CUBIST POEMS CUBIST POEMS BY MAX WEBER - FOREWORD MAX WEBER is an American of Russian descent. He received his first art training at the Pratt Institute of Brooklyn, New York, became a teacher of art for several years, and on his savings went to Paris to
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Part of the Climate convincingly redefines American modernist poetry in light of developments in modern painting, particularly cubism. The traditional separation of the verbal and visual arts is cast aside here, as Brogan encourages a re-evaluation of "modernism" itself. Moreover, readers of modern poetry and literature will find this critical work doubly useful, since the author places the poetry of well-known modernists such as Pound, Eliot, and Williams alongside the harder-to-find work of important experimentalists such as Mina Loy, Louis Zukofsky, Gertrude Stein, and George Oppen. Jacqueline Vaught Brogan has assembled this much needed collection of experimental verse from the interwar years by going to the small magazines through which the poems reached their public. She not only shows how significantly many of these American poets of the early twentieth century were influenced by the aesthetic development of cubism in the visual arts but also argues that the cubist aesthetic, at least as it translated into the verbal domain, invariably involved political and ethical issues. The most important of these concerns was to extend the aesthetic revolution of cubism into a genuine "revolution of the word." Brogan maintains, in fact, that the multiplicity inherent in cubism anticipates the deconstructive enterprise now seen in criticism itself. With this history of the cubist movement in American verse, she raises serious questions about the politics of canonization and asks us to consider the ethical responsibility of interpretation, both in the creative arts and in critical texts.
Offering a comprehensive and up-to-date survey of the field,A Companion to Modernist Poetry provides readers withdetailed discussions of individual poets, ‘schools’ and‘movements’ within modernist poetry, and the culturaland historical context of the modernist period. Provides an in-depth and accessible summary of the latesttrends in the study of modernist poetry Balances discussion of individual poets, ‘schools’,and ‘movements’ with in-depth literary and historicalcontext Brings recent scholarship to bear on the subject of modernistpoetry while also providing guidance on poets who are historicallyimportant Edited by highly respected and notable critics in the field whohave a broad knowledge of current debates and of rising and seniorscholars in the field
How is meaning created by a poem? Through the invisible ideas and thoughts conveyed by the text or through the physical presence of book, paper and print? In "Bodies of Poems" the author argues that the material properties of poetic texts are meaningful in their own right but often ignored and made invisible in poetry criticism. Through a number of examples ranging from the introduction of print technology in the fifteenth century to late twentieth-century poets such as Adrienne Rich and Seamus Heaney, this study examines the ways in which poems are products of the contemporary state of print technology, legal and social definitions of authors and texts, and culturally and historically determined assumptions about the self and the body. Although indebted to recent innovative work in textual criticism, this book is a pioneering attempt to place the study of poetic texts as material artefacts in a sustained historical narrative.
First published in 1982, this book provides a descriptive and comparative study of some of the fundamental structural aspects of modernist poetic writing in English, French and German in the first decades of the twentieth century. The work concerns itself primarily with basic structural elements and techniques and the assumptions that underlie and determine the modernist mode of poetic writing. Particular attention is paid to the theories developed by authors and to the essential ‘principles of construction’ that shape the structure of their poetry. Considering the work of a number of modernist poets, Theo Hermans argues that the various widely divergent forms and manifestations of modernistic poetry writing can only be properly understood as part of one general trend.
"One can only marvel at the instinct of Parisian painters to keep their art in the hands of poets."-Robert Motherwell. At the height of the Cubist movement in Paris, no fewer than fifteen significant poets kept company with the painters. "Every writer had his painter, " said Blaise Cendrars. "I myself had Delaunay and Liger, Max Jacob had Picasso, Reverdy Braque, and Apollinaire had everybody." The painters illustrated the poets' poems and painted their portraits; the poets wrote the painters' praise and defended them in journalistic wars. They loaned each other money, gave shelter to each other in times of need, inspired each other, and fortified each other's resolve through thick and thin. The Cubist Poets in Paris evokes the capital city of Cubism in all its flamboyant bustle. It includes groups of poems by Guillaume Apollinaire, Pierre Albert-Birot, Blaise Cendrars, Jean Cocteau, Sonia Delaunay, Paul Dermie, Pierre Drieu la Rochelle, Charlotte Gardelle, Vicente Huidobro, Max Jacob, Marie Laurencin, Hilhne Baronne d'Oettingen, Raymond Radiguet, Pierre Reverdy, and Andri Salmon. Each poem is presented in French and in English translation. Fifteen illustrations suggest the painters' close ties with the poets, including works by Juan Gris, Giorgio de Chirico, and Liopold Suvage. LeRoy C. Breunig has taught at Cornell University, Harvard, Columbia University, and at Barnard College, where he was Dean of Faculty and interim president. He has edited Guillaume Apollinaire's Chroniques d'art and Apollinaire on Art. His articles have appeared in Mercure de France, Comparative Literature, and Yale French Studies.
"Jackson Mac Low's poetry and prose exceeds narrow definitions of artists by movements or poets by style. His work began with and returned to timeless subjects such as children, animals, love, war, death, and God, diverging at points into rigorously imposed structures, systems, and chance operations in an effort to suppress the ego in his art. At one point, embarrassed by his depth of feeling, Mac Low confesses to being an 'existential poet,' a declaration that the title of the poem A Lack of Balance But Not Fatal contradicts with modest and generous humor. This is an important and often very moving anthology of Mac Low's thought, at the same time as it reflects the preoccupations of his generation and ranges over a wide variety of approaches to writing and art making. Thing of Beauty is a "manifesto," the term Mac Low would use to describe expressions of personal truth; and his are beautiful."—Kristine Stiles, Professor of Art History, Duke University "In this generous selection of Jackson Mac Low's work, we can see, first hand, the poet's profound understanding of the physics of language and his exuberant articulation of the sounds of words in unpredictable motions. The multiplicity of Mac Low's forms and his rejection of any hierarchy among the forms of poetry (objective and subjective, expository or nonrepresentational, lyric and epic), along with his refusal to identify poetic composition with a characteristic 'voice' of the poet and his rejection of traditional aesthetic standards of beauty, are among the chief marks of his iconoclastic genius. Mac Low's magnificent and multidimensional poems open vast expanses for the imagination to inhabit."—Charles Bernstein "This is one of the great watershed events in recent publishing history. Mac Low's reputation has exploded on the poetry scene since his death."—Hannah Higgins, author of Fluxus Experience
"This study examines a series of visual poems that Guillaume Apollinaire composed in 1917 for an exhibition of paintings by Leopold Survage and Irene Lagut. By this date Apollinaire had become an accomplished practitioner of visual poetry and was thoroughly at ease with the genre. Depicting horses, flowers, landscapes, clocks, the Survage/Lagut series represents the culmination of his visual experiments and contains some of his most pleasing forms. Conceived as examples of poesie critique ("critical poetry"), the poems in the series comment in diverse ways on the paintings and combine critical perspectives with techniques associated with the prose poem. Utilizing insights developed in The Aesthetics of Visual Poetry, 1914-1928, the author seeks to shed new light on Apollinaire's visual poetry through an in-depth analysis of this compact group of works. The analysis itself concentrates on three distinct areas: the poem as poem, the poem as visual poem, and the poem as criticism. The first focuses on the verbal elements of the poetry, the second on the relationship between these and the visual elements, and the third on the relationship of the total poem to paintings by Lagut and Survage." "As one would expect, part of the book is directed toward readers who are familiar with Apollinaire or who would like to know more about him. Since Apollinaire is a major poet, any project connected with his work will also interest readers who are concerned with modern French poetry in general. While at first glance the texts themselves may appear to be peripheral, the principles they embody are central not only to Apollinaire's poetry but to modern aesthetics as well. The more we learn about the calligrams, the better equipped we will be to appreciate his efforts and the closer we will come to understanding his concept of visual poetry. Similar remarks apply to Apollinaire's experiments with cubist poetry and with the poem in prose - both examined in the present volume. More than anything, perhaps, this volume strives to elucidate the concept of poesie critique, which has received very little attention. This omission is surprising since the genre influenced the Surrealist invention of poesie synthetique as well as many writers who followed Apollinaire, trying to reconcile poetry and criticism." "In addition to clarifying issues related to the poems themselves, the study attempts to accomplish two objectives that are more ambitious. First, it seeks to increase our theoretical knowledge regarding visual poetry in general. Since this genre has enjoyed widespread popularity in the twentieth century, it is closely linked to modern existence itself. Second, the study seeks to expand our knowledge of the relations between poetry and painting. Since there has been extensive cross-fertilization between them for the better part of a century, this subject provides an additional link to the modern experience."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
An Anthology of Parodies, Travesties, Frauds, 1910-1935
Author: Leonard Diepeveen
Publisher: University of Toronto Press
How was the modernist movement understood by the general public when it was first emerging? This question can be addressed by looking at how modernist literature and art were interpreted by journalists in daily newspapers, mainstream magazines like Punch and Vanity Fair, and literary magazines. In the earliest decades of the movement – before modernist artists were considered important, and before modernism’s meaning was clearly understood – many of these interpretations took the form of parodies. Mock Modernism is an anthology of these amusing pieces, the overwhelming majority of which have not been in print since the first decades of the twentieth century. They include Max Beerbohm’s send-up of Henry James; J.C. Squire’s account of how a poet, writing deliberately incomprehensible poetry as a hoax, became the poet laureate of the British Bolshevist Revolution; and the Chicago Record-Herald’s account of some art students’ “trial” of Henri Matisse for “crimes against anatomy.” An introduction and headnotes by Leonard Diepeveen highlight the usefulness of these pieces for comprehending media and public perceptions of a form of art that would later develop an almost unassailable power.
Literary Criticism by Vicente Huidobro,Eliot Weinberger
An assemblage of delicate Chinese verse which delicately explore the worlds of love, nature, and meditation. Love and the Turning Year includes a selection from the Yueh Fu—folk songs from the Six Dynasties Period (fourth-fifth centuries A.D.). Most of the songs are simple, erotic lyrics. Some are attributed to legendary courtesans, while others may have been sung at harvest festivals or marriage celebrations. In addition to the folk songs, Rexroth offers a wide sampling of Chinese verse: works by 60 different poets, from the third century to our own time. Rexroth always translated Chinese poetry—as he said—“solely to please myself.” And he created, with remarkable success, English versions which stand as poems in their own right.