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The canon of Ezra Pound would be incomplete without a representative collection in the master's lighter vein. Pavanes and Divagations seeks to meet this need. Included are Pound's long essay ''Indiscretions, '' one of his rare autobiographical writings, an assortment of facetious verses, his superb translations from the dialogues of Fontenelle, causeries on topics ranging from religion to the mores of moneyed society, as well as a miscellany of editorials, denunciations, and literary masquerades. Pound's barbed wit is displayed here to its best advantage. But more than a simple diversion, this volume presents an important but neglected aspect of the prime shaper of modern poetry in English.
"This is a book just the way I don't like them," the father of French Symbolism, Stéphane Mallarmé, informs the reader in his preface to Divagations: "scattered and with no architecture." On the heels of this caveat, Mallarmé's diverting, discursive, and gorgeously disordered 1897 masterpiece tumbles forth--and proves itself to be just the sort of book his readers like most. The salmagundi of prose poems, prose-poetic musings, criticism, and reflections that is Divagations has long been considered a treasure trove by students of aesthetics and modern poetry. If Mallarmé captured the tone and very feel of fin-de-siècle Paris, he went on to captivate the minds of the greatest writers of the twentieth century--from Valéry and Eliot to Paul de Man and Jacques Derrida. This was the only book of prose he published in his lifetime and, in a new translation by Barbara Johnson, is now available for the first time in English as Mallarmé arranged it. The result is an entrancing work through which a notoriously difficult-to-translate voice shines in all of its languor and musicality. Whether contemplating the poetry of Tennyson, the possibilities of language, a masturbating priest, or the transporting power of dance, Mallarmé remains a fascinating companion--charming, opinionated, and pedantic by turns. As an expression of the Symbolist movement and as a contribution to literary studies, Divagations is vitally important. But it is also, in Johnson's masterful translation, endlessly mesmerizing.
"This is a book just the way I don't like them," the father of French Symbolism, Stphane Mallarm, informs the reader in his preface to Divagations: "scattered and with no architecture." On the heels of this caveat, Mallarm's diverting, discursive, and gorgeously disordered 1897 masterpiece tumbles forth--and proves itself to be just the sort of book his readers like most. The salmagundi of prose poems, prose-poetic musings, criticism, and reflections that is Divagations has long been considered a treasure trove by students of aesthetics and modern poetry. If Mallarm captured the tone and very feel of fin-de-sicle Paris, he went on to captivate the minds of the greatest writers of the twentieth century--from Valry and Eliot to Paul de Man and Jacques Derrida. This was the only book of prose he published in his lifetime and, in a new translation by Barbara Johnson, is now available for the first time in English as Mallarm arranged it. The result is an entrancing work through which a notoriously difficult-to-translate voice shines in all of its languor and musicality. Whether contemplating the poetry of Tennyson, the possibilities of language, a masturbating priest, or the transporting power of dance, Mallarm remains a fascinating companion--charming, opinionated, and pedantic by turns. As an expression of the Symbolist movement and as a contribution to literary studies, Divagations is vitally important. But it is also, in Johnson's masterful translation, endlessly mesmerizing.
In this concise and illuminating study, Jacques Rancière, one of the world's most popular and influential living philosophers, examines the life and work of the celebrated nineteenth-century French poet and critic, Stéphane Mallarmé. Ranciere presents Mallarmé as neither an aesthete in need of rare essences and unheard-of words, nor the silent and nocturnal thinker of some poem too pure to be written. Mallarmé is the contemporary of a republic that is seeking out forms of civic worship to replace the pomp of religions and kings. If his writing is difficult, it is because it complies with a demanding and delicate poetics that is itself responding to an exceptional awareness of the complexity of an historical moment as well as the role that poetry ought to play in it.
Author : Jill Anderson Publisher : Peter Lang Incorporated, International Academic Publishers Page : 360 pages File Size : 47,8 Mb Release : 2002 Category : Art ISBN : UOM:39015056181798
Two revolutionary texts by Stéphane Mallarmé (1842-1898) lie at the heart of this book, the poem Un Coup de dés and the prose collection Divagations. An international team of scholars from Paris to New York explores the multiple connections between Mallarmé and Australia, especially as they are embodied in the works of Sydney poet Chris Brennan (1869-1932), whose writing, according to Mallarmé, offered a «parenté de songe» («a kinship of dream») with his own. With its focus on divagation - or wandering, reverie, and exploration - this book summons forth a Mallarmé seen through a specifically Australian lens, through the focus of a century of critical and creative responses to his work, a Mallarmé whose poetics enfold a particular femininity as well as a particular response to the feminine, and a Mallarmé who possessed the extraordinary gift of seeing inspiring contemporary art.
This «guide and commentary» offers an elucidation of all the difficult passages of Mallarmé's Divagations, his influential main body of critical writing. It provides the information essential to an understanding of each article and of his critical project as a whole. The running commentary deals extensively with the relationship between Divagations and the other major writings of Mallarmé, particularly the Coup de Dés, his crowning creation which is his closest approach to his lifelong dream and project of a Great Work.
The International Yearbook of Futurism Studies was founded in 2009, the centenary year of Italian Futurism, in order to foster intellectual cooperation between Futurism scholars across countries and academic disciplines. The Yearbook does not focus exclusively on Italian Futurism, but on the relations between Italian Futurism and other Futurisms worldwide, on artistic movements inspired by Futurism, and on artists operating in the international sphere with close contacts to Italian or Russian Futurism. Volume 4 (2014) is an open issue that addresses reactions to Italian Futurism in 16 countries (Argentina, Armenia, Brazil, Egypt, France, Germany, Great Britain, Greece, Holland, Hungary, Japan, Portugal, Russia, Slovenia, Spain, USA), and in the artistic media of photography, theatre and visual poetry.
Essays on the Song Cycle and on Defining the Field by Anonim Pdf
This volume assembles twelve interdisciplinary essays that were originally presented at the Second International Conference on Word and Music Studies at Ann Arbor, MI, in 1999, a conference organized by the International Association for Word and Music Studies (WMA). The contributions to this volume focus on two centres of interest. The first deals with general issues of literature and music relations from culturalist, historical, reception-aesthetic and cognitive points of view. It covers issues such as conceptual problems in devising transdisciplinary histories of both arts, cultural functions of opera as a means of reflecting postcolonial national identity, the problem of verbalizing musical experience in nineteenth-century aesthetics and of understanding reception processes triggered by musicalized fiction. The second centre of interest deals with a specific genre of vocal music as an obvious area of word and music interaction, namely the song cycle. As a musico-literary genre, the song cycle not only permits explorations of relations between text and music in individual songs but also raises the question if, and to what extent words and/or music contribute to creating a larger unity beyond the limits of single songs. Elucidating both of these issues with stimulating diversity the essays in this section highlight classic nineteenth- and twentieth-century song cycles by Franz Schubert, Robert Schumann, Hugo Wolf, Richard Strauss and Benjamin Britten and also include the discussion of a modern successor of the song cycle, the concept album as part of today’s popular culture.
Author : Charles Forsdick,Andy Stafford Publisher : Peter Lang Page : 308 pages File Size : 43,6 Mb Release : 2005 Category : Language Arts & Disciplines ISBN : 3039105140
The Modern Essay in French by Charles Forsdick,Andy Stafford Pdf
As a textual form, the essai predominates in modern and contemporary literature in French. Emerging from an earlier tradition and distinguished from its English-language counterpart, the French-language essay ranges from Stéphane Mallarmé to Colette, Victor Segalen to Aimé Césaire, Jean Grenier to Pierre Michon. The essai remains, however, one of the most hazily identified of textual forms, its definition often depending on the progressive elimination of all other generic possibilities. Excluded from the archigenres (theatre, poetry, récit), it can even be seen as a hold-all category whose role is to absorb the anarchic extremes of writing. It is perhaps this very lack of pretension to orthodoxy that has drawn so many writers to the essai. The conventional understanding of the term - as a tentative, unsystematic exploration - stresses the genre's provisional nature, its refusal of any claims to comprehensiveness. The essai exploits the devices of anecdote, illustration and humour; it is addressed to a wide and often general audience; it is also intricately linked to the performance of ideological and writerly strategies, often reordering the classical art of rhetoric and persuasion. As the contributions to this volume show, there is a need to outline an ethics and politics, as well as poetics, of essayism.
Literature, Modernism, and Dance by Susan Jones Pdf
This book explores the complex relationship between literature and dance in the era of modernism. During this period an unprecedented dialogue between the two art forms took place, based on a common aesthetics initiated by contemporary discussions of the body and gender, language, formal experimentation, primitivism, anthropology, and modern technologies such as photography, film, and mechanisation. The book traces the origins of this relationship to the philosophical antecedents of modernism in the nineteenth century and examines experimentation in both art forms. The book investigates dance's impact on the modernists' critique of language and shows the importance to writers of choreographic innovations by dancers of the fin de siècle, of the Ballets Russes, and of European and American experimentalists in non-balletic forms of modern dance. A reciprocal relationship occurs with choreographic use of literary text. Dance and literature meet at this time at the site of formal experiments in narrative, drama, and poetics, and their relationship contributes to common aesthetic modes such as symbolism, primitivism, expressionism, and constructivism. Focussing on the first half of the twentieth century, the book locates these transactions in a transatlantic field, giving weight to both European and American contexts and illustrating the importance of dance as a conduit of modernist preoccupations in Europe and the US through patterns of influence and exchange. Chapters explore the close interrelationships of writers and choreographers of this period including Mallarmé, Nietzsche, Yeats, Conrad, Woolf, Lawrence, Pound, Eliot, and Beckett, Fuller, Duncan, Fokine, Nijinsky, Massine, Nijinska, Balanchine, Tudor, Laban, Wigman, Graham, and Humphrey, and recover radical experiments by neglected writers and choreographers from David Garnett and Esther Forbes to Andrée Howard and Oskar Schlemmer.
Cover -- Title -- Copyright -- Contents -- PREFACE AND ACKNOWLEDGMENTS -- INTRODUCTION: TWOMBLY'S BOOKS -- 1 MEDITERRANEAN PASSAGES: RETROSPECT -- 2 PSYCHOGRAM AND PARNASSUS: HOW (NOT) TO READ A TWOMBLY -- 3 TWOMBLY'S VAGUENESS: THE POETICS OF ABSTRACTION -- 4 ACHILLES' HORSES, TWOMBLY'S WAR -- 5 ROMANTIC TWOMBLY -- 6 THE PASTORAL STAIN -- 7 PSYCHE: THE DOUBLE DOOR -- 8 TWOMBLY'S LAPSE -- POSTSCRIPT: WRITING IN LIGHT -- NOTES -- BIBLIOGRAPHY -- INDEX
On the 100th anniversary of T. S. Eliot’s modernist masterpiece, a rich cultural history of The Waste Land’s creation, explosive impact, and enduring influence When T. S. Eliot published The Waste Land in 1922, it put the thirty-four-year-old author on a path to worldwide fame and the Nobel Prize. “But,” as Jed Rasula writes, “The Waste Land is not only a poem: it names an event, like a tornado or an earthquake. Its publication was a watershed, marking a before and after. It was a poem that unequivocally declared that the ancient art of poetry had become modern.” In What the Thunder Said, Rasula tells the story of how The Waste Land changed poetry forever and how this cultural bombshell served as a harbinger of modernist revolution in all the arts, from abstraction in visual art to atonality in music. From its famous opening, “April is the cruellest month, breeding / Lilacs out of the dead land,” to its closing Sanskrit mantra, “Shantih shantih shantih,” The Waste Land combined singular imagery, experimental technique, and dense allusions, boldly fulfilling Ezra Pound’s injunction to “make it new.” What the Thunder Said traces the origins, reception, and enduring influence of the poem, from its roots in Wagnerism and French Symbolism to the way its strangely beguiling music continues to inspire readers. Along the way, we learn about Eliot’s storied circle, including Wyndham Lewis, Virginia Woolf, and Bertrand Russell, and about poets like Mina Loy and Marianne Moore, whose innovations have proven as consequential as those of the “men of 1914.” Filled with fresh insights and unfamiliar anecdotes, What the Thunder Said recovers the explosive force of the twentieth century’s most influential poem.
Jacques Rancière has continually unsettled political discourse, particularly through his questioning of aesthetic "distributions of the sensible," which configure the limits of what can be seen and said. Widely recognized as a seminal work in Rancière's corpus, the translation of which is long overdue, Mute Speech is an intellectual tour de force proposing a new framework for thinking about the history of art and literature. Rancière argues that our current notion of "literature" is a relatively recent creation, having first appeared in the wake of the French Revolution and with the rise of Romanticism. In its rejection of the system of representational hierarchies that had constituted belles-letters, "literature" is founded upon a radical equivalence in which all things are possible expressions of the life of a people. With an analysis reaching back to Plato, Aristotle, the German Romantics, Vico, and Cervantes and concluding with brilliant readings of Flaubert, Mallarmé, and Proust, Rancière demonstrates the uncontrollable democratic impulse lying at the heart of literature's still-vital capacity for reinvention.
