Home Art History • Apollinaire on the edge : modern art, popular culture, and by Apollinaire, Guillaume; Bohn, Willard; Apollinaire,

Apollinaire on the edge : modern art, popular culture, and by Apollinaire, Guillaume; Bohn, Willard; Apollinaire,

By Apollinaire, Guillaume; Bohn, Willard; Apollinaire, Guillaume

The identify of the current learn refers back to the indisputable fact that Apollinaire regularly labored on the leading edge of contemporary aesthetics. the amount seeks to rehabilitate 4 experimental genres particularly that experience acquired really little consciousness. the 1st bankruptcy examines an enthralling artist's booklet entitled The Bestiary, which gains illustrations by way of Raoul Dufy. the second one is worried with a bunch of poems that remember usual, daily life. the following bankruptcy considers Apollinaire's little-known debt to kid's rhymes. the ultimate bankruptcy discusses an avant-garde drama that used to be destined to play a key position within the evolution of contemporary French theater. This ebook should be of curiosity to somebody drawn to avant-garde aesthetics. it's going to charm not just to students of twentieth-century poetry but in addition to devotees of contemporary paintings and smooth theater

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Extra resources for Apollinaire on the edge : modern art, popular culture, and the avant-garde

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Although the Futurists had also begun to publicize this fact, they were attracted to machine-age onomatopoeia and flashy typography. Unlike the author of “A Linda,” they were not attracted to abstract poetry. Apollinaire’s true heirs were the Dadaists, who attempted to re-invent poetry a few years later. Beginning with Hugo Ball’s “O Gadji Beri Bimba,” the Zurich group experimented with phonetic poetry, while Man Ray and others composed purely visual poems. Raoul Hausmann eventually combined the two strains to create optophonetic poetry.

Repr. in Guillaume Apollinaire, Oeuvres poétiques, ed. Marcel Adéma and Michel Décaudin (Paris: Gallimard/Pléiade, 1965), pp. 1147-48. 3 See Apollinaire, Oeuvres poétiques, pp. 370, 516, 562, 590-92, 594, 656-73. “Arrivé du paquebot” is reprinted on p. 735. 4 Letter from Guillaume Apollinaire to Ardengo Soffici dated April 30, 1914. Repr. in Apollinaire, Oeuvres complètes, ed. Michel Décaudin (Paris: Balland-Lecat, 196566), Vol. IV, p. 762. 5 Wishing to defend the dead poet’s reputation in 1920, Soffici insisted that Apollinaire attached no importance to these pieces, which he had simply written to amuse himself.

Arrivé du paquebot” is reprinted on p. 735. 4 Letter from Guillaume Apollinaire to Ardengo Soffici dated April 30, 1914. Repr. in Apollinaire, Oeuvres complètes, ed. Michel Décaudin (Paris: Balland-Lecat, 196566), Vol. IV, p. 762. 5 Wishing to defend the dead poet’s reputation in 1920, Soffici insisted that Apollinaire attached no importance to these pieces, which he had simply written to amuse himself. 6 To be sure, many critics would doubtless agree with him today. 7 By contrast, the “Quelconqueries” elicited vociferous support from the Dadaists and the Surrealists, who admired their persistent iconoclasm.

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