By Jean-Michael Rabaté
This leading 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 inventive occasions via exhibiting their cultural and international parallels Examines a few simultaneous inventive, 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 manner
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Extra info for 1913: The Cradle of Modernism
In that broader context, we observe that Greenberg’s thesis is predicated on too restrictive a notion of modernism in painting, too squarely defined by flatness leading to bi-dimensional 42 the new in the arts abstraction. A painter like Malevitch showed the same tendency to move toward a radical questioning of all values associated with traditional art like taste and esthetic judgment, while moving resolutely in the direction of an abstraction that is nevertheless contemporary with experiments in different techniques and mediums.
Both bodies are joined at the center in a single diagonal, gazing in diametrically opposite directions. This looks like an allegory of boredom, of the everyday hell of stuffy bourgeois interiors in which men and women have nothing left to say to one another. ” She explains: The accumulated weariness of innumerable days has discharged its burden on them. They are buried under an avalanche of rubbish. In the street beneath, the trams are squeaking, children are shrieking. Even now someone is tapping his glass impatiently on the bar counter.
W. Nevinson, Jacob Epstein, and David Bromberg. They took cubism as their point of reference and avoided being labeled as “post-impressionists,” a term that they found weak: Cubism means, chiefly, the art, superbly severe and so far morose, of those who have taken the genius of Cézanne as a starting point . . It is the reconstruction of a simpler earth, left as choked and muddy fragments by him. Cubism implies much more than this, but the cube is implicit in that master’s painting. 35 What the group wants to do is both simpler and more radical: All revolutionary painting today has in common the rigid reflections of steel and stone in the spirit of the artist, that desire for stability as though a machine were built to fly or kill with; an alienation from the traditional photographer’s trade and realization of the value of colour and form as such, independently of what recognizable form it covers or encloses.