According to Jan Plamper, the celebration of Stalin's 50th on 21 December 1929 marked the inaugural moment of the cult itself (29). History and Heroism through the Eyes of the pcf In the years of ...Stalin's rule, the marking of milestones and anniversaries on a distinct party calendar played an important role in the enforcement of loyalty and the promotion of its particular vision of history, complete with a set of heroic figures.7 Many events on that politicized calendar would be recognizable to an international audience, including anniversaries marking Lenin's birth and death, the creation of the People's Republic of China, the October Revolution, or the date the Soviets took Berlin.
Francis Poulenc’s piano duo music has not received the same detailed scrutiny as the solo piano music, even though this relatively small body of repertoire (just five pieces in total) is quite ...valuable. Its emotional scope ranges from the farcical comedy found in the Capriccio and Sonata for Four Hands to the utmost seriousness of the Sonata for Two Pianos. The music is both approachable by children (L’embarquement pour Cythère) and understandable only by those possessing good musical taste (Élégie). It is technically varied, full of harmonic interest and thematic beauty, readily received by audiences.This document will seek to show why the literature is important for Poulenc researchers in a study of his life and art. These works span the length of his career, with the earliest work written in 1918 and the last work in 1959 nearly four years before his death, providing valuable insight into the evolution of his compositional styles. It will further delve into specific stylistic aspects of Poulenc’s music. Finally, it will provide collaborative and performance practice considerations of the repertoire and will give specific and detailed analyses of each of the pieces.
...to give his selection from the whole work, saying what poems he would like to translate" (Coffey quoted in Hunkeler 42). ...by the mid-1930s, Beckett's reputation as a translator made him a ...particular favourite among the surrealists and among the English-language authors and editors who commissioned his work. ...Murphy's awe of Mr Endon, "a schizophrenic of the most amiable variety," aligns both Murphy and the psychotic with this impulse toward counting (186). ...many classifications refer to both catatonia and hysteria in hyphenated nosological categories (Micale). ...the third and final manifestation, the "slap-up psychosis" of Murphy's "life's strike" (115), the scene of his death, is directly precipitated by his and Mr Endon's chess game (184). ...his "brotherhood" provides a community of others to which he may belong.
...few poets probe the vexing relationship between reality and words, between the "thing itself" and an imagining, perceiving, language-using mind, with the same fervor, tenacity, and frequency as do ...Stevens and Ponge. Because both writers constantly oscillate between positions, they have left themselves vulnerable to critics choosing to highlight one pole to the exclusion of the other, lining up either on the side of language and imagination, or on the side of things and reality.8 Fortunately, a good many scholars have come to challenge the binary opposition between imagination and ordinary reality, language and things, that has so often structured and distorted how both writers' projects are understood, and have pointed out the dangers of choosing to privilege one side over the other.9 Still, the tendency of Stevens' and Ponge's works to elicit a polarizing and side-choosing critical response indicates precisely what the two poets share most deeply. ...according to these theorists, the strategies we associate with the avant-garde - the use of fragmentation, collage, and parataxis; the appropriation of found language and images; the critique of mimesis, linearity, and unity; the metafictional blurring of theory and practice; the creation of hybrid and mixed-media forms; and so on - have all provided a more fruitful avenue of approach to the everyday than traditional forms of "realism" and representation. By making the familiar fruit strange in this way, Stevens forces us to consider it outside of our existing ideas of it, much like Ponge's approach to a candle or a plate. Because the pineapple has been released from the old, singular descriptions that have pinned it down, new ways of seeing it proliferate wildly, resulting in a stream of fantastic, disorienting images: it becomes a "hut" that "stands by itself beneath the palms," "The sea" that "is spouting upward out of rocks," "yesterday's volcano," or "a table Alp ... a purple Southern mountain bisqued / With the molten mixings of related things" (CPP 695-96). (CPP 180) The poem aims for a precise and clear-sighted description of the object qua object; it strives for a careful presentation of the pears as they are perceived, stripped of all associations with what is not there: they do not resemble nudes or bottles, "They are yellow forms / Composed of curves / Bulging toward the base. / They are touched red" (CPP 180). Because "Study of Two Pears" is one of those poems where Stevens deliberately tries on and undercuts an extreme position, like "The Snow Man," it ends with an overly optimistic statement about the triumph of objectivity: "The pears are not seen / As the observer wills" (CPP 181).
Lucebert : twice bright Van Elburg, Fredrika
Ka mate ka ora,
20/Mar , Letnik:
11, Številka:
11
Journal Article
Recenzirano
Odprti dostop
Contributes English translations of several poems of the Dutch poet Lubertus Jacobus Swaanswijk aka 'Lucebert', one of the group of Dutch experimental poets known as the Vijftigers (the 'Fiftiers') ...who entered public awareness around 1950. Briefly discusses the poet's background and influences. Source: National Library of New Zealand Te Puna Matauranga o Aotearoa, licensed by the Department of Internal Affairs for re-use under the Creative Commons Attribution 3.0 New Zealand Licence.
This dissertation argues that the Surrealists’ collaborative practices reveal the formation of the self out of the collective, and that the coauthored books produced through collaboration imagine a ...relationship between self and other in the shared lyrical subject and the dialog of text and image. Surrealism’s collaborative work, often seen as primarily politically motivated or as a pursuit of the unconscious, participates in its broader project of redefining the human being. In the early years of the movement, beginning with these writers’ and artists’ engagement with Dada in the late 1910s, artworks that leveraged the collectivity were understood as a kind of anonymous voice or universal consciousness. By the late 1920s, the concept of collaborative work as erasure of the self was evolving, allowing for a stronger expression of individuality, especially in the art book collaborations that allowed for the creative freedom of both poet and artist. Poet Paul Eluard (1895-1952), a member of Surrealism from its inception, participated in some of the seminal co-authored poetry collections of the movement, and produced art and poetry collaborations with key surrealist artists such as Man Ray and Salvador Dali. Through research into the practices behind Eluard’s poetic collaborations, this study traces the reconceptualization of the lyrical subject as an individuality that arises from the pair. Close readings of two art and poetry collections from the year 1935 build on analysis of Eluard’s theoretical writings on the term resemblance, which he understood as the offering of the body to the world. Framing the addressee as a plurality, images and verses rethink the connection between self and other in terms of mutual contact that shapes both. By looking at Surrealism’s reversal of the transcendental ego distinct form the world, this dissertation shows their response to the rise of mass society, explored through partner book collaborations.
What is this thing about? The threesome involved in the creation of the fur teacup (Dora Maar, Pablo Picasso, and Meret Oppenheim) might well have been in their cups when their conversation led to ...its making. So this collective of painters and photographers of both genders at their best composed this abject object, portraying an erotics gone wild. This vessel, attractive in its loathsomeness, is exactly what you don't drink from at teatime, being the ultimate Dada Thing photographed by Dora Maar. Performing many photographic, painterly, and conceptual feats, none of these three friends were anyone's idea of a polite tea companion. And this fur piece takes the absolute cookie.
This dissertation is meant to be the scene of an experiment. It is meant to be a scene of observation and auscultation striving to fathom the work of poiesis as it manifests itself in select pieces ...of experimental poetry created by artists and writers of the 20th-century avant-gardes. Our study notably poses the question of how poiesis draws on, and seeks to incorporate the experience of sensible things, examining also how this accentuation of perception in the making of a poem feeds into, viz. falls in line with the accentuation of the poem's sensible thing-ness. We will investigate how the abovementioned artists undertake to "make sense" of their experience of the things of the life-world, namely by grounding the signifying of their poetry in the mattering of poietic matter. We will investigate how their poems come to produce sense qua their mere being sensible, i.e. qua their being sensible as visual and/or aural matter that matters to us by virtue of its very visual and/or aural phenomenality. As we will argue, with this emphasis on the production of a sensible presence, these poetic experiments not only establish the primacy of perception, but – more important – they also prove to loosen, and oftentimes even cut the close ties that poiesis is commonly considered to have with the semiotic order. Thus, instead of fabricating a communicational language, the experiment called poiesis giving rise to these works is in the first place destined to create the poem as a material thing. We will show that, as such a material thing, the experimental poem interpellates the senses via a language of materiality that, for its part, translates the materiality of the things of the life-world. We will show that, in lieu of straightforwardly abiding by the laws of semioticity, the poietic language of the works we are about to encounter rather emanates from the poems' very physique; i.e., that this "physical" language forged in defiance of the semiotic order thus rather proves to be consubstantial with the mattering of the matter that gives shape to the body of the poem. In the course of our study, we will pay particular attention to how the work of poiesis – as it comes to crystallize and persist in the bodiliness of the respective poem – is, namely, pregnant with the gestures and the flesh of the body that conceived it. Beginning with the surface analysis of the physiognomy of a work by Man Ray, we will then turn to delving into the depths of the poems' corporeality. Anatomizing pieces from the oeuvres of Henri Chopin and Gerhard Rühm, we will discover – step-by-step and layer-by-layer – how both the scriptural and the oral practices constituting their work are infused with the pulsating of the human body. As we will suggest, the sensing of the scriptural and aural anatomies that build the body of Chopin's and Rühm's works always involves the sensing of the displaced and disfigured human body. This turn of poiesis to the human senses thus allows for a sensitization of the works themselves – in the sense that they become sensible bodies whose very bodiliness embraces, re-appropriates, and exudes the materiality of the life-world.
Par ce mémoire, je souhaite mettre en exergue la dynamique de représentation du corps féminin et la notion du genre à l’intérieur du Surréalisme. Mes réflexions se sont portées sur trois grandes ...figures de ce courant: Man Ray ( L’Etoile de mer, et le Mystère du Château de Dés), Joyce Mansour (Cris), et Gisèle Prassinos (Trouver sans Chercher). J’analyserai de façon détaillée ces oeuvres en mettant en lumière les contradictions et les complémentarités inhérentes à leur travail. Je privilégierai ainsi différents supports artistiques tels que le cinéma et la littérature pour révéler la diversité et la créativité du mouvement surréaliste.
