scholarly journals Dreams, the Female Gaze, and the City of Paris: Urban Landscapes through the Writings of the Surrealist Movement

2021 ◽  
Vol 17 ◽  
pp. 89-101
Author(s):  
Bárbara Barreiro León
Keyword(s):  
Subsequent Development ◽  
Urban Landscapes ◽  
Creative Activity ◽  
Avant Garde ◽  
Louis Aragon ◽  
The Arts ◽  
Female Gaze ◽  
Philippe Soupault ◽  
The City ◽  
Theoretical Foundations

From the time of the Renaissance, treaties on architecture, odes to the arts, and the study of their canons through written sources, have served to defend, emphasise, or proclaim the validity of different artistic forms and styles. In this way, programmes and manifestos have reinforced the character of organisations and movements through their fundamental ideas. The artistic Avantgardes have thus used this literary resource to lay the theoretical foundations for their future artistic contributions, being able to justify without any qualifications their most extravagant occurrences. The Avant-garde manifesto shall therefore be considered a literary contribution written in the first place for the subsequent development of the artistic and creative activity of the group or school. The Surrealist Movement generated a lot of written work because the founders, André Breton, Louis Aragon, and Philippe Soupault, were writers. Some of these texts included the Movement’s two manifestos, periodicals such as Le Surréalisme au service de la révolution, Littérature, or Minotaure, and individual writings that were penned by Breton and Aragon. This study will relate the Surrealist written work with the Movement’s idea of the city and its urban imaginary.

Homage to Robert Aron, 1898—1975

1977 ◽  
Vol 2 (2) ◽  
pp. 131-139
Author(s):  
Annabelle Henkin Melzer
Keyword(s):  
World War Ii ◽  
Communist Party ◽  
World War ◽  
Alfred Jarry ◽  
Avant Garde ◽  
Louis Aragon ◽  
Tristan Tzara ◽  
Philippe Soupault ◽  
Young Wife ◽  
French Communist Party

I went to see Robert Aron in the summer of 1972. He was then seventy-four years old, a tall, striking man in an apartment of stuffed furniture overrun by books. In all my meetings that summer with former surrealists, people who had made avant-garde theatre in Paris in the 1920s, there was always a sense of trembling at reaching out to touch cobwebbed memories. Forty-five years had passed since the events we talked about. Tristan Tzara, recalled by Gide as a charming man with a young wife who was ‘even more charming’, had since fought with the French Resistance during World War II and later joined the Communist Party. André Breton, when he died in 1966, was accompanied to his grave by ‘waves of young men and young girls often in couples, with arms entwined’. They had come from all over France to pay him tribute. Philippe Soupault is a respected editor, critic and radio commentator, Louis Aragon is at the forefront of the French Communist Party and dislikes talking about his days as a Surrealist, Roger Vitrac is an acknowledged and produced playwright while Artaud is a cult figure. There are moments when in looking back, the whole Dada-Surrealist performance world looks like some great Dada swindle perpetrated on the only too fallible researcher and critic. Robert Aron does nothing to dispel this feeling. The man who sent a telegram to Breton warning him that he would stop at no measures to keep the fervent Surrealist claque from disturbing the performance of Strindberg's A Dream Play at the Théâtre Alfred Jarry, was elected a member of the French Academy before his death.

Post-War and Post-Apollinaire

Georges Auric ◽  
2020 ◽  
pp. 43-62
Author(s):  
Colin Roust
Keyword(s):  
World War I ◽  
Art Music ◽  
Jean Cocteau ◽  
Avant Garde ◽  
Louis Aragon ◽  
Tristan Tzara ◽  
Philippe Soupault ◽  
Les Six ◽  
Post War ◽  
The One

After World War I, Auric’s many friendships placed him in a unique position in the Parisian avant-garde. On the one hand, he was alongside Louis Aragon, André Breton, Philippe Soupault, and Tristan Tzara for the rise and fall of Paris dada. On the other, he was a member of Les Six, the group of composers led by Jean Cocteau who came to represent Parisian art music in the 1920s. Throughout the feuds between the dadaists and Cocteau, Auric preserved his friendships and functioned as an ambassador of sorts between rival avant-garde groups. In the meantime, his scores for Cocteau’s Les mariés de la Tour Eiffel (with the rest of Les Six) and Molière’s Les fâcheux would lead to bigger and better opportunities in the mid-1920s.

Book Review

2016 ◽  
Vol 6 (2) ◽  
pp. 386-389
Author(s):  
Eduardo Oliveira
Keyword(s):  
Urban Planning ◽  
Urban Design ◽  
Olympic Games ◽  
City Image ◽  
European Capital Of Culture ◽  
The Arts ◽  
The World ◽  
The City ◽  
The Olympic Games

Evinç Doğan (2016). Image of Istanbul, Impact of ECoC 2010 on The City Image. London: Transnational Press London. [222 pp, RRP: £18.75, ISBN: 978-1-910781-22-7]The idea of discovering or creating a form of uniqueness to differentiate a place from others is clearly attractive. In this regard, and in line with Ashworth (2009), three urban planning instruments are widely used throughout the world as a means of boosting a city’s image: (i) personality association - where places associate themselves with a named individual from history, literature, the arts, politics, entertainment, sport or even mythology; (ii) the visual qualities of buildings and urban design, which include flagship building, signature urban design and even signature districts and (iii) event hallmarking - where places organize events, usually cultural (e.g., European Capital of Culture, henceforth referred to as ECoC) or sporting (e.g., the Olympic Games), in order to obtain worldwide recognition. 

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 Theatrical Memory of Space: from Piscator and Brecht to Belgrade

2005 ◽  
Vol 21 (4) ◽  
pp. 358-366 ◽  
Author(s):  
Silvija Jestrovic
Keyword(s):  
Postdoctoral Fellow ◽  
Avant Garde ◽  
Cultural Spaces ◽  
Theatre Studies ◽  
The University ◽  
The City

In this article, Silvija Jestrovic introduces the notion of spatial inter-performativity to discuss theatre's relationship to actual political and cultural spaces. Focusing on the Berlin of the 1920s in performances of Brecht and Piscator, then on a street procession of the Générik Vapeur troupe that took place in Belgrade in 1994, she examines how theatrical and political spaces refer to and transform one another. Silvija Jestrovic was a SSHRC postdoctoral fellow at York University in Toronto, and has recently taken up an appointment in the School of Theatre Studies at the University of Warwick. She is currently working on a book-length project entitled Avant-Garde and the City.

Kharkiv Scenography School of O. Khvostenko-Khvostov: The Experience of Professionalization

2021 ◽  
Vol 2021 (02) ◽  
pp. 85-95
Author(s):  
V. Chechyk ◽  
Keyword(s):  
Material Culture ◽  
Teaching Practice ◽  
Early Years ◽  
Music And Literature ◽  
Avant Garde ◽  
Theatrical Design ◽  
Outstanding Teachers ◽  
History Of ◽  
Compulsory Subject ◽  
The City

The article is devoted to the early years of formation of Kharkiv scenography school and to the creative and pedagogical activities of Olexander Khvostenko-Khvostov (1895–1967). It was reported that the bold experiments of this artist, in the field of theatrical design of 1918–1922, made him one of the central figures of Kharkiv avant-garde scene (“Mystery Buff”; “The Army in the City”; “Lilyuli”, etc), strengthening the reputation of an innovator and causing the beginning of pedagogical activity at the Kharkiv Art College in 1921. The theatrical and decorative workshop was opened at the faculty of painting at the Kharkiv Art College in 1922, it was headed by A. Khvostenko-Khvostov. Among the first graduates were such bright alumni as A. Volnenko, P. Suponin, V. Ryftin, A. Bosulaev, B. Chernyshov, and others. Fundamental provisions of the educational program, which A. Khvostenko borrowed from the teaching practice of A. Exter (Kyiv Studio, 1918–1920), reflected the formation idea of future theater artist’s synthetic thinking. It is known that the education program of the Theater and Scenery Workshop of KAC, equally with the Studio of A. Exter, in addition to the subjects common to all students of painting and drawing faculty as special subjects (theatrical scenery, technique and technology of the stage, etc.) included also the history of theater (I. Turkeltaub), material culture, costume, music and literature (A. Beletsky). O. Khvostenko paid special attention to theoretical and practical issues of composition. He introduced the course of fundamentals of directing (V. Vasilko) as a compulsory subject. Much of what the students mastered at the Workshop was tested on the professional stages of Kharkiv theaters. Associated with the Kharkiv Art School for a quarter of a century (1921–1946), O. Khvostenko-Khvostov has not still been included in the pantheon of its outstanding teachers.

The City of Oslo in Jan Erik Vold’s Poems

2021 ◽  
Vol 66 (1) ◽  
pp. 219-230
Author(s):  
Raluca-Daniela Duinea
Keyword(s):  
Cultural Identity ◽  
Urban Areas ◽  
Social Criticism ◽  
Capital City ◽  
Urban Landscapes ◽  
Reading Technique ◽  
Social Critical ◽  
The 1960S ◽  
The City ◽  
Selection Of

"The City of Oslo in Jan Erik Vold’s Poems. The aim of this paper is to examine, from a cultural and social perspective, the Norwegian urban areas and everyday situations in Jan Erik Vold’s (b. 1939) poems. Our close-reading technique reveals important social aspects, different places and streets, located in the capital city of Norway, Oslo. These urban poems written by the contemporary Norwegian poet Jan Erik Vold contribute to the reconstruction of a new Norwegian cultural identity as it is reflected in a selection of poems taken from Mor Godhjertas glade versjon. Ja (Mother Goodhearted’s Happy Version. Yes, 1968), followed by the poet’s wanderings in the city of Oslo in En som het Abel Ek (One Named Abel Ek, 1988), and concluding with his bitter social criticism in Elg (Moose, 1989) and IKKE. Skillingstrykk fra nittitallet (Not: Broadsides from the Nineties, 1993). Vold’s urban poems emphasise the transition from nyenkle (new simple), friendly and descriptive poems which present closely the city of Oslo on foot, to short, political and social critical poems from the 90s. Thus, it is of great importance to traverse various urban ‘landscapes’ in different periods of time, beginning with the 1960s, followed by the 80s and the 90s. Keywords: Jan Erik Vold, urban poems, social criticism, Norwegian urban areas, the city of Oslo "

La cittŕ degli espressionisti: scenografie cinematografiche

STORIA URBANA ◽  
2009 ◽  
pp. 47-67
Author(s):  
Claudia Lamberti
Keyword(s):  
Urban Atmosphere ◽  
Set Design ◽  
Urban Settings ◽  
Use Of Space ◽  
Avant Garde ◽  
Film Studios ◽  
The City

- The essay compares the images of the city defined by the Expressionist movement and the city images in the films of the time. Expressionist architects discovered that film-set design gave them a chance to experiment with their artistic skills. At the same time, film studios could not shoot outdoors easily and so were forced to rely on constructed sets. All this worked out as an incentive for architectural invention. Sets became an apt proving ground for the new expressiveness of the architects as well as a way to experiment with the use of space without limits and constraints. This essay examines the cases of 6 films whose elements are specifically and directly attributable to the Expressionist culture. Here the case of the city encompasses both set design and the urban atmosphere in films linked with the avant-garde movements. The essay also provides a filmography of the most important films with urban settings shot by German artists in the 1920s and 1930s.

The Virtues of Economy

2019 ◽  
Author(s):  
James A. Palmer
Keyword(s):  
Political Culture ◽  
Middle Ages ◽  
Fourteenth Century ◽  
Subsequent Development ◽  
Political Society ◽  
Future Role ◽  
Late Middle Ages ◽  
History Of ◽  
The City ◽  
Distinct Role

The humanist perception of fourteenth-century Rome as a slumbering ruin awaiting the Renaissance and the return of papal power has cast a long shadow on the historiography of the city. Challenging the view, this book argues that Roman political culture underwent dramatic changes in the late Middle Ages, with profound and lasting implications for the city's subsequent development. The book examines the transformation of Rome's governing elites as a result of changes in the city's economic, political, and spiritual landscape. It explores this shift through the history of Roman political society, its identity as an urban commune, and its once-and-future role as the spiritual capital of Latin Christendom. Tracing the contours of everyday Roman politics, the book reframes the reestablishment of papal sovereignty in Rome as the product of synergy between papal ambitions and local political culture. More broadly, it emphasizes Rome's distinct role in evolution of medieval Italy's city-communes.

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