scholarly journals Onkel-Toms-Hütte i Am Fischtal settlements in Berlin, as a reflection of the relation between avant-garde nad continuation trends in German architecture of the twenties of the XXth century in the field of housing

2011 ◽  
Vol 9 (2) ◽  
pp. 087-111
Author(s):  
Hubert Trammer
Keyword(s):  
Twentieth Century ◽  
Public And Private ◽  
Xxth Century ◽  
Private Space ◽  
Avant Garde ◽  
The Way

Onkel-Toms-Hütte i Am Fischtal settlements had been built side by side in Berlin in the twenties of the twentieth century. Together they create the example of the coexistence of the avant-garde and continuation tendencies in architecture. The shape of the settlements and their architecture show both the differences in the opinions of their authors, mainly concerning using flat or steeped roofs, as well as influences coming in both directions. Both settlements create interesting reference in many fields. Especially interesting is the way of incorporation of green into the space of settlements and the relation between public and private space. The Onkel-Toms-Hütte is an interesting example of placing shopping in the settlement.

The Many Facades of Edith Sitwell

2017 ◽  
Keyword(s):  
British Modernism ◽  
Public And Private ◽  
Important Place ◽  
Avant Garde ◽  
Central Figure ◽  
Literary Expression ◽  
The Many ◽  
Historical Discourses ◽  
The Way

Edith Sitwell was a key figure in the establishment of a British avant-garde “scene” and in the development of a unique literary expression. Taken together, each of the contributors gives body to a serious reconsideration, even resurrection, of Sitwell's important place in British modernism. Overall, this book makes a place for the lost story of Sitwellism in modernist history. It shows how her place in that history depends on a continual public and private remaking of self. Further, this book gives substance to the type of avant-garde that she (and her brothers) worked to craft—ornamental and baroque—by exploring the affective traces it produced in melancholic camp and her notion of female poetry. Finally, it demonstrates some ways in which that effect also includes and even invites engagement with socio-historical discourses of class, gender, and empire. Altogether, this volume opens the way for a long and rich reconsideration of this crucial, central figure of British modernism.

scholarly journals ‘I trac’d him too and fro’: Walking the Neighbourhood on the Early Modern Stage

Early Theatre ◽  
2016 ◽  
Vol 19 (2) ◽  
Author(s):  
Rebecca Tomlin
Keyword(s):  
Twentieth Century ◽  
Early Modern ◽  
Public And Private ◽  
Private Space ◽  
Michel De Certeau ◽  
Knowing That ◽  
Early Modern London ◽  
The Relationship ◽  
The City

<p>This article considers the ways in which plays stage the negotiation of the relationship between public and private space in early modern London through characters walking in the city. It uses concepts developed by Michel de Certeau and Pierre Mayol to think about the twentieth-century city to argue that Heywood’s <em>Edward IV</em> and the anonymous <em>A Warning for Fair Women</em> present walking the streets of London as an act of recognition and knowing that distinguishes those who belong in the city from those who do not.</p>

Diaries Real and Fictional in Twentieth-Century French Writing

2018 ◽  
Author(s):  
Sam Ferguson
Keyword(s):  
Twentieth Century ◽  
Life Writing ◽  
Second World War ◽  
Andre Gide ◽  
World War ◽  
Avant Garde ◽  
Diary Writing ◽  
Second World ◽  
The Way

This is the first study of the diary in French writing across the twentieth century, as a genre including both fictional and non-fictional works. From the 1880s it became apparent to writers in France that their diaries (or journaux intimes) – a supposedly private form of writing – would probably come to be published, strongly affecting the way their readers viewed their other published works, and their very persona as an author. More than any other, André Gide embraced the literary potential of the diary: the first part of this book follows his experimentation with the diary in the fictional works Les Cahiers d’André Walter (1891) and Paludes (1895), in his diary of the composition of his great novel, Le Journal des faux-monnayeurs (1926), and in his monumental Journal 1889–1939 (1939). The second part follows developments in diary-writing after the Second World War, inflected by radical changes in attitudes towards the writing subject. Raymond Queneau’s works published under the pseudonym of Sally Mara (1947–1962) used the diary playfully at a time when the writing subject was condemned by the literary avant-garde. Roland Barthes’s experiments with the diary (1977–1979) took it to the extremes of its formal possibilities, at the point of a return of the writing subject. Annie Ernaux’s published diaries (1993–2011) demonstrate the role of the diary in the modern field of life-writing, especially in comparison with autobiography. Throughout the century, the diary has repeatedly been used to construct an œuvre and author, but also to call these fundamental literary concepts into question.

scholarly journals Образы языка в англо-американском авангарде. 1910-е годы

2020 ◽  
pp. 62-71
Author(s):  
В.В. Фещенко
Keyword(s):  
New York ◽  
Twentieth Century ◽  
American Literature ◽  
Dynamic Contact ◽  
Xxth Century ◽  
Avant Garde ◽  
States Of Consciousness ◽  
The World ◽  
New States ◽  
Anglo American

В статье приводится описание авангардных практик в англоязычной литературе ХХ века, которые в наибольшей мере актуализируют языковую проблематику. Утверждается, что рассмотрение контекстов зарождения авангардных движений в англоязычной литературе ХХ века позволило выявить наиболее динамичные контактные зоны, в которых соприкасались авторы, действующие в трансатлантическом треугольнике (Лондон — Нью-Йорк — Париж). На основе этих контекстов и контактов в разделе прослежены различные концепции языка и представления о языке («образы языка»), возникающие в англо-американском литературно-манифестарном авангардном письме на протяжении семи десятилетий (1910–1970-е годы). 1910-е годы — время расцвета авангардной культуры по всему миру. На трансатлантических рубежах зарождаются такие представления, как говорение на «двух языках» — непременное условие самоопровергающего авангардного высказывания с «динамизмом слова, образа, мысли и действия» (в вортицизме); превращение языка как такового в главенствующий инструмент художественности, «приведение языка в движение» для вызывания новых состояний сознания (в литературном постимпрессионизме, симультанизме); идея новых «алфавитов» искусства и каталогизации слов и объектов (в дадаизме). The article addresses avant-garde practices in XXth century English and American literature, which mostly deal with language issues. Consideration of the contexts of origin of avant-garde movements in Anglo-American literature of the twentieth century revealed the most dynamic contact areas in which the authors were operating in the transatlantic triangle (London — New York — Paris). On the basis of these contexts and contacts, we traced various concepts of language and ideas about language, emerging in the Anglo-American literary and manifesto avant-garde writing over seven decades (1910s ––1970s). On the transatlantic frontiers, the 1910s — the heyday of avant-garde culture around the world — see the birth of concepts such as speaking in “two tongues” as an indispensable condition for a self-rejecting avant-garde utterance, with “the dynamism of the word, image, thought and action” (in Vorticism); the transformation of language as such into a dominant instrument of artistry, “setting language in motion” for evoking new states of consciousness (in literary Post-Impressionism, Simultaneism); the idea of new “alphabets” of art and the cataloging of words and objects (in Dadaism).

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.

‘Grey Dawn’ in the British Pacific: Race, Security and Colonial Sovereignty on the Eve of World War I

2016 ◽  
Vol 9 (1) ◽  
pp. 32-54 ◽  
Author(s):  
Jesse Tumblin
Keyword(s):  
Twentieth Century ◽  
World War I ◽  
Military Force ◽  
Royal Navy ◽  
World War ◽  
Building Projects ◽  
Cooperative Security ◽  
Strategic Defense ◽  
Racial Discourses ◽  
The Way

This article examines the way a group of colonies on the far reaches of British power – Australia, New Zealand, Canada, and India, dealt with the imperatives of their own security in the early twentieth century. Each of these evolved into Dominion status and then to sovereign statehood (India lastly and most thoroughly) over the first half of the twentieth century, and their sovereignties evolved amidst a number of related and often countervailing problems of self-defence and cooperative security strategy within the British Empire. The article examines how security – the abstracted political goods of military force – worked alongside race in the greater Pacific to build colonial sovereignties before the First World War. Its first section examines the internal-domestic dimension of sovereignty and its need to secure territory through the issue of imperial naval subsidies. A number of colonies paid subsidies to Britain to support the Royal Navy and thus to contribute in financial terms to their strategic defense. These subsidies provoked increasing opposition after the turn of the twentieth century, and the article exlpores why colonial actors of various types thought financial subsidies threatened their sovereignties in important ways. The second section of the article examines the external-diplomatic dimension of sovereignty by looking at the way colonial actors responded to the Anglo-Japanese Alliance. I argue that colonial actors deployed security as a logic that allowed them to pursue their own bids for sovereignty and autonomy, leverage racial discourses that shaped state-building projects, and ultimately to attempt to nudge the focus of the British Empire's grand strategy away from Europe and into Asia.

‘Out Past / Self-Dramatization’: Maurice Scully's Several Dances

2016 ◽  
Vol 46 (1) ◽  
pp. 105-118
Author(s):  
Romana Huk
Keyword(s):  
Twentieth Century ◽  
William Carlos Williams ◽  
The Self ◽  
Avant Garde ◽  
George Oppen ◽  
American Poets

What has lyric to do with any radical phenomenology's choreography? Maurice Scully in Several Dances asks that question, as he has for years now, alongside other poets of Ireland's avant-garde whose ‘distinguishing (not inhibiting) feature’, as Sarah Bennett writes (acknowledging the work of Alex Davis and Eric Falci before her) is that in it ‘the lyric subject persists’ – in tandem with, this essay argues, what she names ‘an interest in perception … [which] is perhaps the most compelling commonality in these poets' work’. What distinguishes Scully's from the lyric phenomenology of American poets from William Carlos Williams (invoked throughout the volume) to George Oppen (also invoked) is that he queries existentialism's ‘singular’ approach to phenomena, achieved as Heidegger thought through the phenomenological ‘bracketing’ of individual (and communal) preconceptions from the perception of things. Cosmic – even theological – speculation enters in as Scully's poems move out past both self-centered lyric and twentieth-century cancellations of all preconceptions in the ‘limit-thinking’ and being-toward-death that phenomenology proposed for seeing past the self. Yet Scully works with mortality always in his sights too as he sings ‘the Huuuman / Limit-at-tation Blues’ (p.118) and, more vertiginously, considers both the undelimitability and the fragility of us.

Breeding Better Babies in the Eugenic Garden City: ‘Municipal Darwinism’ and the (Anti)Cosmopolitan Utopia in the early Twentieth Century

2010 ◽  
Vol 5 (2) ◽  
pp. 267-290 ◽  
Author(s):  
Susan Currell
Keyword(s):  
Twentieth Century ◽  
City Planning ◽  
Comparative Approach ◽  
Core Beliefs ◽  
Garden City ◽  
New Town ◽  
Early Twentieth Century ◽  
National Body ◽  
Practical Level ◽  
The Way

Showing how ‘modernist cosmopolitanism’ coexisted with an anti-cosmopolitan municipal control this essay looks at the way utopian ideals about breeding better humans entered into new town and city planning in the early twentieth century. An experiment in eugenic garden city planning which took place in Strasbourg, France, in the 1920s provided a model for modern planning that was keenly observed by the international eugenics movement as well as city planners. The comparative approach taken in this essay shows that while core beliefs about degeneration and the importance of eugenics to improve the national ‘body’ were often transnational and cosmopolitan, attempts to implement eugenic beliefs on a practical level were shaped by national and regional circumstances that were on many levels anti-cosmopolitan. As a way of assuaging the tensions between the local and the global, as well as the traditional with the modern, this unique and now forgotten experiment in eugenic city planning aimed to show that both preservation and progress could succeed at the same time.

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