DOCSLIB.ORG

Catalog 2019 Final Web.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Catalog 2019 Final Web.Pdf THE UDP COLLECTIVE Yelena Gluzman Chuck Kuan Sarah Lawson Silvina López Medin Anna Moschovakis Michael Newton Lee Norton Daniel Owen Kyra Simone Rebekah Smith Matvei Yankelevich BOARD OF DIRECTORS Amy S. Choi Edwin Frank Peter Freed Rebecca Gee Nicholas Risteen ADVISORY BOARD Neil Alger Charles Bernstein James Copeland James Hoff Bob Holman Jennifer Kabat Ben Lerner Sarah McCarry Brett Price Troy Selvaratnam Alina Simone Christopher Stackhouse Johnny Temple Elizabeth Willis RECENT & CURRENT APPRENTICES & INTERNS C. Bain Zoe Guttenplan Emily Bang Jonelle Mannion Cassidy Batiz Denise Millstein Lucie Berjoan Paige Parsons Jamie Chiang Serena Solin Neelufar Franklin Lix Zackeroff CATALOGUE DESIGN Sarah Lawson, Don't Look Now! COVER DESIGN Harris Bauer, Serena Solin, Don’t Look Now! TYPEFACES Fort and Bell MT PRINTING McNaughton & Gunn TYPESETTING SUPPORT Paige Parsons, Jamie Chiang THANKS Megan Mangum/Words That Work; Jeremy Mickel/MCKL OUR MISSION & PROGRAMS Ugly Duckling Presse is a not-for-profit publisher for poetry, translation, experimental nonfiction, performance texts, and books by artists. With a volunteer editorial collective of artists and writers at its heart, UDP grew out of a 1990s zine into a small press that has published more than 300 titles to date, with an editorial office and letterpress workshop in the Old American Can Factory in the industrial neighborhood of Gowanus, Brooklyn. UDP favors emerging, international, and “forgotten” writers, and our books, chapbooks, special editions, periodicals, broadsides, and ephemera often contain handmade elements, calling attention to the labor and history of bookmaking. In all of our activities, UDP endeavors to create an experience of art free of expectation, coercion, and utility. Every year, UDP publishes between twenty and twenty-five titles, some of which belong to our various series: Dossier, the Eastern European Poets Series, Lost Literature, Emergency Playscripts, the Señal series of contemporary Latin American poetry, Original Web Books, and Paperless Books. Our out-of-series books tend to be single volumes by English- language poets, or works in translation. Our print runs typically range from 750 to 1,500 copies for books (trade paperbacks), and 500 to 750 for chapbooks, some of which are bound by hand with the help of volunteers at the UDP workshop. From time to time, we also print broadsides, ephemera, and limited edition books. The Online Chapbook Archive and the Digital Proofs Program offer free digital reading experiences of many of our titles. UDP has published several periodicals, including the Emergency Gazette (1999-2002), 6x6 (2000-2017), and New York Nights (2001- 2006). Emergency INDEX, an annual of performance documents, has been coming out since 2012. A new poetry periodical launches in 2019. In 2020, the Presse will put out a series of twenty pamphlet-length essays on performance, poetics, translation, collectivity, pedagogy, and print culture — themes closely related to UDP's various publishing arms and initiatives. UGLY DUCKLING PRESSE NEW AND FORTHCOMING 2019-2020 AMANDA BERENGUER MATERIA PRIMA POETRY Amanda Berenguer (1921 - 2010) was a I’m Amanda — from vital presence in Uruguayan literary life for more than six decades. She is a key figure in Montevideo – the “Generation of 1945,” known around the daughter of Amanda, world for its energetic experimentation. Her cow-eyed first book appeared in Montevideo in 1940, followed by a steady stream of collections contemporary deity recognized for their excellence. Her many blackbird heart with honors included the prestigious international Casa de las Américas Prize for Poetry (1986) lightning bolts and two national prizes for her collection La where the flash that dama de Elche. shatters night comes Materia Prima is the first English- to roost language collection of Amanda Berenguer’s it flaps joy inciting life poetry.Berenguer (1921-2010) stands among daughter of Rimmel, the most important post-World War II poets of Latin America, along with her now- father legendary compatriot Marosa di Giorgio. Her fighting cock poetry ranges from classic, measured lyric to Dickinson-inspired gnomic utterance; cruel Cerberus from metaphysical and erotic rhetorical or tender marrow effusion to condensed and radically concrete under the feathers experiment; from seemingly apolitical languor to pointed ideological dissent. almost bearings almost arrows Edited by Kristin Dykstra and Kent Johnson sister of Rimmel, Translated from Spanish by Gillian Brassil, sacrificed and dear Anna Deeny Morales, Mónica de la Torre, dead because the Kristin Dykstra, Kent Johnson, Urayoán Noel, Jeannine Marie Pitas, and Alex Verdolini dead from the kingdom of the dead Feisty yet lyrical, playful yet deeply surrounded him serious, explorative yet assured. — PIERRE JORIS LOST LITERATURE #24 ISBN 978-1-946433-06-0 TRADE PAPERBACK SPRING 2019 ROCHELLE FEINSTEIN PLS. REPLY ESSAY/ART Women artists have been Rochelle Feinstein (born 1947) has long been influential as both an abstract painter aggressive in their practice and an educator (she was one of the first from inside and outside the women to be tenured in the Visual Arts at discipline of painting in Yale, where she still teaches). Her thrillingly reckless paintings, deeply informed by shaping representations of abstraction, while also conveying a keen subjects beyond the historically sensibility to contemporary culture, particularly to our everyday use of language, constructed categories of are full of gestural edge, humor and pop- traditional art. They have, for cultural allusion. instance, created ingenious Pls. Reply spans the last four decades forms of expression offering of Feinstein's writings, as she probed the immediate access to their issues, relevance of the abstract painting tradition using ordinary, mass-produced vis-a-vis a rapidly changing cultural environment. Pls. Reply intends to give materials. In doing this many readers a broad scope of Feinstein’s ongoing assert it as a choice not to engage, engagement with the subject, in magazine articles, personal writing, conference transgress against, or compete presentations, school assignments, and with the historical authority of exhibition proposals. The book includes 16 abstraction. Men have found it full-color photographs of the artist's studio and a letterpressed bookmark. all too easy to maintain their ever “widened artistic options.” As for Edited by Sergio Bessa women who continue to paint, Co-published with The Bronx Museum they are treated as if they had of the Arts and Stellar Projects penises (unless they paint them) — but without the privileges in either case. An extra burden of Rochelle uses abstract painting blame is served to these women: to question just about everything, and then uses just about anything why are you doing men’s work? to question abstract painting. — BARRY SCHWABSKY, ARTFORUM ISBN 978-1-946433-34-3 TRADE PAPERBACK SPRING 2019 ROBERT FITTERMAN ROB’S WORD SHOP POETICS/ART/PERFORMANCE Robert Fitterman is the author of 15 Left apartment on books of poetry, including This Window Makes Me Feel (UDP), Nevermind (Wonder Books), bicycle at 10:30 AM No Wait, Yep. Definitely Still Hate Myself (UDP), Holocaust Museum (Counterpath, for Rob’s Word Shop. and Veer), and now we are friends (Truck Stopped at stationary Books), and is the co-author of Notes on Conceptualisms (UDP). He is the founding store for envelopes and member of the international artists and writers collective, Collective Task. He teaches folders ($5.25). Arrived at New York University and is a member of the at Rob’s Word Shop writing faculty of the Milton Avery School of the Arts at Bard College. promptly at 11:00 AM. First customer arrived Rob’s Word Shop documents the exchanges of Fitterman’s storefront shop, at 12:30 PM. Served 6 where he sold individual letters and words during the month of May 2010. customers continuously This special edition artist’s book contains from 12:45 to 2:05 PM. ledgers and transcriptions, followed by an essay by the store’s Records Manager, Closed shop and left Lawrence Giffin, and a sampling of materials collected for the store’s archives. 308 Bowery at 2:15 PM. Arrived at apartment, on bicycle, at 2:30 PM. Total sales: $7.00. Below is a list of words sold: tops, technicolor, better, unscripted; off the books (gratis), Constraint-B, These transcripts doggedly elude our desire to name all the affects they contain. nachleben. — BRANDON BROWN ISBN 978-1-937027-48-3 SPECIAL EDITION/CLOTH-BOUND SPRING 2019 ED STECK AN INTERFACE FOR A FRACTAL LANDSCAPE POETRY The body code within Ed Steck is the author of The Garden: Synthetic Environment for Analysis and the accessible space Simulation (UDP), The Rose (with Adam Marnie, Hassla), sleep as information/ performs an automated the fountain is a water feature (COR&P), Far Rainbow (Make Now Books), act of mimesis: creating DoorGraphicDataRecovery (orworse press), A Time Stream in Spaces: The Cultic Parody a pseudo naturally of Time-Induced Capital (West), and The Necro-Luminescence of Pink Mist (Skeleton occurring, fully Man Press). His work has been exhibited functional copy of the nationally and internationally, most recently at the Los Angeles Museum of Contemporary user that has exited the Art. He is the editor of Theme Can, an online art and writing publication. He lives in server. Massachusetts. Due to the procedurally An Interface for a Fractal Landscape is an exploration of potential networking generated process of the between organic life and digitally recreated fractal landscape, the nature on a virtual terrain. Taking its cues from a variety of media, including concrete functioning copy of the poetry, artists’ books, science fiction, nature poetry, and information science, the book exited user raises a low follows the experience of an inorganic life form attempting to recreate an organic risk of encountering the relationship between organism and landscape on an outmoded server in the era active original user form of post-anthropocene collapse. during campaigning, questing, or archiving. The copy becomes lost Graphs, images, data, and language are in the landscape folds.
Load more

Recommended publications
  • The Origins and Meanings of Non-Objective Art by Adam Mccauley
    The Origins and Meanings of Non-Objective Art The Origins and Meanings of Non-Objective Art Adam McCauley, Studio Art- Painting Pope Wright, MS, Department of Fine Arts ABSTRACT Through my research I wanted to find out the ideas and meanings that the originators of non- objective art had. In my research I also wanted to find out what were the artists’ meanings be it symbolic or geometric, ideas behind composition, and the reasons for such a dramatic break from the academic tradition in painting and the arts. Throughout the research I also looked into the resulting conflicts that this style of art had with critics, academia, and ultimately governments. Ultimately I wanted to understand if this style of art could be continued in the Post-Modern era and if it could continue its vitality in the arts today as it did in the past. Introduction Modern art has been characterized by upheavals, break-ups, rejection, acceptance, and innovations. During the 20th century the development and innovations of art could be compared to that of science. Science made huge leaps and bounds; so did art. The innovations in travel and flight, the finding of new cures for disease, and splitting the atom all affected the artists and their work. Innovative artists and their ideas spurred revolutionary art and followers. In Paris, Pablo Picasso had fragmented form with the Cubists. In Italy, there was Giacomo Balla and his Futurist movement. In Germany, Wassily Kandinsky was working with the group the Blue Rider (Der Blaue Reiter), and in Russia Kazimer Malevich was working in a style that he called Suprematism.
    [Show full text]
  • Art and Power in Putin's Russia
    RUSSIA Art and Power in Putin’s Russia BY SASHA PEVAK The separation between art and power in Russia’s recent history has never been clear-cut. Soon after the fall of the USSR, contemporary art, namely actionism in the 90s, openly criticized society and entered the political sphere. This trend continued after Vladimir Putin’s election in 2000. Russian identity politics in the 2000s were based on four pillars: state nationalism with the Putin’s “power vertical”, the vision of Russia as a nation-state, Orthodox religion, and the myth of the Unique Russian Path, reinforced by the notion of “sovereign democracy” and the idea of the omnipresence of a fifth column inside the country 1. The will to consolidate society around these values provoked, according to political scientist Lena Jonson, tensions between the State and culture, especially as far as religious issues were concerned. These issues were the cause of the trials against the exhibitions “Attention! Religion” (2003) and “Forbidden Art – 2006” (2007), shown in Moscow at the Andrei Sakharov Museum and Public Centre. The latter staged temporary events and activities based on the defence of Human Rights. For part of the national opinion, the Centre symbolized democracy in Russia, whereas for others it represented an antipatriotic element, all the more so because it was financed by foreign foundations. In 2014, the Department of Justice catalogued it as a “foreign agent,” on the pretext that it carried out political actions with American subsidies 2. In 2003, the exhibition “Caution, Religion!”, organized by Aroutioun Zouloumian, was vandalized by religious activists several days after the opening 3.
    [Show full text]
  • Acquisizioni Fino Al 30 Giugno 2006
    AUTORE/CURATORE TITOLO ANNO PRIMA PAROLA DEL TITOLO A A comme …60 fiches de pédagogie concrète 1979 A A voce alta 2002 AA.VV. Dimensioni attuali della professionalità docente 1998 AA.VV. Donne e uomini nelle guerre mondiali 1991 AA.VV. faccia scura della Luna (La) 1997 AA.VV. insegnamento delle scienze nella scuola... (L') 1981 AA.VV. legge antimafia tre anni dopo (La) 1986 AA.VV. Lessico oggi 2003 AA.VV. libro nero del comunismo (Il) 2000 AA.VV. Per conoscere la mafia 1994 AA.VV. Per una nuova cultura dell'azione educativa 1995 AA.VV. Renato Vuillermin… 1981 AA.VV. soggetti dell'autonomia (I) 1999 AA.VV. Storia di Torino - vol. 1 1997 AA.VV. Storia di Torino - vol. 2 1997 AA.VV. Storia di Torino - vol. 3 1997 AA.VV. Storia di Torino - vol. 4 1997 AA.VV. Storia di Torino - vol. 5 1997 AA.VV. Storia di Torino - vol. 6 2000 AA.VV. Storia di Torino - vol. 7 2001 AA.VV. Storia di Torino - vol. 8 1998 AA.VV. Storia di Torino - vol. 9 1999 AA.VV. Volontariato e mezzogiorno-vol. 1 1986 AA.VV. Volontariato e mezzogiorno-vol. 2 1986 AAI Politica locale dei servizi 1975 Aarts, Flor English Syntactic Structures 1982 Abastado, Claude Messages des médias 1980 Abbate, Michele alternativa meridionale (L') 1968 Abburrà, Luciano modello per l'analisi e la previsione dei flussi…(Un) 2002 Abete, Luigi Professionalità zero? 1979 Abitare Abitare la biblioteca 1984 Abraham, G. sogno del secolo (Il) 2000 Abruzzese, A. Sostiene Berlinguer 1997 Acanfora, L. Come logora insegnare 2002 Accademia di San Marciano guerra della lega di Augusta fino alla battaglia…(La) 1993 Accame, Silvio Perché la storia 1981 Accordo Accordo di revisione del Concordato Lateranense 1984 Accornero, Aris paradossi della disoccupazione (I) 1986 Acerboni, Lidia Italiano-Progetto ARCA 1995 Achenbach, C.
    [Show full text]
  • ED054708.Pdf
    DOCUMENT RESUME ED 054 708 HE 002 349 AUTHOR Spencer Richard E.; Awe, Ruth TITLE International Educational Exchange. P. Bibliography. INSTITUTION Institute of International Education, New York N.Y. PUB DATE 70 NOTE 158p- AVAILABLE FROM Institute of Internationa Education, 809 United Nations Plaza, New York, New York 10017 EDRS PRICE MF-S0.65 HC-$6.58 DESC IPTORS *Bibliographies; *Exchange Programs; *Foreign Students; *International Education; International Programs; *Research; Student Exchange Programs; Teacher Exchange Programs ABSTRACT This bibliography was undertaken to facilitate and encourage further research in international education. Sources of the data include library reference works, University Microfilms containing PhD dissertations, US government agencies, foundations and universities. Entries include publications on the International Exchange of Students, Teachers and Specialists and cover: selection, admissions, orientation, scholarships, grants, foreign student advisors, attitudes, and adjustment, hospitality of host country, community relations, academic achievement, returnees, follow-up evaluations, brain drain, professional educators, specialists, US nationals abroad, foreign students and visitors in the US, personnel and program interchanges, immigration policies, international activities of US universities. Entries on.Educational Curriculum cover: English as a second language, linguistics and other languages, courses of study. The last 3 sectional entries are: General Works on International Educational and Cultural Exchange; Cross-Cultural and Psychological Studies Relevant to Educational EX hange; and Bibliographies. (JS) o;c;lopD10-01.0 1 2405-010° w,64.'<cm -10 2B164. 01-0122 1.roz1;x2 .clito ccrupw00 -p 44u2u7LE°- 01-:<-,-.1-01wouuxoctzio 0014.0) 0 MO 'W 0042MOZ WICL,TA° 3 mulwan. 411 :IZI01/1°4 t4. INTERNATIONAL EDUCATIONAL EXCHANGE -4- a)A BIBLIOGRAPHY 4:3 by Richard E.
    [Show full text]
  • Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18
    Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town.
    [Show full text]
  • William Carlos Williams' Indian Son(G)
    The News from That Strange, Far Away Land: William Carlos Williams’ Indian Son(g) Graziano Krätli YALE UNIVERSITY 1. In his later years, William Carlos Williams entertained a long epistolary relationship with the Indian poet Srinivas Rayaprol (1925-98), one of a handful who contributed to the modernization of Indian poetry in English in the first few decades after the independence from British rule. The two met only once or twice, but their correspondence, started in the fall of 1949, when Rayaprol was a graduate student at Stanford University, continued long after his return to India, ending only a few years before Williams’ passing. Although Williams had many correspondents in his life, most of them more important and better known literary figures than Rayaprol, the young Indian from the southeastern state of Andhra Pradesh was one of the very few non-Americans and the only one from a postcolonial country with a long and glorious literary tradition of its own. More important, perhaps, their correspondence occurred in a decade – the 1950s – in which a younger generation of Indian poets writing in English was assimilating the lessons of Anglo-American Modernism while increasingly turning their attention away from Britain to America. Rayaprol, doubly advantaged by virtue of “being there” (i.e., in the Bay Area at the beginning of the San Francisco Renaissance) and by his mentoring relationship with Williams, was one of the very first to imbibe the new poetic idiom from its sources, and also one of the most persistent in trying to keep those sources alive and meaningful, to him if not to his fellow poets in India.
    [Show full text]
  • The Effect of War on Art: the Work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College
    Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2010 The effect of war on art: the work of Mark Rothko Elizabeth Leigh Doland Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Doland, Elizabeth Leigh, "The effect of war on art: the work of Mark Rothko" (2010). LSU Master's Theses. 2986. https://digitalcommons.lsu.edu/gradschool_theses/2986 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. THE EFFECT OF WAR ON ART: THE WORK OF MARK ROTHKO A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in Liberal Arts in The Interdepartmental Program in Liberal Arts by Elizabeth Doland B.A., Louisiana State University, 2007 May 2010 TABLE OF CONTENTS ABSTRACT…………………………………………………………………iii CHAPTER 1 INTRODUCTION……………………………………………........1 2 EARLY LIFE……………………………………………………....3 Yale Years……………………………………………………6 Beginning Life as Artist……………………………………...7 Milton Avery…………………………………………………9 3 GREAT DEPRESSION EFFECTS………………………………...13 Artists’ Union………………………………………………...15 The Ten……………………………………………………….17 WPA………………………………………………………….19
    [Show full text]
  • Annual Report 2012
    Cover Back Spine: (TBA) Front PMS 032U Knock out Annual Report 2012 LETTER FROM THE MAYOR 4 PART I: 2007–2012: A PERIOD OF AGENCY INNOVATION 11 PART II: AGENCY PORTFOLIO, FY12 37 PROGRAMSERVICES 39 PROGRAM SERVICES AWARD RECIPIENTS 40 CULTURAL DEVELOPMENT FUND PANELISTS 50 CULTURAL AFTER SCHOOL ADVENTURES GRANT RECIPIENTS 53 CULTURAL INSTITUTIONS GROUP 58 CAPITALPROJECTS 63 CAPITAL PROJECTS FUNDED 66 RIBBON CUTTINGS 68 GROUNDBREAKINGS 69 EQUIPMENT PURCHASES 69 COMMUNITY ARTS DEVELOPMENT PROGRAM 70 30TH ANNUAL AWARDS FOR EXCELLENCE IN DESIGN RECIPIENTS 71 PERCENT FOR ART PROGRAM 72 MATERIALS FOR THE ARTS 74 RECIPIENTS OF DONATED GOODS 76 PARTICIPATING SCHOOLS IN ARTS EDUCATION PROGRAMS 88 CULTURAL AFFAIRS ADVISORY COMMISSION 90 MAYOR’S AWARDS FOR ARTS AND CULTURE 91 DEPARTMENT OF CULTURAL AFFAIRS STAFF 92 P HO TO CREDITSPHOTO 94 ACKNOWLEDGEMENTS 95 4 Letter from The Mayor NEW YORK CITY: STRENGTHENING INVESTMENT IN THE ARTS Our City’s cultural organizations are essential arts are to New York City’s vibrancy and to improving to ensuring that New York remains one of the world’s the lives of New Yorkers and visitors from around the great cities. A magnet for talent from around the world, world. In addition, the development of new information our creative community is also a thriving small business technology systems has enabled the Department to track sector that exists in every neighborhood throughout these services and further advocate on behalf of culture’s the five boroughs. That is why our Administration has tremendous impact on our City. made supporting the arts a top priority, and why over And we continue to push boundaries in expanding our the past five years—despite challenging times—we have service to the creative sector.
    [Show full text]
  • Detki V Kletke: the Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry
    Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Morse, Ainsley. 2016. Detki v kletke: The Childlike Aesthetic in Soviet Children's Literature and Unofficial Poetry. Doctoral dissertation, Harvard University, Graduate School of Arts & Sciences. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33493521 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry A dissertation presented by Ainsley Elizabeth Morse to The Department of Slavic Languages and Literatures in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Slavic Languages and Literatures Harvard University Cambridge, Massachusetts April 2016 © 2016 – Ainsley Elizabeth Morse. All rights reserved. Dissertation Advisor: Professor Stephanie Sandler Ainsley Elizabeth Morse Detki v kletke: The Childlike Aesthetic in Soviet Children’s Literature and Unofficial Poetry Abstract Since its inception in 1918, Soviet children’s literature was acclaimed as innovative and exciting, often in contrast to other official Soviet literary production. Indeed, avant-garde artists worked in this genre for the entire Soviet period, although they had fallen out of official favor by the 1930s. This dissertation explores the relationship between the childlike aesthetic as expressed in Soviet children’s literature, the early Russian avant-garde and later post-war unofficial poetry.
    [Show full text]
  • The Development of Dylan Thomas' Use of Private Symbolism in Poetry A.Nne" Marie Delap Master of Arts
    THE DEVELOPMENT OF DYLAN THOMAS' USE OF PRIVATE SYMBOLISM IN POETRY By A.NNE" MARIE DELAP \\ Bachelor of Arts Oklahoma State University Stillwater, Oklahoma 1964 ~ubmitted to the faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May, 1967 0DAHOMI STATE IJIIVERsifi'li' 1-~BR,AYRV dlNlQN THE DEVELOPMENT OF DYLAN THOMAS O USE OF PRIVATE SYMBOLISM IN POETRY Thesis Approved: n n 11,~d Dean of the Graduate College 658670 f.i PREFACE In spite of numerous explications that have been written about Dylan Thomas' poems, there has been little attention given the growth and change in his symbolism. This study does not pretend to be comprehensive, but will atte~pt, within the areas designated by the titles of chapters 2, 3, and 4, to trace this development. The terms early 129ems and later poems will apply to the poetry finished before and after 1939, which was the year of the publication of The Map tl Love. A number of Thomas• mature poems existed in manu- script form before 1939, but were rewritten and often drastically altered before appearing in their final form. .,After the funera1° ' i is one of these: Thomas conceived the idea for the poem in 1933, but its final form, which appeared in The Map .Q! ~' represents a complete change from the early notebook version. Poem titles which appear in this study have been capitalized according to standard prac- tice, except when derived from the first line of a poem; in thes,e cases only the first word is capitalized.
    [Show full text]
  • 11 Ronald Mar and the Trope of Life
    11 Ronald Mar and the Trope of Life The Translation of Western Modernist Poetry in Hong Kong Chris Song Abstract This essay examines the Chinese-language debut of Western surrealist poetry in Hong Kong and its effect on the local poetry scene through the work of Ronald Mar 馬朗, from the early years of the Cold War era onward. It traces the trope of poetry being “true to life” – as resistance to the surrealist influence – through evolving notions and experiences of Hong Kong identity over time, up to the present day in the post-handover era. Keywords: Chinese poetry, translation, Ronald Mar, Hong Kong, modern- ism, surrealism Twenty years since the handover of sovereignty from the British Crown to the People’s Republic of China, Hong Kong society has known increasingly severe conflicts with China, fueled by animosity toward the mainland among the local population. Growing up in such a politically intense environment, Hong Kong youths feel that political and economic systems have conspired to leave them a hopeless future. As their demand for universal suffrage in the election of the Chief Executive of the Hong Kong Special Administrative Region government was denied in September 2014, their anxiety finally broke into realization as the Umbrella Movement. Apart from responding through poetry to this large democratic movement, some young local poets perceived a need to redefine the “localness” of Hong Kong poetry. Though without much theoretical depth, their quest is quite clear: they believe that the localness of their poetic language lies, paradoxically, in the distance from external reality – a symbolic denial of the Umbrella Movement’s failed demands for universal suffrage, or any further realistic democratization, in Van Crevel, Maghiel and Lucas Klein (eds.), Chinese Poetry and Translation: Rights and Wrongs.
    [Show full text]
  • Paul Celan Collected Prose
    PAULCELAN Collected Prose TRANSLATED FROM THE GERMAN BY ROSMARIE WALDROP The Sheep Meadow Press Riverdale-on-Hudson New York Translation copyright© 1986 by Rosmarie Waldrop All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photo­ copy, recording, or any information storage and re­ trieval system, without permission in writing from the publisher. These selections originally appeared in the German language in Gesammelte Werke, edited by Beda Alle­ mann and Klaus Reichert (Frankfurt: Suhrkamp, 1983), vols III, V All inquiries and permission requests should be ad­ dressed to: The Sheep Meadow Press P 0. Box 1345 Riverdale-on-Hudson, NY 10471 Distributed by· Consortium Book Sales and Distribution, Inc. 287 East 6th Street, Suite 365 St. Paul, MN 55101 Celan, Paul. Collected Prose. Library ofCongress Catalog Card Number 90-30112 ISBN 0-935296-92-1 Printed in the United States of America CONTENTS Introduction IX Prose Edgar Jene and the Dream about the Dream 3 Backlight 11 [Reply to a Questionnaire from the Flinker Bookstore, Paris, 1958] 15 Conversation in the Mountains 17 [Reply to a Questionnaire from the Flinker Bookstore, Paris, 1961] 23 [Letter to Hans Bender] 25 [Reply to a Poll by Der Spiegel] 27 La poesie ne s'impose plus, elle s'expose 29 Speeches Speech on the Occasion of Receiving the Literature Prize of the Free Han sea tic City of Bremen 33 The Meridian 37 [Address to the Hebrew Writers' Association] 57 Appendices Introductory Notes to the Translations of Blok and Mandelstam 61 Sources 65 INTRODUCTION Celan's prose writings make a slim volume.
    [Show full text]