1913: The Cradle of Modernism by Jean-Michael Rabaté

By Jean-Michael Rabaté

This cutting edge ebook places modernist literature in its cultural, highbrow, and worldwide context, in the framework of the 12 months 1913.Broadens the research of canonical texts and creative occasions through displaying their cultural and international parallels Examines a few simultaneous creative, literary, and political endeavours together with these of Yeats, Pound, Joyce, Du Bois and Stravinsky Explores Pound's Personae subsequent to Apollinaire's Alcools and Rilke's Spanish Trilogy, Edith Wharton's The customized of the rustic subsequent to Proust's Swann's method

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Debussy’s two books of Preludes for Piano, especially the second one, written between 1911 and April 1913, again play with ancient Greek modes as he had done earlier; they do not avoid dissonances and are generally considered to be his last masterpiece. The rivalry between Maurice Ravel, who had given a first public performance of Satie’s second Sarabande at the Salle Gaveau to considerable public acclaim in 1911, and Debussy, who soon after also performed Satie’s quirky pieces, had given an added twist to the old master’s sudden fame.

Almost everybody who was an artist, a poet, or a writer came to see it in those four performances of May and June 1913. The musicological analysis of the Rite has been done a number of times, but no one has been better able than André Boucourechliev to describe the interaction between dissonance and rhythm, showing how the dense polyrhythmic structure compensates for the lack of a definite tonality. 10 Jean Cocteau, who was a close friend and collaborator of Stravinsky at the time, saw in this ballet “the Georgics of a prehistoric age” echoing the violence of the Russian spring when the earth suddenly breaks free of its ice.

His domain was photography, and he was already a renowned photographer in both Germany and the US when he launched the influential magazine Camera Work in 1903, and two years later opened the little gallery of the Photo-Secession known 39 the new in the arts as 291 for its location on Fifth Avenue. 38 The infectious Picabia was to establish an important link between the little world of the modernist esthetes gathering for regular discussions in the tiny rooms at 291 and the larger audience that was just being brought to contemporary art by the Armory Show – he had a solo exhibition just after the show closed, and remained very close to Stieglitz, paving the way for friends like Duchamp when they came to New York soon after.

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