Arthur Sigismundovich Khominsky (1888 — after 1917) was a Kyiv poet and prose writer, the author of five poetry collections and a prose book “The Comfort of Jenkini” (1914). He called himself the ...founder of the “Alexander Blok Society” in Kyiv, sometimes being more radical in his own creative experiments than Russian symbolism Maitre. Together with Mikhail P. Aleхeev and the poet Maxim F. Rylsky they organized the literary group “Kyiv Anthropophages”, which existed in 1914–1915. The article and comment are attached to the publication of Arthur Khominsky’s creative heritage from the archive of Aleхeev who became an Academician later. Hitherto unknown Khominsky's letters to Aleхeev as well as his poetic and prose texts not only help to complete his image as an extraordinary author but contain interesting facts about literary life of the 1910s.
Summary
Carl Freiherr von Rokitansky (1804–1878) is well known as a pathologist in medical history literature. This article provides a detailed account of his family and artistic background and also ...analyses his demands for freedom in both science and the arts, and how they influenced subsequent generations of the Rokitansky family. The Rokitansky, Teltscher, Hüttenbrenner and Lablache families were either directly present at Ludwig van Beethoven’s (1770–1827) deathbed or played a role in his funeral ceremony; within a few years they had also built family ties. The descendants of these families also went on to support artists such as Gustav Mahler (1860–1911), Thomas Bernhard (1931–1989) and Peter Turrini (born 1944). Rokitansky’s wife was the internationally recognized concert singer Marie Weis (1806–1888), who had been trained by Antonio Salieri (1750–1825). Through her the family developed cordial relationships with Salieri, Franz Schubert (1797–1828) and Franz Grillparzer (1791–1872), which in turn resulted in indirect links to Ludwig van Beethoven. Grillparzer later supported liberal causes together with Rokitansky. Beethoven’s death marked the beginning of the Rokitansky and Weis family ties to the art world, whose descendants in turn influenced the cultural landscape of Austria according to Rokitansky’s ideal of freedom in science and art.
This article is dealing with the topic of two past twentieth-century epochs in a few representative Serbian novels at the turn from the twentieth to the twenty-first century. These are the 1980s and ...the New Wave era in Yugoslavia, an epoch close to the past that can still be written about from the perspective of an immediate witness, and the avant-garde era, that is, the period between the two world wars marked in art by different movements of the historical avant-garde. The novels Milenijum u Beogradu (Millennium in Belgrade, 2000) by Vladimir Pištalo, Vrt u Veneciji (The Garden in Venice, 2002) by Mileta Prodanović, and Kiša i hartija (Rain and Paper, 2004) by Vladimir Tasić are being interpreted. In these novels, it is particularly noteworthy that the two aforementioned epochs are most commonly linked as part of the same creative and intellectual currents in the twentieth century.
According to sport literature specialist Pierre Charreton, the interwar period in France witnessed the culmination of fictional writings dedicated to sporting disciplines, part of which is the genre ...of boxing fiction. Through the examination of two recovered novels, Henri Decoin's Quinze Rounds (1930) and Alfred Menguy's Gueules Aplaties (1933), I demonstrate that boxing fiction complicates ideas of heroism, violence, and suffering, thus operating as an unexpected outlet for the traumatic experiences suffered by French society during World War I. After establishing meliorative connections between boxers and soldiers based on their shared heroism and courage, the two authors recast the idealized perception of masculine strength usually typified by both figures. Soon undermined by suffering and trauma, the fictional pugilists of Decoin and Menguy begin to mirror the wounded soldiers of the Great War and expose the taboo surrounding trauma and masculinity post-WWI. In Quinze Rounds and Gueules Aplaties, the presence of fallen pugilists echoes that of fallen soldiers and challenge the reader to face what can be seen as French society's larger coping mechanisms, those of avoidance and amnesia, when faced with the memories of the Great War and its distressing aftermath.
Autor przedstawia w zarysie zagadnienie wizualności poezji polskiej w okresie międzywojennym. Omawia przemiany awangardowe w kulturze europejskiej początku XX wieku ze szczególnym uwzględnieniem ...narodzin poezji wizualnej w kręgu futuryzmu i dadaizmu. Dokonuje klasyfikacji utworów lirycznych w zakresie podjętej problematyki, wskazując na ich związki ze sztukami plastycznymi. Do najważniejszych typów poezji wizualnej zalicza wiersze: figuratywne, werbalno-ikoniczne z elementami graficznymi jako intekstami i typograficzne. Na przykładzie tekstów Tytusa Czyżewskiego, Stanisława Młodożeńca, Anatola Sterna i innych przedstawia różnorodne sposoby wizualizacji wiersza w praktyce twórców awangardowych.
This paper is an informative and analytical description of the thematization / presence of the topic of World War 1 in the Croatian avant-garde creation (1917-1925). The theme of World War 1 plays ...such and important role in the poetry, prose and drama of literary Expressionism that without it, the corpus of artistic texts of Croatian expressionism and Croatian literary avant-garde would be significantly impoverished. The course of elaboration of war themes and of the very end of war in literary works went from a higher towards a lower degree of war reality denotation: the feeling of desperation due to helplessness, the underlining of the absurdity of war destructions, the ironic reflex over one more triumph of human stupidity, the creation of dark images of despair and decay, the fatalistic historical going around in circles, melancholy, nihilism, indifference due to the inability to change the state of war, memento mori... All these are the basic characteristics of the works written by Krleža, Strozzi, Donadini, Kosor and Cesarec. This paper also draws attention to the presence of the theme of the Great War, and to the echoes of war events in the manifestation texts of that period. Namely, it underlines the invocation and expectations of the arrival of art of the new times and new sensitivity, with the New Man as the symbol of salvation, renewal, and hope.
The Spanish cultural renaissance of the first three decades of the 20th century was interrupted in 1936, when intellectuals abandoned their aesthetic ambitions to describe war. However, some writers ...were immune to the aesthetic charm of the period. Ramón J. Sender in the 20s used a testimonial style in his journalistic collaborations and in the 30s approached reality for militant purposes, thus anticipating the hybridization of reality and fiction. He narrated the Casas Viejas anarchist revolt in his news reports (1933) and in two narrative reworks, Casas viejas (1933) and Viaje a la aldea del crimen (1934). Fifty years later, the meeting of fiction and reality and the hybridity of genres will also characterize the narrative approach adopted by cinema in narrating the same facts.
The expression "barbarically primitive artist-genius" that Srecko Kosovel used in his diaries of early 1924 followed the idea of the zenithist barbarogenius because he used it together with other ...zenithist syntagms and refers to broken-down European art and its revival with the help of the elementary and wild Balkans. This was a destructive poetic phase in Kosovel's life. However, from April 1925 onwards Kosovel accepted the concept of barbarianism outside the futuristic, zenithist, and other contexts; he thus renounced definitions of this concept based in poetry studies and nationalism, and began applying a distinctly political understanding of the concept of barbarianism connected with the threat that fascism posed to Slovenians living in the Littoral region. PUBLICATION ABSTRACT
La vanguardia literaria aporta aires cosmopolitas al campo cultural latinoamericano, pero en muchos escritores existe una aguda preocupación nacional bien coordinada con los horizontes mundiales. ...Este artículo muestra cómo Juan Emar, autor cosmopolita, interviene en el debate sobre el arte nacional en Chile durante los años veinte y treinta: si hay una identidad nacional en la actividad artística, propone en sus Notas de Arte, ella aparece en la representación como proceso y no en sus meros objetos. La novela Miltín 1934 (1935) pondrá en juego este precepto mostrando la caducidad del pacto nacional decimonónico y la renuencia de su autor a formar parte de una nueva nacionalidad, colectiva y popular, que se construirá a lo largo del siglo XX.
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