By Stephen Scobie
Like the earthquakes and explorations depicted at the covers of Gertrude Stein's notebooks, this research responds to creative and linguistic fault strains and charts new territories. The author's quandary is either with a common theoretical query – the courting among portray and poetry, among the visible and the verbal – and with a selected interval of creative background – the early years of the 20th century, whilst Cubism flourished.
Rather than seeing any clash or irreconcilable department among portray and poetry, Scobie proposes, as a version for his or her relation, the Derridean suggestion of 'the supplement.' This relation is grounded within the pervasiveness of language, within the ways that language surrounds, imbues, constructions, and supplementations either verbal and non-verbal images.
Working from the double concentration of idea and background, this publication doesn't try and advance a consecutive argument, yet really navigates round its subject matters, adopting a touch varied method in every one bankruptcy. It starts with a normal theoretical dialogue of the position of language in portray and in artwork heritage, then strikes to a chain of particular discussions of features of Cubism, contemplating the work of Georges Braque, and the writings of Gertrude Stein and Guillaume Apollinaire. It concludes with an exam of the experimental kind of concrete poetry, together with sound and visible poetry, specially the Cubist-influenced paintings of Ian Hamilton Finlay. Earthquakes and Explorations will curiosity these learning paintings historical past, literary feedback, and important theory.
Read Online or Download Earthquakes and Explorations: Language and Painting from Cubism to Concrete Poetry (Theory / Culture) PDF
Best modernism books
Twentieth-century authors have been profoundly motivated by means of alterations within the manner international locations and states ruled their voters. the advance of country administrative applied sciences allowed Western states to spot, music and keep watch over their populations in unheard of methods. Patricia E. Chu argues that techniques of shape and magnificence constructed by way of Anglo-American modernist writers chart anxieties approximately own freedom within the face of accelerating governmental controls.
Modernist Quartet is a examine of the 4 significant American modernist poets--Frost, Stevens, Pound, Eliot--in numerous old environments (literary, philosophical, gender family, the company of capitalist economics) with precise consciousness given to their imperative poetic texts as they concurrently mirror and form our knowing of these environments.
Modernist troublemaker within the Nineties, Nobel Prize winner in 1920, and indefensible Nazi sympathiser within the Nineteen Thirties and 40s, Knut Hamsun maintains to impress condemnation, apologia and demanding confusion. trained through the works of Jacques Derrida and Sigmund Freud, Troubling Legacies analyses the heterogeneous and conflicted legacies of the enigmatic ecu author, Hamsun.
Upholding literature and picture jointly as academically interwoven, Perpetual Carnival underscores the eternal coexistence of realism and modernism, eschewing the popularly authorized view that the latter is itself a rejection of the previous. Mining examples from either movie and literature, Colin MacCabe asserts that the connection among movie and literature springs to existence a wealth of cherished modernist artwork, from Jean-Luc Godard's Pierre le Fou to James Joyce's Ulysses, enriched by way of realism's enduring legacy.
- Epoch and Artist
- The Complete Short Stories of Marcel Proust
- The Doppelganger: Literature's Philosophy (Modern Language Initiative)
- Disciplining Bodies in the Gymnasium: Memory, Monument, Modernism (Sport in the Global Society, 55)
Extra resources for Earthquakes and Explorations: Language and Painting from Cubism to Concrete Poetry (Theory / Culture)
It can certainly be argued that the nature of our visual experience has been changed, in the twentieth century, by the proliferation of the technologies of reproduction, to the point that the multiple, mass-produced image (what Baudrillard calls 'the simulacrum') has become the norm, and that this is the field within which contemporary art forms such as video or computer-generated images now necessarily situate themselves. The 'elite object,' the original oil painting hanging on a museum wall or in a private collection, is only the fetishized reminder of a bygone age of bourgeois accumulation.
This briefly sketched scheme of four modalities of visual representation is, of course, largely irrelevant to non-figurative or 'abstract' painting, which has to be approached principally in terms of the fourth modality. But if abstract painting bypasses issues of representation, it certainly does not escape Language. Quite the opposite. If Language is defined as a differential system with, in Saussure's words, 'no positive terms/ then abstract painting can be seen as a pure exercise in linguistics.
Fair enough: but 'The Philosophical Brothel' does far more than simply point out that Les Demoiselles 'may have somewhat to do with sex' as the coy tone of that 'somewhat' already begins to suggest. Rather, what it does is to produce a fully narrativized account of the painting, in accordance with the 'We are a man' motif, which reveals itself to be both sexist in itself and also complicit with the sexism of the painting. In her introduction to the 1988 reprint, Rosalind Krauss writes that Steinberg 'does not secure his new reading by means of a text...