scholarly journals The Hybrid Theater of Robert Pinget

2020 ◽  
Vol 10 (2) ◽  
pp. 58-69
Author(s):  
Anca Similar
Keyword(s):  
Avant Garde ◽  
Academic Texts ◽  
New Novel ◽  
Robert Pinget

AbstractThe theatre of Robert Pinget was acclaimed at the Avignon Festival till the 1980s, until it became in spite of itself a representative of the theatrical avant-garde greeted by numerous critics and academic texts. It appears, however, that Pinget’s theatre was the victim of a real misinterpretation. Adventurous life, where romance and destiny mingle, lay the foundations of pingétienne irony, this search for personal tone subjects to uncertainties and other contradictions Robert Pinget’s affiliation with Max Jacob’s is an attempt to approach the avant-garde, but to turn away from it in a subtle way in the last moment. This waltz-hesitation of Pinget will be the basis of a tendency to put this work in the “new novel” or the theatrical avant-garde. The literature of Pinget can be considered as a form of the art of the escape the expression of an incessantly renewed amazement through an acousmatic voice. It is through the theory of the double and the quest for secrecy that we can now reposition Pinget’s theater in the perspective of a classical theater on the very margins of the avant-garde and a striking example of an ontological incomprehension between adaptation and the message left by the author.

scholarly journals Nouveau Roman

2018 ◽  
Author(s):  
Jan Baetens ◽  
Christopher Langlois
Keyword(s):  
Marguerite Duras ◽  
Nathalie Sarraute ◽  
Claude Simon ◽  
Michel Butor ◽  
New Novel ◽  
André Breton ◽  
The 1950S ◽  
Robert Pinget ◽  
Nouveau Roman ◽  
Critical Movement

The ‘Nouveau Roman’ or ‘New Novel’ is used to refer to a literary and critical movement in France during the 1950s and early 1960s. Later, more experimental developments in the late 1960s and early 1970s will be labeled the ‘New New Novel’. Although the Nouveau Roman quickly became associated with the work of Alain Robbe-Grillet, Marguerite Duras, Nathalie Sarraute, Michel Butor, Claude Simon, and Robert Pinget, to name only the most notable, it never crystallized into so dogmatic an ideology of literature and art as had the Surrealism of André Breton during the 1920s and 1930s.

scholarly journals HENRI BERGSON'S INTUITIONISM AS A CATALYST OF INTERPRETING PROCESSES

2020 ◽  
pp. 32-36
Author(s):  
O. I. Onyschenko
Keyword(s):  
English Language ◽  
General System ◽  
Human Science ◽  
Research Field ◽  
Artistic Creation ◽  
Avant Garde ◽  
New Novel ◽  
Language Interpretation ◽  
English Speaking ◽  
Philosophical Community

The article analyses the process of intuitionism's "entry" into European philosophical – aesthetical and studying of art area from 1913 – the year of publishing the first English speaking interpretation of the French thinker. It is shown as the line of thesis of his philosophical conception transformed into the sphere of artistic creation and influenced on the art of the XX century. The examples of intuitionism's interpretation which are represented in modern Ukrainian human science have been accented. It is underlined that the first experience of English – language interpretation of Henri Bergson's ideas, whose works were very popular in European cultural area, is connected with the name of Gerbert Wildom Karr (1859 – 1931), who proposed popular account of the French theorists views in the work The philosophy of Bergson. The accent is made on the fact that G.W. Karr's interpretational model uses the principle of systematization of "the problem field" which H. Bergson formed during the first decade of the XX century. Special attention is paid to"intuitionalism" – composed part of "bergsonism" in the context of which a special theoretic loading lies on the factors "memory" and "time". Examining "time" H. Bergson proposes to take into consideration its "reversibility" and "non-reversibility". It is shown that factors "memory" and "time" were actively used in avant-garde art and in "logic – alogic" of the building of literary works of the school of "new novel" and in European cinematograph of the 70 – 80 years of the ХХ century. As a good example of aesthetic-artistic embodiment of the modifications of "memory" and "time" the creation of famous Spanish producer Karlos Sauro has been considered. It is emphasized that a special load in the general system of views of H. Bergson is "intuitionism", which in the European cultural space was highly appreciated by both the philosophical community and artists. It is emphasized that such factors of "intuitionism" as intelligence, instinct, intuition, time, memory, are still relevant in the research field.

Multisensory Modalities and Modernist Translation

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
Sensory Integration ◽  
Cultural Anthropology ◽  
Sensory Perception ◽  
Cross Cultural ◽  
Avant Garde ◽  
Artistic Production ◽  
High Modernism ◽  
The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

The Spanish Reception of Le Sacre du Printemps (1913–1936)

2018 ◽  
Vol 36 (1) ◽  
pp. 48-66
Author(s):  
Idoia Murga Castro
Keyword(s):  
Nineteenth Century ◽  
Civil War ◽  
Spanish Civil War ◽  
Original Work ◽  
Silver Age ◽  
Avant Garde ◽  
Ballets Russes ◽  
Rite Of Spring ◽  
Le Sacre Du Printemps ◽  
Cultural Expansion

Centenary celebrations are being held between 2016 and 2018 to mark the first consecutive tours of Diaghilev's Ballets Russes in Spain. This study analyses the Spanish reception of Le Sacre du Printemps (The Rite of Spring) (1913), one of its most avant-garde pieces. Although the original work was never performed in Spain as a complete ballet, its influence was felt deeply in the work of certain Spanish choreographers, composers, painters and intellectuals during the so-called Silver Age, the period of modernisation and cultural expansion which extended from the end of the nineteenth century to the beginning of the Spanish Civil War.

Misreading Egypt

2018 ◽  
Author(s):  
Jesse Schotter
Keyword(s):  
New Media ◽  
Narrative Form ◽  
Experimental Film ◽  
Tower Of Babel ◽  
Avant Garde ◽  
Sergei Eisenstein ◽  
History Of ◽  
The One ◽  
The Relationship ◽  
Modern Technologies

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.

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