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The Futurist Moment : Avant-Garde, Avant Guerre, and the Language of Rupture
MARJORIE PERLOFF Avant-Garde, Avant Guerre, and the Language of Rupture THE UNIVERSITY OF CHICAGO PRESS CHICAGO AND LONDON FUTURIST Marjorie Perloff is professor of English and comparative literature at Stanford University. She is the author of many articles and books, including The Dance of the Intellect: Studies in the Poetry of the Pound Tradition and The Poetics of Indeterminacy: Rimbaud to Cage. Published with the assistance of the J. Paul Getty Trust Permission to quote from the following sources is gratefully acknowledged: Ezra Pound, Personae. Copyright 1926 by Ezra Pound. Used by permission of New Directions Publishing Corp. Ezra Pound, Collected Early Poems. Copyright 1976 by the Trustees of the Ezra Pound Literary Property Trust. All rights reserved. Used by permission of New Directions Publishing Corp. Ezra Pound, The Cantos of Ezra Pound. Copyright 1934, 1948, 1956 by Ezra Pound. Used by permission of New Directions Publishing Corp. Blaise Cendrars, Selected Writings. Copyright 1962, 1966 by Walter Albert. Used by permission of New Directions Publishing Corp. The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 1986 by The University of Chicago All rights reserved. Published 1986 Printed in the United States of America 95 94 93 92 91 90 89 88 87 86 54321 Library of Congress Cataloging-in-Publication Data Perloff, Marjorie. The futurist moment. Bibliography: p. Includes index. 1. Futurism. 2. Arts, Modern—20th century. I. Title. NX600.F8P46 1986 700'. 94 86-3147 ISBN 0-226-65731-0 For DAVID ANTIN CONTENTS List of Illustrations ix Abbreviations xiii Preface xvii 1. -
THE TWENTIETH CENTURY, 1900-45 by Owen HEATHCOTE and DAVID Loose LEY, Lecturersinfrenchstudiesat the University Ofbradford
French Studies THE TWENTIETH CENTURY, 1900-45 By OwEN HEATHCOTE and DAVID LoosE LEY, LecturersinFrenchStudiesat the University ofBradford I. EssAYs, STUDIES Angles, Circumnavigations, posthumously reprints articles on, among others, Alain, Aragon, Claudel, Copeau, Drieu la Rochelle, Du Bos, Fernandez, Gide, Giono, Larbaud, Paulhan, Riviere, Supervielle, Valery. Shari Benstock, Women of the Left Bank: Paris, rgoo-1940, Austin, Texas U.P., 5I8 pp., is an original study which, though chiefly concerned with the lives and works of American expatriates (Colette is an exception), sheds light on the modernist culture of literary Paris by investigating the contribution of women to it and the specificity of their experience within it. Claudel Studies, I 3, no. 2, I I I pp., subtitled 'Satan, Devil, or Mephistopheles?', addresses the problem of evil conceived as existing independently of the individual: A. Espiau de la Maestre on Satan in Claudel's theatre, S. Maddux on Bernanos, M. M. Nagy on Valery, C. S. Brosman on Gide, L. M. Porter on Mauriac's Les Anges noirs, P. Brady on Proust and Des vignes, M.G. Rose on Green, and B. Stiglitz on Malraux. Hommage Dicaudin is a rich volume focusing on the birth of the modern and straddling I 9th and 20th cs. Of relevance to our period are the third section, 'de !'esprit nouveau', the fourth, devoted naturally to Apollinaire, and the fifth, 'derives de l'esprit nouveau', containing pieces on the unconscious in Soupault, and on Apollinaire andjouve. Others figuring here arejammes, Cendrars, Reverdy, and Aragon. Hommages Petit•contains inidits by Green, Claude!, and Mauriac and eight articles on C. -
Influence and Cannibalism in the Works of Blaise Cendrars and Oswald De Andrade
Modernist Poetics between France and Brazil: Influence and Cannibalism in the Works of Blaise Cendrars and Oswald de Andrade Sarah Lazur Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2019 1 © 2019 Sarah Lazur All rights reserved 2 ABSTRACT Modernist Poetics between France and Brazil: Influence and Cannibalism in the Works of Blaise Cendrars and Oswald de Andrade Sarah Lazur This dissertation examines the collegial and collaborative relationship between the Swiss-French writer Blaise Cendrars and the Brazilian writer Oswald de Andrade in the 1920s as an exemplar of shifting literary influence in the international modernist moment and examines how each writer’s later accounts of the modernist period diminished the other’s influential role, in revisionist histories that shaped later scholarship. In analyzing a broad range of source texts, published poems, fiction and essays as well as personal correspondence and preparatory materials, I identify several areas of likely mutual influence or literary cannibalism that defied contemporaneous expectations for literary production from European cultural capitals or from the global south. I argue that these expectations are reinforced by historical circumstances, including political and economic crises and cultural nationalism, and by tracing the changes in the authors’ accounts, I give a fuller narrative that is lacking in studies approaching either of the authors in a monolingual context. 3 Table of Contents Abbreviations ii Acknowledgements iii Introduction 1 Chapter 1 – Foreign Paris 20 Chapter 2 – Primitivisms and Modernity 57 Chapter 3 – Collaboration and Cannibalism 83 Chapter 4 – Un vaste malentendu 121 Conclusion 166 Bibliography 170 i Abbreviations ABBC A Aventura Brasileira de Blaise Cendrars: Eulalio and Calil’s major anthology of articles, correspondence, essays, by all major participants in Brazilian modernism who interacted with Cendrars. -
A Reference for the Art Songs of Dora Pejacevic
AUVIL, RICHARD D., D.M.A. A Reference for the Art Songs of Dora Pejačević with English Translations of the Song Texts. (2014) Directed by Dr. James Douglass. 99 pp. Dora Pejačević (1885-1923) is recognized as an influential figure in the musical history of her native country, Croatia. In addition to composing a number of works for solo piano, voice, and violin, her compositional output includes, among other works, a piano quartet, a piano quintet, a piano concerto, and a symphony. In recent years, within her native Croatia, a renewed interest has developed in the works of Dora Pejačević. Coupled with this interest is a hope that increased awareness of these compositions might occur beyond the borders of this country. Dora Pejačević wrote thirty-three art songs, with the first composed at the age of fifteen and the last composed within three years of her death. It is this component of her oeuvre that this document addresses in three ways: by providing the first comprehensive collection of translations, both word-for-word and grammatically-fluent, of the complete song texts; by guiding the reader to current literature and research for any given song; and finally, by introducing new research relevant to the songs. Simultaneously, this document increases the accessibility of these songs to English-speaking readers both through the translations of the song texts, and by summarizing and highlighting information found in foreign-language research pertaining to the composer and her songs. In addition, a brief biography of Dora Pejačević is followed by a discussion of tangential themes intended to increase awareness of topics often found in the academic discourse concerning the composer. -
SK 2003-2 Buch.Indb
FRANZ KAFKA JUDAISM AND JEWISHNESS By Rosy S ingh (Delhi) I. Jews like Spinoza, Franz Kafka, Heinrich Heine, Walter Benjamin, Sigmund Freud, Karl Kraus, among others, have rightly been categorised as “conscious pari- ahs”, who earned dignity and prestige for their people through their creative abili- ties, by Hannah Arendt in her essay ›Th e Jew as Pariah. A Hidden Tradition‹ (1944). Th ese poets and thinkers were “bold spirits” who contributed their bit to make the emancipation of the Jews “what it really should have been – an admission of Jews as Jews to the ranks of humanity, rather than a permit to ape the gentiles, or an op- portunity to play the parvenu.” According to Arendt, the conscious pariah is a hid- den tradition because there are few links among these great but isolated individuals. Th e counterparts of conscious pariahs are the parvenus, the upstarts who for the sake of upward mobility or out of fear try to join the ranks of non-Jews. According to Arendt, the pariahs use their minds and hearts whereas the parvenus use their elbows to raise themselves above their fellow Jews into the respectable world of the gentiles.1) Hannah Arendt is too modest to count herself in the prestigious list of conscious pariahs but, taking into account the rising popularity of her books, she is certainly one in spite of her controversial relationship with her mentor, Heidegger. She initiated the publication of Kafka’s diaries in America. Th is paper explores the role of Judaism and Jewishness in the writings of Kafka, one of the most famous Jews of the twentieth century. -
Benjamin (Reflections).Pdf
EFLECTIOMS WALTEU BEHiAMIH _ Essays, Aphorisms, p Autobiographical Writings |k Edited and with an Introduction by p P e t e r D e m e t z SiiiiiiiiiiiiiiiiiiiiiiittiiiiiiiiiiiiiltiAMiiiiiiiAiiiiiiiiii ^%lter Benjamin Essays, Aphorisms, Autobiographical W ritings Translated, by Edmund Jephcott Schocken Books^ New York English translation copyright © 1978 by Harcourt BraceJovanovich, Inc. Alt rights reserved under International and Pan-American Copyright Conven tions. Published in the United States by Schocken Books Inc., New YoTk. Distributed by Pantheon Books, a division of Random House, Inc., New York. These essays have all been published in Germany. ‘A Berlin Chronicle” was published as B erliner Chronik, copyright © 1970 by Suhrkamp Verlag; "One-Way Street” as Einbahnstrasse copyright 1955 by Suhrkamp Verlag; "Moscow,” “Marseilles;’ “Hashish in Marseilles:’ and " Naples” as “Moskau “Marseille,” “Haschisch in Marseille,” and “Weapel” in Gesammelte Schrifen, Band IV-1, copyright © 1972 by Suhrkamp Verlag; “Paris, Capital of the Nineteenth Century," “Karl Kraus,” - and "The Destructive Character” as "Paris, die H auptskult des XlX.Jahrhvmdertsl' "Karl Kmus’,’ and “Der destruktive Charakter" in llluminationen, copyright 1955 by Suhrkamp Verlag; “Surrealism,” “On Language as Such and on the Language of Man,” and “On the M i me tic faculty" as “Der Silry:eaWsmus,” “Uber die Sprache ilberhaupt und ilber die Sprache des Menschen” and "Uber das mimelische Vermogen” in Angelus copyright © 1966 by Suhrkamp Verlag; “ Brecht’s Th r eep en n y Novel” as “B r e c h t ’s Dreigroschmroman" in Gesammelte Sr.hrifen, Band III, copyright © 1972 by Suhrkamp Verlag; “Conversations with Brecht” and “The Author as Producer" as “Gespriiche mit Brecht" and “Der Autor ais Produz.erit” in Ver-SMche ilber Brecht, copyright © 1966 by Suhrkamp Verlag; “Critique of Violence/' "Fate and Character,” and “Theologico-Political Fragment” as "Zur K r itiz der Gewalt',' "Schicksal und Charakter" and "Theologisch-polilisches Fr< ^ m ent" in Schrifen, Band I, copyright © 1955 by Suhrkamp Verlag. -
Peter Owen Catalogue | Autumn 2015/Spring 2016
PETER OWEN CATALOGUE AUTUMN 2015/SPRING 2016 Publishers of 10 Nobel Prize winners SOME AUTHORS WE HAVE PUBLISHED James Agee Erté James Laughlin Iván Sándor Bella Akhmadulina Knut Faldbakken Patricia Laurent George Santayana Tariq Ali Ida Fink Violette Leduc May Sarton Kenneth Allsop Wolfgang George Fischer Lee Seung-U Jean-Paul Sartre Alfred Andersch Nicholas Freeling Vernon Lee Ferdinand de Saussure Guillaume Apollinaire Philip Freund József Lengyel Gerald Scarfe Machado de Assis Carlo Emilio Gadda Robert Liddell Albert Schweitzer Miguel Angel Asturias Rhea Galanaki Francisco García Lorca George Bernard Shaw Oya Baydar Salvador Garmendia Moura Lympany Isaac Bashevis Singer Duke of Bedford Michel Gauquelin Thomas Mann Patwant Singh Oliver Bernard André Gide Dacia Maraini Johanna Sinisalo Thomas Blackburn Natalia Ginzburg Marcel Marceau Edith Sitwell Jane Bowles Jean Giono André Maurois Suzanne St Albans Paul Bowles Geoffrey Gorer Henri Michaux Stevie Smith Richard Bradford William Goyen Henry Miller C.P. Snow Ilse, Countess von Bredow Julien Gracq Miranda Miller Bengt Söderbergh Lenny Bruce Sue Grafton Marga Minco Vladimir Soloukhin Finn Carling Robert Graves Yukio Mishima Natsume Soseki Blaise Cendrars Angela Green Quim Monzó Muriel Spark Marc Chagall Julien Green Margaret Morris Gertrude Stein Giorgio de Chirico George Grosz Angus Wolfe Murray Bram Stoker Uno Chiyo Barbara Hardy Atle Næss August Strindberg Hugo Claus H.D. Gérard de Nerval Rabindranath Tagore Jean Cocteau Rayner Heppenstall Anaïs Nin Tambimuttu Albert Cohen David Herbert Yoko Ono Elisabeth Russell Taylor Colette Gustaw Herling Uri Orlev Emma Tennant Ithell Colquhoun Hermann Hesse Wendy Owen Anne Tibble Richard Corson Shere Hite Arto Paasilinna Roland Topor Benedetto Croce Stewart Home Marco Pallis Miloš Urban Margaret Crosland Abdullah Hussein Oscar Parland Anne Valery e.e. -
Museo Picasso Málaga
TOYS OF THE AVANT-GARDE 4th October, 2010 – 30th January, 2011 . Toys of the Avant-garde at Museo Picasso Málaga will illustrate the way in which early 20th-century artists and writers became interested in familiarizing children with the shapes and ideas of modern art, and in projecting their own ideals for the future upon them. Crucial artists such as Pablo Picasso, Giacomo Balla, Alexander Calder, Fortunato Depero, Alexandra Exter, Paul Klee, El Lissitzky, Joan Miró, Alexander Rodchenko, Oskar Schlemmer, Edward Steichen, Sophie Taeuber- Arp and Joaquín Torres-García are just some of the many artists whose work can be seen at the exhibition, and who include writers such as Vladimir Maiakovski and Ramón Gómez de la Serna. They are all represented in an outstanding collection of around six hundred games, puppets, dolls, toy furniture, books and artworks . Curated by Carlos Pérez and José Lebrero Stals, artistic director of MPM, Toys of the Avant-garde examines the hitherto little-explored relationship between art and teaching, in the numerous projects for children that appeared in Europe during this revolutionary period. Nowadays, they are seen as major examples of some of the artistic and literary trends that were to set the course for art and design today The first quarter of the 20th century saw the birth of a series of political and social ideas whose purpose was to break away from previous formulas and set up new forms of government. Communism, Fascism, and the democracies that arose following the decline of the old Central-European empires attracted groups of artists who eagerly hoped that their aesthetic proposals would be transferred to society and permeate everyday life, thus contributing to the advent of a new lifestyle. -
Über Karl Kraus Über Kafka
CIIRTS‘FTAN WAGE\K‘~itcJfl‘ Über Karl Kraus über Kafka ich hatte sprechen no//ca über die Frage “fJ‘t liegt Ka/kas Prag? “, und die Antn‘ort hätte gelautet: nicht in Böhmen am hier,; nie im ‘fl~ntei‘niä,‘c/,e,~‘ aber auch nicht an der Moldau. Das sollte hei ßen: Die Stadt, ai der sich ‘Dc, Pro:ess‘ begibt, ‘Die F‘hi‘n‘ai,dlung‘ eilhigt, ‘Das (]m‘teil‘ eigeht, ist nicht in dem~i Sinne/hr Pi‘ug zu hai te,,, nie gesagt neiden kam,,,, ik~/l die ‘Budden/,,‘oo/cs‘ in Lübeck spielen. ich habe das a,~/~egeben, aus ‚neh,‘ als einem G,‘und, vor allem~i aber dar,,,,,, ‚ ‘cii ich, in~ Vhm‘la,,/‘ der Am‘heit ge/änile,, habe, daß Pcn‘el ELv,,er ii, eii,en, seiner hetzte,, Au!,ditze, dem,, über ‘Fm‘am,z Kctfkas >P,‘,,zes,v‘z und Pm‘ag‘ (Gei‘,nam, L~/b Lind Lettem‘s 14, 1960/61, 16-25) die Im‘realität i‘on Ka/kas JK‘lt, gem‘ade auch hin sicht/ich il,,‘er Topogm‘apl,ie, ühem‘zengem,d damgetam, h,ai, ich hätte nieinem Fi‘e,ou/ da n‘enj,~ I‘/e,,es sagen könne,,. Stattdesse,, habe ich in,,, das (son‘eit „‘im‘ nissen) eine und eimizige JJ‘b,‘t, das‘ Karl Km‘a,,s über F,‘anz Ka/k~, gespm‘oche,, oder i‘ielmnei,r gescln‘iehe,, hat, a,,/,a,,d teil,,‘eise nm,hekam,m,ter Qnellen „ii ei,, paar Em‘läutem‘,,ngem, “em‘sel,en, Kurt Krolop hat recht: es war um 1910 “frir einen jungen, literarisch interessier ten deutschsprachigen Prager kaum möglich, von der Existenz der ‘Fackel‘ nicht Kenntnis zu nehmen“,l Wenn er wie Franz Kafka außerdem befreundet war mit Max Brod, der sich ein paar Jahre zuvor, obgleich vergeblich, um eine Mitarbeit an der Wiener Zeitschrift bemüht hatte,2 dann mußte er wohl eine der ersten Gelegenheiten wahrnehmen, den ebenso berühmten wie herüchtigten 1 lerausge her und wichtigsten Autor der Fackel auch einmal zu sehen und zu hören,3 Nachdem er Kraus‘ erste Prager Vorlesung am 12. -
Documentary Theatre, the Avant-Garde, and the Politics of Form
“THE DESTINY OF WORDS”: DOCUMENTARY THEATRE, THE AVANT-GARDE, AND THE POLITICS OF FORM TIMOTHY YOUKER Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2012 © 2012 Timothy Earl Youker All rights reserved ABSTRACT “The Destiny of Words”: Documentary Theatre, the Avant-Garde, and the Politics of Form Timothy Youker This dissertation reads examples of early and contemporary documentary theatre in order to show that, while documentary theatre is often presumed to be an essentially realist practice, its history, methods, and conceptual underpinnings are closely tied to the historical and contemporary avant-garde theatre. The dissertation begins by examining the works of the Viennese satirist and performer Karl Kraus and the German stage director Erwin Piscator in the 1920s. The second half moves on to contemporary artists Handspring Puppet Company, Ping Chong, and Charles L. Mee. Ultimately, in illustrating the documentary theatre’s close relationship with avant-gardism, this dissertation supports a broadened perspective on what documentary theatre can be and do and reframes discussion of the practice’s political efficacy by focusing on how documentaries enact ideological critiques through form and seek to reeducate the senses of audiences through pedagogies of reception. TABLE OF CONTENTS LIST OF ILLUSTRATIONS iii INTRODUCTION: Documents, Documentaries, and the Avant-Garde 1 Prologue: Some History 2 Some Definitions: Document—Documentary—Avant-Garde -
1. Einleitung Karl Kraus Und Rainer Maria Rilke Werden Allgemein Als
96 Zufall, daß die erste Übersetzung der Letzten Tage der Mensch/zeit eben die tsche chische Ausgabe von 1933 war, Posledni dnov~ lidstva (übersetzt von Jan Münzer). Durch diesen Hinweis. wie durch die anderen zuvor angeführten Beispiele, hoffe ich, den Nachweis erbracht zu haben, daß Kraus sich nicht nur in Janowitz zu Hause fühlt - er fand auch in der Tschechoslowakei eine zweite geistige Heimat. ALEXANDER D~I~IsdH Anmerkungen Karl Kraus und Rainer Maria Rilke Zur Geschichte ihrer Beziehung 1 Kraus. Karl: Frühe Schriften, hgg. J. J. Braakenburg, 3 Bde. München 1979.11, 115. 2 Hinweise auf die von Karl Kraus herausgegebene Zeitschrift ‘Die Fackel‘ (1899- 1936) werden im Text mit der Sigle F gekennzeichnet, gefolgt von Nummer und Seitenzahl. 1 3 Krolop, Kurt: ‘Die Tschechen bei Karl Kraus - Karl Kraus bei den Tschechen‘. In: 1. Einleitung Reflexionen der Fackel. Neue Studien zu Karl Kraus. Wien 1994, 179-98; vgl. auch Ders.: Karl Kraus und Rainer Maria Rilke werden allgemein als zwei einander entgegen Zur Frühgeschichte der tschechischen Karl Kraus-Rezeption um 1910. In: brücken. Neue gesetzte Exponenten einer literarischen Epoche angesehen. Diese ‘Gegnerschaft‘ Folge 4. GJb Tschechien-Slowakei 1996. Hgg. v. M. Berger/Krolop, K./Papsonovä, M. wird hier in Frage gestellt. Es wird gezeigt, daß Gemeinsamkeiten vorhanden wa Berlin-Prag-Pre~ov 1996, 19-31. Auch für weitere, im Laufe der Diskussion gebene Hinweise ren. Anhand einer Analyse der gegenseitigen Rezeption wird die Entwicklung der bin ich Herrn Krolop zu Dank verpflichtet. Beziehung dargestellt. Dabei wird auch auf Texte Dritter eingegangen. 4 Zitiert in K. Krolop: Reflexionen der Fackel, S.199 f. -
Penderecki: Symphony No. 8 Naxos 8.570450
Penderecki: Symphony No. 8 Naxos 8.570450 Naxos 8.570450 Krzysztof Penderecki: Symphony No. 8 Symphonie Nr. 8 "Lieder der Symphony No. 8 "Songs of Transience" Vergänglichkeit" [1] Nachts At Night Joseph von Eichendorff Joseph von Eichendorff Ich stehe in Waldesschatten I stand in the shade of the forest, Wie an des Lebens Rand, as though at the edge of life, Die Länder wie dämmernde Matten. the lands like darkening meadows, Der Strom wie ein silbern Band. the stream like a silver ribbon. Von fern nur schlagen die Glocken The only sound is of church bells Über die Wälder herein, from far away over the woods. Ein Reh hebt den Kopf erschrocken A startled deer raises its head Und schlummert gleich wieder ein. then falls back to sleep. Der Wald aber rühret die Wipfel But the wood ruffles the tree-tops Im Traum von der Felsenwand, as they dream on the rock face, Denn der Herr geht über die Gipfel for the Lord passes over the mountain-tops Und segnet das stille Land. and blesses the peaceful land. [2] Ende des Herbstes (1. Strophe) End of Autumn (1st verse) Rainer Maria Rilke Rainer Maria Rilke Ich sehe seit einer Zeit, For some time I have noticed wie alles sich verwandelt. how everything changes. Etwas steht auf und handelt Something rises up and takes action und tötet und tut Leid. and kills and does harm. [3] Bei einer Linde By a Lime-Tree Joseph von Eichendorff Joseph von Eichendorff Seh’ ich dich wieder, du geliebter Baum, Do I see you again, beloved tree In dessen junge Triebe in whose fresh shoots Ich einst in jenes Frühlings schönstem I once carved the name of my first love Traum during that beautiful dream-like spring? Den Namen schnitt von meiner ersten Liebe? Wie anders ist seitdem der Äste Bug, How much the canopy of boughs Verwachsen und verschwunden has grown and changed since then.