Nathalie Sarraute

2020 ◽  
Author(s):  
Ann Jefferson
Keyword(s):  
Twentieth Century ◽  
Nathalie Sarraute ◽  
French Society ◽  
Avant Garde ◽  
Archival Material ◽  
Nazi Occupation ◽  
French Novel ◽  
Political Ferment ◽  
The City ◽  
Twentieth Century Europe

A leading exponent of the nouveau roman, Nathalia Sarraute (1900–1999) was also one of France's most cosmopolitan literary figures, and her life was bound up with the intellectual and political ferment of twentieth-century Europe. This book is the authoritative biography of this major writer. Sarraute's life spanned a century and a continent. Born in tsarist Russia to Jewish parents, she was soon uprooted and brought to the city that became her lifelong home, Paris. This dislocation presaged a life marked by ambiguity and ambivalence. A stepchild in two families, a Russian émigré in Paris, a Jew in bourgeois French society, and a woman in a man's literary world, Sarraute was educated at Oxford, Berlin, and the Sorbonne. She embarked on a career in law that was ended by the Nazi occupation of France, and she spent much of the war in hiding, under constant threat of exposure. Rising to literary eminence after the Liberation, she was initially associated with the existentialist circle of Beauvoir and Sartre, before becoming the principal theorist and practitioner of the avant-garde French novel of the 1950s and 1960s. Her tireless exploration of the deepest parts of our inner psychological life produced an oeuvre that remains daringly modern and resolutely unclassifiable. The book explores Sarraute's work and the intellectual, social, and political context from which it emerged. Drawing on newly available archival material and Sarraute's letters, this biography is the definitive account of a life lived between countries, families, languages, literary movements, and more.

The Source of an Avant-Garde Voice: Music and Photography in José Moreno Villa

2018 ◽  
pp. 63-106
Author(s):  
Regina Galasso
Keyword(s):  
New York ◽  
Twentieth Century ◽  
Federico Garcia Lorca ◽  
Avant Garde ◽  
Epistolary Writing ◽  
Transatlantic Travel ◽  
Iberian Studies ◽  
Past Experiences ◽  
The City

This part studies the New York prose and poetry of José Moreno Villa, one of the most overlooked cultural figures of twentieth-century Iberian Studies. As a gateway to the context surrounding Moreno Villa's New York, this part begins with a prefatory discussion of Federico García Lorca and his epistolary writing in which he assesses travel to New York as one of the most useful experiences of his life while also repeatedly noting the continuous linguistic negotiations surrounding him while in the city. Then, this part introduces Moreno Villa and the fruits of his transatlantic travel: Pruebas de Nueva York (1927) and Jacinta la pelirroja (1929). Overall, it argues that Moreno Villa's past experiences coupled with his vulnerable linguistic position, as a result of travel, tuned him in the languages of photography, jazz, and the careful use of Spanish, English, and other languages. In doing so, this part proposes that Moreno Villa's literary New York brought his readers more than a superficial experience but one that introduced new discourses and considerations of language and its relationship to other media.

scholarly journals Templo. Máquina. Caravana. El teatro y la ciudad en la Italia del siglo XX

2018 ◽  
pp. 43
Author(s):  
Fernando Quesada López
Keyword(s):  
Twentieth Century ◽  
Design Studio ◽  
Rigorous Analysis ◽  
Avant Garde ◽  
Political Role ◽  
Siglo Xx ◽  
The City ◽  
The Temple ◽  
Intense Debate ◽  
European Architecture

Resumen Entre 1965 y 1975 se produjo en Italia un debate muy intenso en torno a la arquitectura teatral, el edificio del teatro y su papel urbano, social y político. Se articuló alrededor de tres términos que suponen tres modos de relación entre el edificio teatral y la ciudad: el templo, la máquina y la caravana. Aquel debate, de una riqueza inusitada, quedó completamente al margen de la historiografía de la arquitectura italiana y europea, a pesar de su intensidad y de la importancia de todos sus protagonistas para la cultura arquitectónica del siglo XX. Muchos de los arquitectos, críticos e historiadores del momento intervinieron en este debate con propuestas de concurso no construidas, opiniones o análisis rigurosos. Uno de los más activos fue Guido Canella, con una amplia carrera como arquitecto de teatros y erudito de la cultura teatral, que además organizó en 1965 un curso de proyectos en el Politecnico di Milano, acompañado de conferencias, mesas de debate y actuaciones de grupos de la vanguardia internacional. Todo este material fue reunido en una publicación que inauguró este debate, y a la que todos sus protagonistas se refirieron en algún momento. Además de Guido Canella, otras personalidades como Bruno Zevi, Maurizio Sacripanti, Constantino Dardi, Mario Manieri-Elia y Manfredo Tafuri, intervinieron marcando un filón cultural que sigue estando completamente olvidado hoy día.AbstractBetween 1965 and 1975 there was a very intense debate in Italy about the theatrical architecture, the theatre building and its urban, social and political role. It was articulated around three terms that assume three ways of relation between the theatrical building and the city: the temple, the machine and the caravan. That debate, of an unusual wealth, was completely absent from the official historiography of Italian and European architecture, despite its intensity and the importance of all its protagonists for the architectural culture of the twentieth century. Many of the most prominent architects, critics and historians intervened in this debate with unbuilt competition proposals, opinions or rigorous analysis. One of the most active was Guido Canella, with a broad career as theatre architect and a scholar of theater culture himself. He organized a design studio at the Politecnico di Milano in 1965, accompanied by lectures, panel discussions and group performances by international avant-garde artists. All this material was gathered in a publication edited by Guido Canella that inaugurated this debate, called The Theatrical System in Milan, and to which all protagonists referred at some point of their respective interventions. In addition to Guido Canella, other personalities such as Bruno Zevi, Maurizio Sacripanti, Constantino Dardi, Mario Manieri-Elia and Manfredo Tafuri, intervened marking a cultural reef that remains widely forgotten today.

scholarly journals URBAN ROLE OF THE LENINGRAD PALACES OF CULTURE OF THE FIRST THIRD OF THE XX CENTURY ON THE EXAMPLE OF PETROGRADSKY AND VASILEOROVSKY DISTRICTS

2020 ◽  
pp. 76-81
Author(s):  
N. Dubrovina
Keyword(s):  
Twentieth Century ◽  
Urban Planning ◽  
Avant Garde ◽  
Spatial Framework ◽  
History Of ◽  
Regional Centers ◽  
The City

In Russia, the experience of restoration of architectural monuments of the twentieth century totals only a few decades, and this process turned out to be complex and contradictory. It becomes obvious that, in comparison with the history of classical restoration, the “new heritage” requires the formation of its own restoration methodology. During the restoration and reconstruction of the Palaces of Culture of the first third of the twentieth century, it is necessary to take into account the characteristics of the building itself and the urban planning situation. The Palace of Culture, as a special type of building, must be studied in its historical environment. All Leningrad Culture Palaces are designed as important elements of urban planning regional centers. The placement of the Palace of Culture in the district structure was carefully selected based on the urban planning situation and with the aim of creating a new cultural and planning center, and in some cases, an urban ensemble. This paper discusses the design and contemporary urban importance of the Palaces of Culture of the era of the avant-garde of the Petrogradsky and Vasileostrovsky districts of Leningrad (modern St. Petersburg), namely the Lensoviet Palace of Culture and the Palace of Culture named after S. M. Kirov. It is established that the Palaces of Culture in question are important elements of the urban planning ensemble in the compositional and spatial framework of the city and / or part of the architectural and urban planning complex of buildings of regional significance.

Moving Modernism

2020 ◽  
Author(s):  
Nell Andrew
Keyword(s):  
Twentieth Century ◽  
Interwar Period ◽  
Significant Role ◽  
Modern Art ◽  
Modern Dance ◽  
Turn Of The Century ◽  
Avant Garde ◽  
The Arts ◽  
Lumiere Brothers ◽  
Twentieth Century Europe

This book reenacts the simultaneous eruption of three spectacular revolutions—the development of pictorial abstraction, the first modern dance, and the birth of cinema—which together changed the artistic landscape of early twentieth-century Europe and the future of modern art. Rather than seeking dancing pictures or pictures of dancing, however, this study follows the chronology of the historical avant-garde to show how dance and pictures were engaged in a kindred exploration of the limits of art and perception that required the process of abstraction. Recovering the performances, methods, and circles of aesthetic influence of avant-garde dance pioneers and experimental filmmakers from the turn of the century to the interwar period, this book challenges modernism’s medium-specific frameworks by demonstrating the significant role played by the arts of motion in the historical avant-garde’s development of abstraction: from the turn-of-the-century dancer Loïe Fuller, who awakened in symbolist artists the possibility of prolonged vision; to cubo-futurist and neosymbolist artists who reached pure abstraction in tandem with the radical dance theory of Valentine de Saint-Point; to Sophie Taeuber’s hybrid Dadaism between art and dance; to Akarova, a prolific choreographer whose dancing Belgian constructivist pioneers called “music architecture”; and finally to the dancing images of early cinematic abstraction from the Lumière brothers to Germaine Dulac. Each chapter reveals the emergence of abstractionas an apparatus of creation, perception, and reception deployed across artistic media toward shared modernist goals. The author argues that abstraction can be worked like a muscle, a medium through which habits of reception and perception are broken and art’s viewers are engaged by the kinesthetic sensation to move and be moved.

scholarly journals The City and the Museum: Cracow's Collections and Their Publics in the Long Nineteenth Century

2018 ◽  
Vol 49 ◽  
pp. 166-186
Author(s):  
Markian Prokopovych
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Historical Memory ◽  
Nation Building ◽  
Historical Consciousness ◽  
National Project ◽  
Early Twentieth Century ◽  
Museum History ◽  
The City ◽  
Twentieth Century Europe

It is generally acknowledged that museumswere an essential part of the national project in nineteenth- and early-twentieth-century Europe—and some retain this function even today. Classic works in nationalism studies, such as Eric Hobsbawm's, have highlighted the role they played in the birth of modern nations. Subsequent studies that focused on specific national contexts help us better understand the mechanisms by which museums contributed to the invention of national traditions as well as to the formation of historical consciousness, historical memory, and the functioning of modern states. As these and other scholars of museum history also demonstrate, museum founders, directors, curators, and the broader public were driven by agendas and aspirations other than nation-building within these larger processes. Analyzing how these agendas mixed with the aims of the national project in a specific locality in the making of museums can generate new insights into the formation of modern subjectivities in this period.

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