse
Mind-Crafting: Anticipatory Critique of Transhumanist Mind-Uploading in German High Modernist Novels Nathan Jensen Bates A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2018 Reading Committee: Richard Block, Chair Sabine Wilke Ellwood Wiggins Program Authorized to Offer Degree: Germanics ©Copyright 2018 Nathan Jensen Bates University of Washington Abstract Mind-Crafting: Anticipatory Critique of Transhumanist Mind-Uploading in German High Modernist Novels Nathan Jensen Bates Chair of the Supervisory Committee: Professor Richard Block Germanics This dissertation explores the question of how German modernist novels anticipate and critique the transhumanist theory of mind-uploading in an attempt to avert binary thinking. German modernist novels simulate the mind and expose the indistinct limits of that simulation. Simulation is understood in this study as defined by Jean Baudrillard in Simulacra and Simulation. The novels discussed in this work include Thomas Mann’s Der Zauberberg; Hermann Broch’s Die Schlafwandler; Alfred Döblin’s Berlin Alexanderplatz: Die Geschichte von Franz Biberkopf; and, in the conclusion, Irmgard Keun’s Das Kunstseidene Mädchen is offered as a field of future inquiry. These primary sources disclose at least three aspects of the mind that are resistant to discrete articulation; that is, the uploading or extraction of the mind into a foreign context. A fourth is proposed, but only provisionally, in the conclusion of this work. The aspects resistant to uploading are defined and discussed as situatedness, plurality, and adaptability to ambiguity. Each of these aspects relates to one of the three steps of mind- uploading summarized in Nick Bostrom’s treatment of the subject. -
Introduction
Guston, Philip Guston 9/8/10 6:04 PM Page 1 INTRODUCTION DORE ASHTON “Create, artist! Don’t talk!” the aging Goethe counseled his contemporaries in 1815. The painter Degas seconded the old sage when he told the young poet Paul Valéry that when the muses finished their day’s work they didn’t talk, they danced. But then, as Valéry vividly recalled, Degas went on to talk of his own art for hours on end. Painters have always talked, and some, such as Delacroix, Mondrian, Kandinsky, Malevich, and Motherwell, also wrote. Certain painters, Goya, for example, also deftly used language to augment their imagery. Like Degas, who liked to talk with poets and even engaged the inscrutable Mallarmé, Guston liked talking with poets, and they with him. Among his most attentive listeners was his friend the poet Clark Coolidge, whose ear was well attuned to Guston’s sometimes arcane utterances and who has selected some of the painter’s most eloquent sessions of writing and talking, resulting in a mosaic of a life - time of thought. I was also one of Guston’s interlocutors for almost thirty years. I recognize with pleasure Coolidge’s unfurling of Guston’s cycles of talk and non-talk; his amusing feints and dodges when confronted with obtuse questioners, his wondrous bursts of language when he felt inspired, his sometimes playful contrariness, his satisfaction in being a provocateur, and his consistent preoccupation with serious aesthetic ques - tions through out his working life as a painter. Above all, I recognize Guston’s funda - mental rebelliousness, which manifested itself not only in his artistic preferences but in his politics, his choice of artistic battlefields, and his intimate studio life. -
Ut Pictora Poesis Hermann Hesse As a Poet and Painter
© HHP & C.I.Schneider, 1998 Posted 5/22/98 GG Ut Pictora Poesis Hermann Hesse as a Poet and Painter by Christian Immo Schneider Central Washington University Ellensburg, WA, U.S.A. Hermann Hesse stands in the international tradition of writers who are capable of expressing themselves in several arts. To be sure, he became famous first of all for his lyrical poetry and prose. How- ever, his thought and language is thoroughly permeated from his ear- liest to his last works with a profound sense of music. Great art- ists possess the specific gift of shifting their creative power from one to another medium. Therefore, it seems to be quite natural that Hesse, when he had reached a stage in his self-development which ne- cessitated both revitalization and enrichment of the art in which he had thus excelled, turned to painting as a means of the self expres- sion he had not yet experienced. "… one day I discovered an entirely new joy. Suddenly, at the age of forty, I began to paint. Not that I considered myself a painter or intended to become one. But painting is marvelous; it makes you happier and more patient. Af- terwards you do not have black fingers as with writing, but red and blue ones." (I,56) When Hesse began painting around 1917, he stood on the threshold of his most prolific period of creativity. This commenced with Demian and continued for more than a decade with such literary masterpieces as Klein und Wagner, Siddhartha, Kurgast up to Der Steppenwolf and beyond. -
AS.450 ( Liberal Arts) 1
AS.450 ( Liberal Arts) 1 AS.450.605. Art Since 1960. 3 Credits. AS.450 ( LIBERAL ARTS) What is contemporary art, and what are the factors that shaped it? This course will attempt to answer those questions through a chronological AS.450.082. MLA Capstone: Portfolio. and thematic investigation of some of the most influential artworks, The MLA Portfolio is a zero-credit Capstone option. Students who select movements, and theories of the past 60 years. Beginning with a close the Portfolio option will take 10 courses in the program (one core course look at mid-century modernism, we will move into a consideration of Pop, and 9 electives), and register for the zero-credit portfolio in their final Minimalism, conceptual art, land art, performance art, postmodernism, semester. The portfolio will be completed within the same semester as AIDS activism, and relational aesthetics. Along the way, we will also the 10th course. The portfolio consists of a sampling of the best papers consider the relevance of feminist and phenomenological theory and of and projects written over the course of the student's graduate career, institutional critique and globalization; at the same time, we will explore and it is designed to highlight the intellectual points of convergence in ways in which art of our own time constitutes both an extension of, and each student's course of study, presenting the student's reflections on reaction against, some of the historical ideas we encounter. Throughout, knowledge gained and lessons learned. students will have a chance to read and discuss both primary and AS.450.600. -
In --Thomas Mann
Postmodern Pathologies: Living with Disbelief in The Fictions of Angela Carter AU interest in diseuse and death is only another expression of interest in life. --Thomas Mann Jennifer J. Gustar A thesis submitted in conformity with the requirements for the degree of Doctorate Graduate Department of English University of Toronto O Copyright by Jennifer Joyce Gustar 1997 Bibliothéque nationale du Canada Acquisitions and Acquisitions et Bibliographic Services services bibliographiques 395 Wellington Street 395. rue Wellington Ottawa ON K1A ON4 OttawaON KIAON4 canada CaMda The author hm granted a non- L'auteur a accordé une licence non exclusive licence dlowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sell reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/film, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in ths thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otheMrise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. ABSTRACT Postrnodem Pathologies: Living with Disbelief in the Fictions of Angela Carter Jennifer Joyce Gustar PhD Degree-June 1997 Graduate English Department University of Toronto This study of the narrative techniques employed in Angela Carter's novels, The Infernal Desire Machines of Doctor Hoffman and Nights at the Cireur. -
Kafka and the Postmodern Divide: Hebrew and German in Aharon Appelfeld’S the Age of Wonders (Tor Ha-Pela’Ot)
THE GERMANIC REVlEW Kafka and the Postmodern Divide: Hebrew and German in Aharon Appelfeld’s The Age of Wonders (Tor Ha-pela’ot) DAVID SUCHOFF uch recent cultural criticism has argued that postmodern culture can be di- M agnosed as an unworked-through period of mourning, unable to come to terms with the Holocaust and the definitive break with modernist categories that it represents.’ Aharon Appelfeld’s Hebrew novella The Age of Wonders (1978) portrays the story of an assimilated Jewish writer and his family in Austria be- fore the Holocaust, and the story of his son Bruno, who returns to Austria from Jerusalem after the war in search of his past. The text’s very structure seems to affirm the traditional categories of the modedpostmodern divide. Bruno’s father seems to represent the formalism of modernist fiction and its paradigmatic eth- nic self-denial. As the Holocaust draws near in the first half of the novella, Jew- ish history is truly the nightmare from which the writer, as the “father” of Bruno’s apparently rootless, postmodern fate, unsuccessfully tries to awaken. “Father” (his only consistent name in the novella) constantly seeks to become an “Austrian writer,” with German as his “only language” and “mother tongue,” while critics constantly racialize him as a Jew and compare his writing to Kafka’s “parasitism” and unhealthy Jewish style.2 “Father” seems to represent classical modernism, struggling to break with the mass and enter elite culture, only to con- front the question of Jewish culture in its own terms, and those of its enemies, everywhere he turns. -
Kafka's Anti-Wagnerian Philosophy Of
53 (2/2019), pp. 109–123 The Polish Journal DOI: 10.19205/53.19.6 of Aesthetics Ido Lewit* “He Couldn’t Tell the Difference between The Merry Widow and Tristan and Isolde”: Kafka’s Anti-Wagnerian Philosophy of Music Abstract This essay exposes an anti-Wagnerian philosophy of music in Franz Kafka’s “Researches of a Dog” and “The Silence of the Sirens.” Themes of music, sound, and silence are over- whelmingly powerful in these stories and cannot be divorced from corporeal and visual aspects. These aspects are articulated in the selected texts in a manner that stands in stark opposition to Richard Wagner’s philosophy of music as presented in the composer’s sem- inal 1870 “Beethoven” essay. Keywords Richard Wagner, Franz Kafka, Philosophy of Music, Transcendence, Acousmatic Sound, Silence Max Brod, Franz Kafka’s close friend and literary executor, recalls in his bi- ography of the author that Kafka once said that “he couldn’t tell the differ- ence between The Merry Widow and Tristan and Isolde” (1995, 115). Brod evokes this memory in order to exemplify Kafka’s supposed lack of musi- cality. Indeed, for a German-speaking intellectual such as Kafka, not being able to differentiate Franz Lehár’s light operetta from Richard Wagner’s solemn, monumental music-drama would not simply be an example of unmusicality, but a symptom of cultural autism. While Brod’s recollection is sssssssssssss * Yale University Department of Germanic Languages and Literatures and the Program in Film and Media Studies Email: [email protected] 110 I d o L e w i t __________________________________________________________________________________________________ the only documented reference by Kafka to Wagner or his works,1 it does not necessarily follow that Kafka was unaware of Wagner’s views of music and its effects. -
Czech Language and Literature Peter Zusi
chapter 17 Czech Language and Literature Peter Zusi Recent years have seen a certain tendency to refer to Kafka as a ‘Czech’ author – a curious designation for a writer whose literary works, without exception, are composed in German. As the preceding chapter describes, Kafka indeed lived most of his life in a city where Czech language and society gradually came to predominate over the German-speaking minor- ity, and Kafka – a native German-speaker – adapted deftly to this changing social landscape. Referring to Kafka as Czech, however, is inaccurate, explicable perhaps only as an attempt to counterbalance a contrasting simplification of his complicated biography: the marked tendency within Kafka scholarship to investigate his work exclusively in the context of German, Austrian or Prague-German literary history. The Czech socio-cultural impulses that surrounded Kafka in his native Prague have primarily figured in Kafka scholarship through sociological sketches portraying ethnic animosity, lack of communication and, at times, open violence between the two largest lin- guistic communities in the city. These historical realities have given rise to the persistent image of a ‘dividing wall’ between the Czech- and German- speaking inhabitants of Prague, with the two populations reading different newspapers, attending separate cultural institutions and congregating in segregated social venues. This image of mutual indifference or antagonism has often made the question of Kafka’s relation to Czech language and cul- ture appear peripheral. Yet confronting the perplexing blend of proximity and distance, famil- iarity and resentment which characterized inter-linguistic and inter- cultural contact in Kafka’s Prague is a necessary challenge. -
The German Literature in American Exile – Great Writers and Their Wives: Perspectives from Russian Scholars
SHS Web of Conferences 55, 04018 (2018) https://doi.org/10.1051/shsconf/20185504018 ICPSE 2018 The German literature in American exile – great writers and their wives: perspectives from Russian scholars Svetlana Averkina1,*, Angelika Kalinina1, and Tatiana Suchareva1 1Linguistics University of Nizhny Novgorod, 603115, 31-a Minina str., Nizhniy Novgorod, Russia Abstract. The article focuses on the life and art of the famous Germane writers, namely Thomas Mann, Lion Feuchtwanger, and Franz Werfel. After the outbreak of WWII, when the Nazi forces invaded these lands, a lot of emigres managed to leave for the USA. For many of them, the escape route was extremely turbulent. The German writers in the USA settled closely together in California, forming a tight community. The famous Germane writers had to decide upon two principal questions: what they could do for the culture of their home country while staying in exile, and how to interact with the culture of the country where they live. In this connection, it is of great importance to analyze not their works, but the books of their wives. They took care of the house and children on a daily basis, as well as became secretaries, councilors, and closest associates of their great husbands. The authors also propose the main perspectives on a future research on this topic, focusing on the social and political phenomenon of “the community of German writers in American exile”, analyzing how the intellectual community was formed, discussing the documents of this age, studying the memories about their time in America in the context of the contemporary gender theory. -
The Complete Stories
The Complete Stories by Franz Kafka a.b.e-book v3.0 / Notes at the end Back Cover : "An important book, valuable in itself and absolutely fascinating. The stories are dreamlike, allegorical, symbolic, parabolic, grotesque, ritualistic, nasty, lucent, extremely personal, ghoulishly detached, exquisitely comic. numinous and prophetic." -- New York Times "The Complete Stories is an encyclopedia of our insecurities and our brave attempts to oppose them." -- Anatole Broyard Franz Kafka wrote continuously and furiously throughout his short and intensely lived life, but only allowed a fraction of his work to be published during his lifetime. Shortly before his death at the age of forty, he instructed Max Brod, his friend and literary executor, to burn all his remaining works of fiction. Fortunately, Brod disobeyed. Page 1 The Complete Stories brings together all of Kafka's stories, from the classic tales such as "The Metamorphosis," "In the Penal Colony" and "The Hunger Artist" to less-known, shorter pieces and fragments Brod released after Kafka's death; with the exception of his three novels, the whole of Kafka's narrative work is included in this volume. The remarkable depth and breadth of his brilliant and probing imagination become even more evident when these stories are seen as a whole. This edition also features a fascinating introduction by John Updike, a chronology of Kafka's life, and a selected bibliography of critical writings about Kafka. Copyright © 1971 by Schocken Books Inc. All rights reserved under International and Pan-American Copyright Conventions. Published in the United States by Schocken Books Inc., New York. Distributed by Pantheon Books, a division of Random House, Inc., New York.