Essays

2021 ◽  
Author(s):  
Nick Freeman
Keyword(s):  
Reference Point ◽  
Oscar Wilde ◽  
Aldous Huxley ◽  
Avant Garde

This article examines the phenomenon of the “decadent essay” through discussion of works by significant practitioners of the form, such as Oscar Wilde and Max Beerbohm. It argues that decadent writers played a sophisticated game whereby they adapted the discussion of their interests to the needs of the marketplace without appearing to make commercially-driven compromises. Using Virginia Woolf’s views of the essay as a defining reference point, the chapter looks at the ways in which Arthur Symons and Hubert Crackanthorpe articulated what decadence might be in both mainstream (Harper’s New Monthly Magazine) and more avant-garde periodicals (The Yellow Book and The Savoy). Finally, it considers some of the ways in which the associations and attitudes of decadence crossed over from essays into fiction by novelists such as Robert Hichens, Ada Leverson, and Aldous Huxley.

Girlfriends, Boyfriends, and Bright Young Things

Nancy Cunard ◽  
2020 ◽  
pp. 121-146
Author(s):  
Jane Marcus
Keyword(s):  
Femme Fatale ◽  
Aldous Huxley ◽  
Wyndham Lewis ◽  
Avant Garde ◽  
Louis Aragon ◽  
Lesbian Sexuality

The chapter explores Cunard’s circle of bohemian friends as it gives an analysis of women’s independence and the identification of that independence with lesbian sexuality. The chapter also examines Cunard’s relationship to Wyndham Lewis, Aldous Huxley, and Louis Aragon, rereading Huxley’s fictional portrayal of Cunard as femme fatale and his engagement with English primitivism. Cunard’s contributions to Vogue and avant-garde aesthetics and leftist politics are also investigated.

Cravan, Arthur (1887–1918)

2018 ◽  
Author(s):  
Evan Rhodes
Keyword(s):  
New York ◽  
African American ◽  
Oscar Wilde ◽  
Formal Training ◽  
Mina Loy ◽  
Avant Garde ◽  
Blaise Cendrars ◽  
Jack Johnson ◽  
Francis Picabia ◽  
The Way

Born Fabian Avernius Lloyd in Lausanne, Switzerland to expatriate English parents, Arthur Cravan was a self-styled ‘poet-pugilist,’ nephew of Oscar Wilde, and husband of British poet Mina Loy. Cravan’s literary legacy is largely constituted by his connection to avant-garde circles in both Paris and New York, and the way that his anti-art position offered an aesthetic model for Dada and surrealism. Cravan published the journal Maintenant in Paris from 1912–1915, which in its indiscriminate combativeness toward other artists and writers represents what Roger Shattuck called ‘a literary transposition of boxing technique.’ Cravan’s pugnacious persona drew on his formal training as a boxer, exalting viscerality and violence against the putative effeteness of artistic convention: ‘if you have the good fortune to be a brute you’ve got to keep being one’. In this regard, Cravan was particularly influenced by contemporaneous African-American heavyweight Jack Johnson, a recurrent figure in his writing often portrayed as ‘primitive’ or ‘brutal.’ In 1915, Cravan and Johnson staged a boxing match in Barcelona attended by avant-gardists such as Francis Picabia and Blaise Cendrars, which Johnson won. By 1916, Cravan had moved to New York, where he met Loy, and had taken up with members of the Arensberg Circle. His combination of an anti-art stance and penchant for spectacle made him an important precursor for Dada and surrealism; Cendrars once wrote that ‘Dada is Dada and Arthur Cravan is its prophet.’ In 1918, Cravan vanished off the coast of Salina Cruz, Mexico in a boat of his own repair.  

scholarly journals Variables as Contextual Constraints in Translating Irony

Linguaculture ◽  
2015 ◽  
Vol 2015 (1) ◽  
pp. 98-123
Author(s):  
Oana Babîi
Keyword(s):  
Oscar Wilde ◽  
Translation Studies ◽  
Jonathan Swift ◽  
Literary Studies ◽  
Aldous Huxley ◽  
Theoretical Frameworks ◽  
Translation Process ◽  
Literary Genres ◽  
Normative Factors

Abstract The translator’s role and responsibility are high in any act of interlingual communication, and even higher when irony, an indirect and deliberately elusive form of communication, is involved in the translation process. By allowing more than one possible interpretation, irony is inevitably exposed to the risk of being misunderstood. This paper attempts to capture the complexity of translating irony, making use of theoretical frameworks provided by literary studies and translation studies. It analyses if and how the types of irony, the literary genres and the cultural, normative factors, perceived as potential contextual constraints, have an impact on the translator’ choices in rendering irony in translation, taking illustrative examples from Jonathan Swift, Oscar Wilde, Aldous Huxley and David Lodge’s works.

scholarly journals Pushkin as a personal myth of the Russian avantgarde

2020 ◽  
Vol 11 (2) ◽  
pp. 69-79
Author(s):  
Tatyana V. Tsvigun ◽  
Aleksey N. Chernyakov
Keyword(s):  
Reference Point ◽  
Cultural Models ◽  
Cultural Appropriation ◽  
Literary Field ◽  
Avant Garde ◽  
Personal Myth ◽  
New Literature

This article analyses strategies for cultural appropriation and the appropriation of Push­kin’s personality and oeuvre by the Russian avant-garde. The treatment of Pushkin by the avant-garde is considered as a peculiar variant of cultural apophaticism when the object of reflection is asserted through its consistent negation. The factography of the Russian avant-garde proves that, from its earliest stages the creative system has been constructing its own Pushkin myth, within which the poet has the role of both an object of cultural overcoming and the reference point for the development of a new art. Through negation, the avant-garde strives to ‘discharge’ Pushkin and to show his strangeness to classical cultural models. By making the poet its own, the avant-garde uses him to secure its position in the literary field. Another focus of the article is the place and role of the Pushkin substrate in the poetry and theoretical treatises of Aleksei Kruchyonykh. In his works Pushkin is an object of poetical overcoming and a pole of attraction-repulsion. He is a touchstone, a reference point for the conceptualisation of a new literature. In developing his theory of the shift, Kruchyonykh views Pushkin as a ‘sound-poet’. That analytical position made it possible to move from dis­missing him as ‘a deaf singer’ to the avant-gardist glorification of Pushkin as a genius who worked with the sound texture of the poem. Kruchyonykh demonstrates that for Pushkin the shift is a powerful semantic generator of poetry, a tool that makes an error ‘the rule of break­ing rules’: semantic deviations turn into neologisms, whereas the shift itself enters the realm of productive poetic techniques.

Reich in Blackface: Oh Dem Watermelons and Radical Minstrelsy in the 1960s

2011 ◽  
Vol 5 (2) ◽  
pp. 139-193 ◽  
Author(s):  
SUMANTH GOPINATH
Keyword(s):  
Civil Rights ◽  
San Francisco ◽  
Reference Point ◽  
Musical Style ◽  
Avant Garde ◽  
Bay Area ◽  
Blackface Minstrelsy ◽  
The 1960S

AbstractThis essay undertakes an examination of Steve Reich's music for Robert Nelson's film Oh Dem Watermelons (1965), which was originally conceived as part of the San Francisco Mime Troupe's controversial production A Minstrel Show, or Civil Rights in a Cracker Barrel of the same year. Reich's long-neglected soundtrack deserves reconsideration for its formative role in the development of the composer's musical style and quasi-liberationist aesthetic at the time, for its participation within what I term the “minstrel avant-garde” in the Bay Area during the mid-1960s and the postmodern revival of blackface minstrelsy more generally, and as a reference point in reflecting upon Reich's professional and political trajectory since its composition.

scholarly journals Aspects of Intertextuality in the Works of the ‘Stalowa Wola Generation’ (Eugeniusz Knapik, Andrzej Krzanowski, Aleksander Lasoń)

2019 ◽  
pp. 155-172
Author(s):  
Kinga Kiwała
Keyword(s):  
20Th Century ◽  
Reference Point ◽  
Musical Style ◽  
Avant Garde ◽  
Polish Music ◽  
Krzysztof Penderecki ◽  
Musical Traditions ◽  
Aesthetic Values ◽  
Distinguishing Features

In the panorama of Polish music of the 2nd half of the 20th century the works of Silesian composers stand out. They were born in 1951 and thus they are referred to as the ‘Generation 51’ or the ‘Stalowa Wola Generation’ (from the place of their debut at the Festival ‘Young Musician for the Young City’ in Stalowa Wola in 1976): Eugeniusz Knapik, Aleksander Lasoń and Andrzej Krzanowski. They constituted the first generational phenomenon of such significance in Polish music since the debut of ‘Generation 33’ (Krzysztof Penderecki, Henryk Mikołaj Górecki and others). The musical style of these young authors was in tune with the Polish popular phenomenon of the 1970s of ‘New Romanticism’, consisting in a return to certain artistic and aesthetic values lost in modernism and avant-garde. One of the distinguishing features of Knapik’s, Lasoń’s and Krzanowski’s work is the application of various ‘intertextual strategies’ – quotations, allusions, and clear references to more or less specific musical traditions. In the works of ‘Generation 51’ composers, these strategies have a certain superior ‘axiological sense’ (Władysław Stróżewski), which is far from a purely ludic, postmodernist play on conventions and texts. The aim of the text is a review and an attempt to interpret those strategies. A methodological reference point will be the semantic analyses of possible intertextual references performed by Mieczysław Tomaszewski and Stanisław Balbus.

Cognitive Reflection Effects on Time Discounting

2018 ◽  
Vol 39 (2) ◽  
pp. 99-106 ◽  
Author(s):  
Michał Białek ◽  
Przemysław Sawicki
Keyword(s):  
Individual Differences ◽  
Individual Difference ◽  
Delay Discounting ◽  
Reference Point ◽  
Reference Points ◽  
Cognitive Reflection Test ◽  
Process Information ◽  
Time Discounting ◽  
Cognitive Reflection ◽  
The Way

Abstract. In this work, we investigated individual differences in cognitive reflection effects on delay discounting – a preference for smaller sooner over larger later payoff. People are claimed to prefer more these alternatives they considered first – so-called reference point – over the alternatives they considered later. Cognitive reflection affects the way individuals process information, with less reflective individuals relying predominantly on the first information they consider, thus, being more susceptible to reference points as compared to more reflective individuals. In Experiment 1, we confirmed that individuals who scored high on the Cognitive Reflection Test discount less strongly than less reflective individuals, but we also show that such individuals are less susceptible to imposed reference points. Experiment 2 replicated these findings additionally providing evidence that cognitive reflection predicts discounting strength and (in)dependency to reference points over and above individual difference in numeracy.

Comparison-Induced Evaluations Around a Reference Point

2008 ◽  
Author(s):  
Amber N. Bloomfield ◽  
Jessica M. Choplin
Keyword(s):  
Reference Point
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