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Bestiary, Or, The Parade of Orpheus by Guillaume Apollinaire Pdf
An early and influential champion of cubism, Apollinaire was seminal in the revolutionary art style of Surrealism, a term he coined some seven years before Breton formally founded the movement. This text was originally published in 1910.
The Bestiary, or Procession of Orpheus by Guillaume Apollinaire Pdf
First Place, Large Not-for-Profit Publisher, Typographic Text, 2011 Washington Book Publishers Design and Effectiveness Awards Guillaume Apollinaire’s first book of poems has charmed readers with its brief celebrations of animals, birds, fish, insects, and the mythical poet Orpheus since it was first published in 1911. Though Apollinaire would go on to longer and more ambitious work, his Bestiary reveals key elements of his later poetry, among them surprising images, wit, formal mastery, and wry irony. X. J. Kennedy’s fresh translation follows Apollinaire in casting the poems into rhymed stanzas, suggesting music and sudden closures while remaining faithful to their sense. Kennedy provides the English alongside the original French, inviting readers to compare the two and appreciate the fidelity of the former to the latter. He includes a critical and historical essay that relates the Bestiary to its sources in medieval “creature books,” provides a brief biography and summation of the troubled circumstances surrounding the book’s initial publication, and places the poems in the context of Apollinaire’s work as a poet and as a champion of avant garde art. This short introduction to the work of an essentially modern writer includes four curious poems apparently suppressed from the first edition and reprints of the Raoul Dufy woodcuts published in the 1911 edition.
A New Vocabulary for Global Modernism by Eric Hayot,Rebecca L. Walkowitz Pdf
Bringing together leading critics and literary scholars, A New Vocabulary for Global Modernism argues for new ways of understanding the nature and development of twentieth-century literature and culture. Scholars have largely understood modernism as an American and European phenomenon. Those parameters have expanded in recent decades, but the incorporation of multiple origins and influences has often been tied to older conceptual frameworks that make it difficult to think of modernism globally. Providing alternative approaches, A New Vocabulary for Global Modernism introduces pathways through global archives and new frameworks that offer a richer, more representative set of concepts for the analysis of literary and cultural works. In separate essays each inspired by a critical term, this collection explores what happens to the foundational concepts of modernism and the methods we bring to modernist studies when we approach the field as a global phenomenon. Their work transforms the intellectual paradigms we have long associated with modernism, such as tradition, antiquity, style, and translation. New paradigms, such as context, slum, copy, pantomime, and puppets emerge as the archive extends beyond its European center. In bringing together and reexamining the familiar as well as the emergent, the contributors to this volume offer an invaluable and original approach to studying the intersection of world literature and modernist studies.
Taking Stock – Twenty-Five Years of Comparative Literary Research by Anonim Pdf
This commemorative volume offers a retrospective of the discipline as mirrored in the series Internationale Forschungen zur Allgemeinen und Vergleichenden Literaturwissenschaft since its founding in 1993. Leading scholars examine issues of world literature, the history of ideas, gender studies, aesthetics and literary translation.
Contextual analogies reveal that Klee matched wits with Christian Morgenstern, rose to the provocations of Kurt Schwitters, and gave new form to the Surrealists' "exquisite corpses." By the end of his life Klee discovered his own poetic voice in alphabet drawings that read as anagrams and pictorial poems that challenge conventional distinctions between verbal and visual forms of expression." "Paul Klee, Poet/Painter is a case study in the reciprocity of poetry and painting in early modernist practice. It introduces readers to a little-known facet of Klee's creative activity and re-evaluates his contributions to a modernist aesthetic."--BOOK JACKET.
Author : Michel de Certeau Publisher : University of Chicago Press Page : 304 pages File Size : 53,6 Mb Release : 2015-12-03 Category : Religion ISBN : 9780226209272
The Mystic Fable, Volume Two by Michel de Certeau Pdf
More than two decades have passed since Chicago published the first volume of this groundbreaking work in the Religion and Postmodernism series. It quickly became influential across a wide range of disciplines and helped to make the tools of poststructuralist thought available to religious studies and theology, especially in the areas of late medieval and early modern mysticism. Though the second volume remained in fragments at the time of his death, Michel de Certeau had the foresight to leave his literary executor detailed instructions for its completion, which formed the basis for the present work. Together, both volumes solidify Certeau’s place as a touchstone of twentieth-century literature and philosophy, and continue his exploration of the paradoxes of historiography; the construction of social reality through practice, testimony, and belief; the theorization of speech in angelology and glossolalia; and the interplay of prose and poetry in discourses of the ineffable. This book will be of vital interest to scholars in religious studies, theology, philosophy, history, and literature.
Brill’s Companion to Classical Reception and Modern World Poetry by Anonim Pdf
The volume combines for the first time the fields of Classical Reception and World Literature in a pioneering collection of essays by world-leading scholars on modern poetry from various cultural and linguistics backgrounds (Arabic, Chinese, creole, English, French, German, Greek, Hebrew, Italian, Japanese, Spanish).
The Lost Steps (Les Pas perdus) is Andri Breton's first collection of critical and polemical essays. Composed between 1917 and 1923, these pieces trace his evolution during the years when he was emerging as a central figure in French (and European) intellectual life. They chronicle his tumultuous passage through the Dada movement, proclaim his explosive views on Modernism and its heroes, and herald the emergence of Surrealism itself. Along the way, we are given Breton's serious commentaries on his Modernist predecessors, Guillaume Apollinaire and Alfred Jarry, followed by his not-so-serious Dada manifestoes. Also included are portraits of Marcel Duchamp, Francis Picabia, and Breton's mysterious friend Jacques Vachi, as well as a crisis-by-crisis account of his dealing with Dada's leader, Tristan Tzara. Finally, Breton offers a first glimpse of Surrealism, the movement that was forever after identified with his name and that stands as a defining force in twentieth-century aesthetics. Mark Polizzotti, editorial director of David R. Godine, Publisher, is the author of Revolution of the Mind: The Life of Andri Breton. He is also the translator of Jean Echenoz's Double Jeopardy (Nebraska 1994) and Cherokee (Nebraska 1994) and of Andri Breton's Conversations: The Autobiography of Surrealism. Mary Ann Caws is Distinguished Professor of French at Hunter College and at the City University of New York. Her most recent work is Robert Motherwell: What Art Holds. She is the translator of Andri Breton's Mad Love (Nebraska 1987) and Communicating Vessels (Nebraska 1990).
This book considers the relationship between English and Scottish poets and the international concrete poetry movement of the 1950s-1970s, focusing on the work of Ian Hamilton Finlay, Edwin Morgan, Dom Sylvester Houédard and Bob Cobbing. It will be a vital resource for students and scholars of modernism, intermedia art and British literature.
Modernism and Authority presents a provocative new take on the early paintings of Pablo Picasso and the writings of Guillaume Apollinaire. Charles Palermo argues that references to theology and traditional Christian iconography in the works of Picasso and Apollinaire are not mere symbolic gestures; rather, they are complex responses to the symbolist art and poetry of figures important to them, including Paul Gauguin, Charles Morice, and Santiago Rusi–ol. The young Picasso and his contemporaries experienced the challenges of modernity as an attempt to reflect on the lost relation to authority. For the symbolists, art held authority by revealing something compellingÑsomething to which audiences must respond lest they lose claim to their own moral authority. Instead of the total transformation of the reader or viewer that symbolist creators envision, Picasso and Apollinaire imagine a divided self, responding only partially or ambivalently to the work of artÕs call. Navigating these problems of symbolist art and poetry entails considering the nature of the work of art and of oneÕs response to it, the modern subjectÕs place in history, and the relevance of historical truth to our methodological choices in the present.
This is Breton's definitive statement on l'humour noir, one of the seminal concepts of Surrealism. In his provocative anthology of the writers he most admires, Breton discusses the acerbic aphorisms of Swift, Lichtenberg and Duchamp, the theatrical slapstick of Christian Dietrich Grabbe, the wry missives of Rimbaud, the manic paranoia of Dalí, the ferocious iconoclasm of Alfred Jarry and the offhand hilarity of Apollinaire. For each of the authors included, Breton provides an enlightening preface, situating both the writer and the work in the context of black humour - a partly macabre, partly ironic, and often absurd turn of spirit that Breton defined as 'a superior revolt of the mind'. This edition includes Breton's original introduction, and work from: Duchamp, Fourier, De Quincey, de Sade, Borel, Poe, Forneret, Baudelaire, Dali Lewis Carroll, Swift, Lichtenberg, Comte de Lautréamont, Nietzsche, Huysmans, Corbiere, Nouveau, O. Henry, Gide, Synge, Roussel, Picabia, Apollinaire, Jarry, Arp, Picasso, Kafka, Prévert and Leonora Carrington.
Since the early nineteenth century, when entomologists first popularized the unique biological and behavioral characteristics of insects, technological innovators and theorists have proposed insects as templates for a wide range of technologies. In Insect Media, Jussi Parikka analyzes how insect forms of social organization-swarms, hives, webs, and distributed intelligence-have been used to structure modern media technologies and the network society, providing a radical new perspective on the interconnection of biology and technology. Through close engagement with the pioneering work of insect ethologists, including Jakob von Uexküll and Karl von Frisch, posthumanist philosophers, media theorists, and contemporary filmmakers and artists, Parikka develops an insect theory of media, one that conceptualizes modern media as more than the products of individual human actors, social interests, or technological determinants. They are, rather, profoundly nonhuman phenomena that both draw on and mimic the alien lifeworlds of insects. Deftly moving from the life sciences to digital technology, from popular culture to avant-garde art and architecture, and from philosophy to cybernetics and game theory, Parikka provides innovative conceptual tools for exploring the phenomena of network society and culture. Challenging anthropocentric approaches to contemporary science and culture, Insect Media reveals the possibilities that insects and other nonhuman animals offer for rethinking media, the conflation of biology and technology, and our understanding of, and interaction with, contemporary digital culture.
