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"Moderne"
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كوبرا : 1000 يوم من الفن الحر = Cobra : 1000 days of free art
يحكي المعرض قصة حركة كوبرا من خلال تقديم جدول زمني يعرف الزائر بالتطورات التاريخية والاجتماعية خلال الفترة ما بين 1930 و1960 في أوروبا، إذ تروي الصور والأفلام الوثائقية تاريخ فترة الحرب، بينما تعكس الصور المعبرة تاريخ هذه الحركة وأهميتها، ويضم المعرض تشكيلة من التحف التي تصور فنون التعبير التلقائي والتجريبي خلال فترة حركة كوبرا. وقد استمرت الحركة حتى عام 1951 وجمعت فنانين وشعراء وأدباء ومفكرين مبدعين معتمدين أسلوبا بسيطا، فاستطاعوا من خلال ذلك منح حركة كوبرا مكانة راسخة وراقية في مجال تاريخ الفن وتأثيرا استمر طوال سنوات القرن العشرين.
Book
Terror and terroir
This work traces the history of post-war France by tracking the Comite Regional d'Action Viticole (CRAV), a militant collective of winegrowers who have used protest and violence to push back against attempts to modernise the French economy and state and the wider impacts of globalisation.
eBook
Léonce Rosenberg's Cubism
No detailed description available for \"Léonce Rosenberg's Cubism\".
eBook
Schoenberg and Hollywood modernism
Schoenberg is often viewed as an isolated composer who was ill-at-ease in exile. In this book Kenneth H. Marcus shows that in fact Schoenberg's connections to Hollywood ran deep, and most of the composer's exile compositions had some connection to the cultural and intellectual environment in which he found himself. He was friends with numerous successful film industry figures, including George Gershwin, Oscar Levant, David Raksin and Alfred Newman, and each contributed to the composer's life and work in different ways: helping him to obtain students, making recordings of his music, and arranging commissions. While teaching at both the University of Southern California and the University of California, Los Angeles, Schoenberg was able to bridge two utterly different worlds: the film industry and the academy. Marcus shows that alongside Schoenberg's vital impact upon Southern California Modernism through his pedagogy, compositions and texts, he also taught students who became central to American musical modernism, including John Cage and Lou Harrison.
Book
Electronic literature : new horizons for the literary
A visible presence for some two decades, electronic literature has already produced many works that deserve the rigorous scrutiny critics have long practiced with print literature. Only now, however, with Electronic Literature by N. Katherine Hayles, do we have the first systematic survey of the field and an analysis of its importance, breadth, and wide-ranging implications for literary study. Hayles’s book is designed to help electronic literature move into the classroom. Her systematic survey of the field addresses its major genres, the challenges it poses to traditional literary theory, and the complex and compelling issues at stake. She develops a theoretical framework for understanding how electronic literature both draws on the print tradition and requires new reading and interpretive strategies. Grounding her approach in the evolutionary dynamic between humans and technology, Hayles argues that neither the body nor the machine should be given absolute theoretical priority. Rather, she focuses on the interconnections between embodied writers and users and the intelligent machines that perform electronic texts. Through close readings of important works, Hayles demonstrates that a new mode of narration is emerging that differs significantly from previous models. Key to her argument is the observation that almost all contemporary literature has its genesis as electronic files, so that print becomes a specific mode for electronic text rather than an entirely different medium. Hayles illustrates the implications of this condition with three contemporary novels that bear the mark of the digital.
eBook
QUANDO LE PAROLE CREANO I MONDI. IL LINGUAGGIO NELLE AVVENTURE DI PINOCCHIO
The paper deals with two crucial themes for Collodi’s masterpiece – death and linguistic creativity.
The theme of death emerges from linguistic hints, even from Pinocchio’s name. It comes in macabre and grand-guignolesque forms in the first part of the novel, and goes on to assume comic shapes in the the second part, when death becomes a simple tool to blackmail and threaten. Such linguistic hints are part of a wider strategy that serves the national educational project pursued by Italian intellectuals and editors in the second half of 19th century, and that also includes the promotion of spoken Florentine as literary, as well as official, language for the whole nation. Collodi, however, goes further, and uses language as an actual creative tool, able to produce the entire world of the narration from sentences, sayings, proverbs, even single words.
Journal Article
The modernist party
\"Leading international scholars explore the party's significance to Modernism. Have you ever been struck by the number of parties in Modernist literature? Mrs. Ramsay drowns in anguish at the dinner-party she gives in Woolf's To The Lighthouse. Death is a guest in Katherine Mansfield's 'The Garden Party'. Politics sour the evening party in Joyce's 'The Dead'. Have you also noticed the role played by parties in the public intellectual culture of Modernism? A party held in London by Amy Lowell on 17 July 1914, attended by Ezra Pound, Ford Madox Ford, H.D. and Richard Aldington, degenerated into an argument over the nature of Imagism. On 18 May 1922, Proust, Joyce, Picasso, Stravinsky and Diaghilev met at a post-ballet party at Paris's Hotel Majestic: an unrepeatable encounter between Modernism's leading figures. In The Modernist Party, internationally distinguished scholars explore the party both as a literary device and as a social setting in which the movement's creative values were developed.\"--Publishers website.
Book
I MONDI SIMULTANEI DI ERNST JÜNGER SU AVVICINAMENTI E HELIOPOLIS
In this paper two of Jünger’s post-war writings (Heliopolis, 1949; Annäherungen, 1970) are examined in order to assess their inner consistency in relation to one of the key-concepts of Jünger’s philosophical system, the notion of ‘elementary’. Annäherungen is shown to rest upon a vision of the Dionysian root of the aesthetic experience – an approach which is easily traced back to its main forerunner, Friedrich Nietzsche: art is the only human activity which is capable to reflect an image of the ‘elementary’, since its unfailing obscurity provides access to otherwise unattainable levels of experience. This explicit stance of Annäherungen is shown to correspond to and clarify the hidden structure of Heliopolis, whose apparent obscurity is to be understood as an effect of the transfiguring power of a paradis artificiel. This is a space where the use of drugs enforces the laws of the ‘elementary’, providing the only means of contrasting and possibly surpassing contemporary nihilism.
Journal Article