scholarly journals “It’s Just a Matter of Form”: Edna St. Vincent Millay’s Experiments with Masculinity

Humanities ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 177 ◽  
Author(s):  
Parker
Keyword(s):  
First World War ◽  
Poetic Form ◽  
World War ◽  
Political Issues ◽  
Avant Garde ◽  
The First World War ◽  
To Come ◽  
Depression Era ◽  
Provincetown Players ◽  
First World

Edna St. Vincent Millay occupies an uncomfortable position in relation to modernism. In the majority of criticism, her work is considered the antithesis to modernist experimentation: as representative of the ‘rearguard’ that rejected vers libre in favour of fixed poetic forms. Indeed, most critics concur that whilst Millay’s subject matter may have been modern and daring—voicing women’s sexual independence, for instance—her form was decidedly traditional. Millay also troubles notions of modernist impersonality by writing seemingly autobiographical lyrics that showcase feminine emotions. In this paper, I aim to challenge this view of Millay by focussing on the two avant-garde works that mark the outset and the zenith of her career: Aria da Capo (1921) and Conversation at Midnight (1937). These works are both formally innovative, blurring the boundaries between poetry and drama, causing Edmund Wilson to complain that Millay had “gone to pieces”. Moreover, both works engage in performances of masculinity, with women all but absent. Aria da Capo, first performed by the Provincetown Players in 1919, dramatizes the conflict between two shepherds as an allegory for the First World War. Conversation ventriloquises an all-male dinner party, ranging through the political issues of the Depression era and foreshadowing the war to come. I use both works to argue that Millay has a more interesting relationship to masculinity and modernism than has been hitherto captured by critics. Millay voices men in innovative ways, radically challenging constructions of both gender and poetic form in the process.

The Making of the Experimental Subject: Apparatus, Automatism, and the Anxiety of the Early Avant-Garde

2020 ◽  
Vol 37 (7-8) ◽  
pp. 115-132
Author(s):  
Branden Hookway
Keyword(s):  
Experimental Psychology ◽  
First World War ◽  
Experimental Subject ◽  
Early 20Th Century ◽  
Sensory Thresholds ◽  
World War ◽  
Avant Garde ◽  
The First World War ◽  
Testing And Measurement ◽  
First World

This essay presents the experimental subject as a figure of modernity. It addresses notions of control, sensory thresholds, automatism, and human agency through a study of experimental psychology and psychological apparatus from the late 19th century to the First World War, juxtaposing this with notions of experimentation in early 20th-century avant-garde movements. The human subject of experimental psychology, defined by its inexpression as it awaits the stimuli of testing and measurement, is treated as a prototype for the present-day user of technological interfaces.

‘When a Dream Vanishes’: Edward Gordon Craig in Florence

1989 ◽  
Vol 5 (18) ◽  
pp. 140-151 ◽  
Author(s):  
Alessandro Sardelli
Keyword(s):  
First World War ◽  
World War ◽  
Avant Garde ◽  
The First World War ◽  
Influential Journal ◽  
First World

When Gordon Craig settled in Florence before the First World War, he found himself amidst a flourishing avant-garde artistic community. which he regarded with some caution. Between the staging of Rosmersholm with Duse in 1906 and the closing of his short-lived theatre school at the Goldoni Arena in 1914, he also conducted a correspondence with the eclectic cosmopolitan Carlo Placci – a previously unpublished source on which Alessandro Sardelli has drawn to illuminate Craig's Florentine years, during which his influential journal The Mask made its earliest appearance, and Craig also developed the idea of his adjustable screens, first employed during his Moscow collaboration with Stanislavski on Hamlet.

scholarly journals Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu

2020 ◽  
Author(s):  
Susanne Klengel
Keyword(s):  
Blind Spot ◽  
First World War ◽  
World War ◽  
Avant Garde ◽  
Artistic Production ◽  
The First World War ◽  
The World ◽  
Famous Book ◽  
Spanish Flu ◽  
First World

The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.

Curiosities from the Front

PMLA ◽  
2019 ◽  
Vol 134 (3) ◽  
pp. 555-561
Author(s):  
Guillaume Apollinaire ◽  
Cedric Van Dijck
Keyword(s):  
Musical Instrument ◽  
First World War ◽  
World War ◽  
Avant Garde ◽  
Everyday Objects ◽  
Guillaume Apollinaire ◽  
The First World War ◽  
The Everyday ◽  
Full Swing ◽  
First World

In November 1916, with the first world war in full swing, the Soldiers of the 82nd Territorial Infantry Regiment of the French Forces opened the latest issue of their monthly regimental magazine, Brise d'entonnoirs (“Breeze from Bombcraters”), to find a piece by the avant-garde poet Guillaume Apollinaire. Entitled “Curiosités du front” (“Curiosities from the Front”), it reinvents the everyday objects that cluttered the front lines: a shovel held up above the trench, for instance, becomes a dancing musical instrument as German bullets strike the shovel plate. This sense of humor was characteristic of the trench press, which existed to distract readers from the grim realities of warfare. Probably because it was thought to be so amusing or pertinent, Apollinaire's piece attracted some notice in its day. Several of its sections—“The Shovel,” “Trellis,” “The Bulletproof Shield”—found their way into other publications, at the front as well as in Paris, and some even made it onto the popular quotation pages of the official magazine of the French army, Bulletin des Armées de la République, of which an unsuspecting Apollinaire had written a year earlier, “Les pages consacrées aux citations sont merveilleuses” (“The pages dedicated to quotations are marvelous” [Letter to André Level]).

WAR AND PEACE: ARTHUR CECIL PIGOU AS A PUBLIC INTELLECTUAL DURING WORLD WAR I

2020 ◽  
pp. 1-18
Author(s):  
Rogério Arthmar ◽  
Michael McLure
Keyword(s):  
World War I ◽  
First World War ◽  
Public Intellectual ◽  
Peace Treaty ◽  
War And Peace ◽  
World War ◽  
Full Circle ◽  
The First World War ◽  
To Come ◽  
First World

This study reflects on Arthur Cecil Pigou’s role in public debate during the initial phase of the First World War over whether Britain should negotiate a peace treaty with Germany. Its main goal is to provide evidence that the “Cambridge Professor” framed his approach to this highly controversial issue from theoretical propositions on trade, industrial peace, and welfare that he had developed in previous works. After reviewing his contributions on these subjects, Pigou’s letter to The Nation in early 1915, suggesting an open move by the Allies towards an honorable peace with Germany, is presented along with his more elaborate thoughts on this same theme put down in a private manuscript. The negative reactions to Pigou’s letter are then scrutinized, particularly the fierce editorial published by The Morning Post. A subsequent version of Pigou’s plea for peace, delivered in his London speech late in 1915, is detailed, listing the essential conditions for a successful conclusion of the conflict. To come full circle, the paper recapitulates Pigou’s postwar considerations on diplomacy, free trade, and colonialism. The concluding remarks bring together the theoretical and applied branches of Pigou’s thoughts on war and peace.

Applied Modernism

2011 ◽  
Vol 28 (7-8) ◽  
pp. 241-269 ◽  
Author(s):  
Paul K. Saint-Amour
Keyword(s):  
Traffic Control ◽  
First World War ◽  
Aerial Photographs ◽  
World War ◽  
Avant Garde ◽  
Continuous Survey ◽  
The First World War ◽  
Aerial Reconnaissance ◽  
Close Study ◽  
First World

This article is about a period of technology transfer – the late 1910s and 1920s – when wartime aerial reconnaissance techniques and operations were being adapted to a range of civilian uses, including urban planning, land use analysis, traffic control, tax equalization, and even archaeology. At the center of the discussion is the ‘photomosaic’: a patchwork of overlapping aerial photographs that have been rectified and fit together so as to form a continuous survey of a territory. Initially developed during the First World War to provide coverage of fronts, photomosaic mapping was widely practiced and celebrated during the postwar years as an aid to urban development. The article traces both the refinements in photomosaic technology after the Armistice and the rhetorical means by which the form’s avant-garde wartime reputation was domesticated into an ‘applied realism’ that often effaced its site-specific perspective, its elaborately rectified optics, and the oppositionality of both its military and civilian uses. The article has a broader theoretical aim as well. Classic statements of both structuralist and post-structuralist spatial theory (Barthes and de Certeau are the primary examples here) have produced an ossified geometry wherein the vertical is the axis of paradigm, top-down strategy, and manipulative distance and the horizontal the axis of syntagm, grassroots tactics, and resistant proximities and differences. In its close study of the technology and rhetoric surrounding interwar photogrammetry, the article provides an example of how one might reverse the long-standing misrecognition of high-altitude optics as effacing time, difference, and materiality – and what it might mean to view such optics as, instead, a resource in turning from abstract toward differential conceptions of both aerial photography and our theoretical habits. This turn I call ‘applied modernism’, a term that accesses both the wartime photomosaic’s affiliation with avant-garde painting and its insistence that portraits of the total are always projections from partial, specific vantages.

scholarly journals Poor cousin who came to stay: The well-established Mirror and the depression-era launch of the New Zealand Woman’s Weekly

2017 ◽  
pp. 45-61
Author(s):  
Gavin Ellis
Keyword(s):  
New Zealand ◽  
First World War ◽  
Processes Of Change ◽  
World War ◽  
The First World War ◽  
Depression Era ◽  
First World

This article places the New Zealand Woman’s Weekly magazine within the processes of change that were occurring in the years following the First World War when perceptions of the roles of women were changing and domestic consumerism was evolving. It contrasts the first issue of the magazine, launched on 8 December 1932, with that month’s edition of New Zealand’s largest selling home journal, the Mirror, to illustrate how its founders had identified a gap in the depression-era market in spite of their meagre resources.

scholarly journals Una creadora olvidada: Irène Hillel-Erlanger, entre el simbolismo y las vanguardias

Çédille ◽  
2021 ◽  
pp. 313-332
Author(s):  
Isabel González Gil ◽  
Keyword(s):  
Science Fiction ◽  
First World War ◽  
The Novel ◽  
World War ◽  
Avant Garde ◽  
The Gaze ◽  
Main Work ◽  
The First World War ◽  
First World

"This article is about an unknown author of the French avant-garde, Irène Hillel-Erlanger, and her main work, Voyages en kaléidoscope, an unusual poetic novel, published in 1919, belonging to the genre of the “Scientific-marvellous”, the proto-science-fiction developed in France between 1900 and 1930. As a result of the hybridisation of the languages of symbolism and avant-garde experimentalism, the novel shows the tensions between these two movements, which will be studied through the analysis of thematic and formal aspects, such as allegory, hermeticism, fragmentarism, or visuality, as well as textual and discursive plurality. Finally, we will address the poetics of the gaze underlying the utopian invention of the kaleidoscope, in the context of the end of the First World War. "

Gaudier-Brzeska, Henri (1891–1915)

2018 ◽  
Author(s):  
Grace Brockington
Keyword(s):  
Catalytic Effect ◽  
First World War ◽  
Art World ◽  
Museum Collections ◽  
World War ◽  
French Army ◽  
Avant Garde ◽  
The First World War ◽  
First World

Born in St Jean-de-Braye, France, Henri Gaudier-Brzeska had a catalytic effect on the development of modernist sculpture in Britain. In 1911 he moved to London, where he produced his most significant works. At the outbreak of the First World War he enlisted in the French army and was killed in action on 5 June 1915 at the age of 23. His career was brief but prolific, and has become emblematic of the growth of Modernism in Britain shortly before the War. As an artist he was self-taught, taking his inspiration from a number of sources including museum collections in Paris and London, Rodin and other European Modernists and non-European artefacts. Among avant-garde groups, he associated most closely with the Vorticists, signing their manifesto in 1914 and contributing articles to their magazine, Blast (1914 and 1915). He also worked across the factions of the London art world and his practice was eclectic; he used whatever materials came to hand, combining the virile negrophilia of Red Stone Dancer with the naturalistic figuration of Maternity (both 1913).

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