Ungaretti, Giuseppe (1888–1970)

2018 ◽  
Author(s):  
Elena Fabietti
Keyword(s):  
Twentieth Century ◽  
Bilingual Education ◽  
Henri Bergson ◽  
Pablo Picasso ◽  
Poetic Language ◽  
Blank Space ◽  
Avant Garde ◽  
Guillaume Apollinaire ◽  
Italian Author ◽  
Giuseppe Ungaretti

Giuseppe Ungaretti was a major Italian author of the first half of the twentieth century. In his poetry he achieves a massive reinvention of Italian poetic language, abolishing punctuation, dismembering syntax and fragmenting the verse into single verbal units. Words acquire a completely new relevance and density, which counterweigh the abundance of silence and blank space, in ways that resonate with the models of Symbolism and the avant-garde, without coinciding with these. Born in Alexandria in Egypt in 1888 as the son of an emigrant family, Ungaretti received a bilingual education in Italian and French. After moving to Paris in 1912, he became part of Parisian intellectual and poetic life, attended classes at the Sorbonne and came into contact with all major cultural personalities of the time, such as Henri Bergson, Guillaume Apollinaire, Pablo Picasso, and the Italian futurists, among others.

Apollinaire, Guillaume (1880–1918)

2018 ◽  
Author(s):  
Tara S. Thomson
Keyword(s):  
Twentieth Century ◽  
Early Years ◽  
Pablo Picasso ◽  
Visual Poetry ◽  
Henri Matisse ◽  
Avant Garde ◽  
Guillaume Apollinaire ◽  
Early Twentieth Century ◽  
Spanish Flu ◽  
Poetry Collection

Guillaume Apollinaire (1880–1918) was a poet, literary and art critic, playwright, novelist, editor, and journalist. Born in Rome to a Polish-Russian mother and an unknown father, Apollinaire’s birth name was Guglielmo Alberto Wladimiro Alessandro Apollinare de Kostrowitzky, though his family called him Wilhelm (the German form of the Italian Guglielmo). After spending his early years moving throughout Monaco, France, Belgium, and Germany, he finally settled in Paris in 1902, adopting the pen name Guillaume Apollinaire. Apollinaire became a prominent cultural figure in Paris and was a key player in the literary and artistic avant-garde movements of the early twentieth century, particularly Cubism and Surrealism. Apollinaire first gained literary recognition for his poetry collection Alcools (1913) but is best known for inventing calligrams, a form of visual poetry. While Apollinaire was primarily a poet, he earned his living as a journalist and art critic. In his articles and reviews he championed avant-garde art, and was friends with such artists as Pablo Picasso and Henri Matisse. Apollinaire fought for France in WWI and returned home in 1916 after receiving a head wound. He survived the war but died of Spanish Flu in 1918.

Rousseau, Henri Julian Félix (1844–1910)

2018 ◽  
Author(s):  
Uta Protz
Keyword(s):  
Third Republic ◽  
Botanical Garden ◽  
Full Length ◽  
Pablo Picasso ◽  
Popular Press ◽  
Avant Garde ◽  
Exotic Animals ◽  
Guillaume Apollinaire ◽  
Petite Bourgeoisie ◽  
History Paintings

A highly original artist who was largely self-taught, the French painter Henri Rousseau is widely considered the most celebrated of naïve artists and an important pioneer of Surrealism. Not known to have travelled outside France, he is best known today for his large jungle scenes, of which he painted at least twenty-five. Full of lush foliage and exotic animals, they were inspired by images in the popular press as well as visits to the Exposition Universelle of 1889 and the Jardin des Plantes, an important botanical garden and zoo in Paris. Besides his jungle scenes, Rousseau also painted history paintings celebrating the still young Third Republic, suburban landscapes showing the life of the petite bourgeoisie, still lifes and portraits, such as the full-length Portrait of a Woman (c. 1895) and the two smaller portraits representing the artist and his second wife (c. 1900–03) once owned by Pablo Picasso. Not lacking in confidence, but always striving for recognition, Rousseau appreciated the support he received from the poet Guillaume Apollinaire and the painter Robert Delauney, both of whom became close friends. Whereas certain members of the avant-garde admired Rousseau’s paintings for their charm and innocence, others, however, regarded them as outright eccentric.

Satie, Erik Alfred Leslie (1866–1925)

2018 ◽  
Author(s):  
Samuel N. Dorf
Keyword(s):  
Twentieth Century ◽  
Claude Debussy ◽  
Pablo Picasso ◽  
John Cage ◽  
Jean Cocteau ◽  
Avant Garde ◽  
Piano Works ◽  
Man Ray ◽  
Les Six ◽  
Francis Picabia

Erik Satie’s compositions, writings, and humor played an important role in many modernist movements of the twentieth century. Experimenting with simple forms, neoclassicism, mysticism, satire, and Dadaism, Satie collaborated with prominent artists, musicians, and institutions including Vincent Hypsa, Jean Cocteau, Pablo Picasso, Rene Clair, Francis Picabia, Claude Debussy, Man Ray, the Ballets Russe, the Ballets Suédois. Most recognized today for early his modal, pseudo-antique dances, the Gymnopédies and Gnossiennes, Satie also composed popular tunes, humorous piano works that mocked musical conventions, avant-garde ballets, as well as numerous mystical, irreverent, and nonsensical writings and drawings. His works and persona, sometimes whimsical, arcane, gothic, mystical, or Dadaistic inspired later generations of modernist artists and composers such as Les Six, Virgil Thomson, and John Cage.

scholarly journals O CUBISMO À LUZ DA FILOSOFIA BERGSONIANA


2017 ◽  
Vol 15 (2) ◽  
pp. 160-166
Author(s):  
Dimitrio Joviano Pinel
Keyword(s):  
Henri Bergson ◽  
Pablo Picasso ◽  
Guillaume Apollinaire

Período importante e decisivo da história da arte na Europa, principalmente na França. Paris, capital do luxo e do entretenimento – A Belle époque – surge o estilo denominado por Guillaume Apollinaire, em 1911, de Cubismo, trazendo à tona uma nova forma de representação. Esse artigo tem como objetivo analisar a carreira do artista catalão Pablo Picasso (1881-1973) e o francês Georges Braque (1882-1963). Suas trajetórias, o conceito de suas obras e os aspectos particulares com relação ao contato com o marchand e responsável pelo “Mecenato moderno” – Daniel-Henry Kanhweiler (1884-1979). Portanto, para esse fim, analisaremos o conceito do cubismo, com base a estabelecer um paralelo com a filosofia, e com os textos de Henri Bergson (1859-1941). Bem como, sua corrente filosófica, e o conceito de duração. 

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.

Gertrude Stein's Transmasculinity

2018 ◽  
Author(s):  
Chris Coffman
Keyword(s):  
Twentieth Century ◽  
Ernest Hemingway ◽  
Pablo Picasso ◽  
False Consciousness ◽  
Mass Consumption ◽  
Museum Exhibits ◽  
Carl Van Vechten ◽  
The Media ◽  
Future Work ◽  
Opening Up

By reading written and visual artefacts of Gertrude Stein’s life, Gertrude Stein’s Transmasculinity reframes earlier scholarship to argue that her gender was transmasculine and that her masculinity was positive rather than a self-hating form of false consciousness. This book considers ways Stein’s masculinity was formed through her relationship with her feminine partner, Alice B. Toklas, and her masculine homosocial bonds with other modernists in her network. This broadens out Eve Kosofsky Sedgwick’s account of “male homosocial bonding” to include all masculine persons, opening up the possibility of examining Stein’s relationship to Toklas; masculine women such as Jane Heap; and men such as Pablo Picasso, Ernest Hemingway, and Carl Van Vechten. The Introduction and first four chapters focus on surfacings of Stein’s masculinity within the visual and the textual: in others’ paintings and photographs of her person; her hermetic writings from the first three decades of the twentieth century; and her self-packaging for mass consumption in The Autobiography of Alice B. Toklas (1933). Whereas the chapter on The Autobiography underscores Toklas’s role in the formation of Stein’s masculinity and success as a modernist, the final three register the vicissitudes of the homosocial bonds at play in her friendships with Picasso, Hemingway, and Van Vechten. The Coda, which cross-reads Stein’s Everybody’s Autobiography (1937) with the media attention two museum exhibits about her attracted between 2011 and 2012, points to possibilities for future work on the implications of her masculine homosocial bonds with Vichy collaborator Bernard Fäy.

‘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.

Towards a Minor Poetry: Reading Twentieth-Century French Poetry with Deleuze–Guattari and Bakhtin

Paragraph ◽  
2019 ◽  
Vol 42 (2) ◽  
pp. 135-153
Author(s):  
Daisy Sainsbury
Keyword(s):  
Twentieth Century ◽  
French Language ◽  
Poetic Language ◽  
Minor Literature ◽  
Language System ◽  
Poetic Discourse ◽  
Poetry Reading ◽  
Century Poetry ◽  
Definition Of ◽  
A Minor

Drawing on Deleuze and Guattari's analysis of minor literature, deterritorialization and agrammaticality, this article explores the possibility of a ‘minor poetry’, considering various interpretations of the term, and interrogating the value of the distinction between minor poetry and minor literature. The article considers Bakhtin's work, which offers several parallels to Deleuze and Guattari's in its consideration of the language system and the place of literature within it, but which also addresses questions of genre. It pursues Christian Prigent's hypothesis, in contrast to Bakhtin's account of poetic discourse, that Deleuze and Guattari's notion of deterritorialization might offer a definition of poetic language. Considering the work of two French-language poets, Ghérasim Luca and Olivier Cadiot, the article argues that the term ‘minor poetry’ gains an additional relevance for experimental twentieth-century poetry which grapples with its own generic identity, deterritorializing established conceptions of poetry, and making ‘minor’ the major poetic discourses on which it is contingent.

Being Numerous

2011 ◽  
Author(s):  
Oren Izenberg
Keyword(s):  
Twentieth Century ◽  
Social Life ◽  
Avant Garde ◽  
Literary Life ◽  
Aesthetic Politics ◽  
The Face ◽  
The Common ◽  
Century Poetry ◽  
Practical Question ◽  
Language Poets

This book offers a new way to understand the divisions that organize twentieth-century poetry. It argues that the most important conflict is not between styles or aesthetic politics, but between poets who seek to preserve or produce the incommensurable particularity of experience by making powerful objects, and poets whose radical commitment to abstract personhood seems altogether incompatible with experience—and with poems. Reading across the apparent gulf that separates traditional and avant-garde poets, the book reveals the common philosophical urgency that lies behind diverse forms of poetic difficulty—from William Butler Yeats's esoteric symbolism and George Oppen's minimalism and silence to Frank O'Hara's joyful slightness and the Language poets' rejection of traditional aesthetic satisfactions. For these poets, what begins as a practical question about the conduct of literary life—what distinguishes a poet or group of poets?—ends up as an ontological inquiry about social life: What is a person and how is a community possible? In the face of the violence and dislocation of the twentieth century, these poets resist their will to mastery, shy away from the sensual richness of their strongest work, and undermine the particularity of their imaginative and moral visions—all in an effort to allow personhood itself to emerge as an undeniable fact making an unrefusable claim.

Ważyk metafizyczny? / Ważyk – A Metaphysician?

2013 ◽  
Vol 54 (1) ◽  
pp. 35-47
Author(s):  
Jerzy Święch
Keyword(s):  
Twentieth Century ◽  
Human Life ◽  
Late Phase ◽  
Human Condition ◽  
Theory And Practice ◽  
Strict Sense ◽  
Ontological Security ◽  
Life And Death ◽  
Avant Garde ◽  
Self Sufficiency

Summary Adam Ważyk’s last volume of poems Zdarzenia (Events) (1977) can be read as a resume of the an avant-garde artist’s life that culminated in the discovery of a new truth about the human condition. The poems reveal his longing for a belief that human life, the mystery of life and death, makes sense, ie. that one’s existence is subject to the rule of some overarching necessity, opened onto the last things, rather than a plaything of chance. That entails a rejection of the idea of man’s self-sufficiency as an illusion, even though that kind of individual sovereignty was the cornerstone of modernist art. The art of late modernity, it may be noted, was already increasingly aware of the dangers of putting man’s ‘ontological security’ at risk. Ważyk’s last volume exemplifies this tendency although its poems appear to remain within the confines of a Cubist poetics which he himself helped to establish. In fact, however, as our readings of the key poems from Events make clear, he employs his accustomed techniques for a new purpose. The shift of perspective can be described as ‘metaphysical’, not in any strict sense of the word, but rather as a shorthand indicator of the general mood of these poems, filled with events which seem to trap the characters into a supernatural order of things. The author sees that much, even though he does not look with the eye of a man of faith. It may be just a game - and Ważyk was always fond of playing games - but in this one the stakes are higher than ever. Ultimately, this game is about salvation. Ważyk is drawn into it by a longing for the wholeness of things and a dissatisfaction with all forms of mediation, including the Cubist games of deformation and fragmentation of the object. It seems that the key to Ważyk’s late phase is to be found in his disillusionment with the twentieth-century avant-gardes. Especially the poems of Events contain enough clues to suggest that the promise of Cubism and surrealism - which he sought to fuse in his poetic theory and practice - was short-lived and hollow.

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