By Jean-Michael Rabaté
This cutting edge booklet 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 by means of displaying their cultural and international parallels Examines a couple of 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 means
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Additional resources for 1913: The Cradle of Modernism
This insight can find expression either through self-mockery or through selfannihilation. Such a motif, which completely determines the manner of conduct of the music, steps forth from the frivolous mask of Petrouchka and appears in sanguinary gravity in Sacre. 12 A little later, Adorno compares the “deliriousness” of the ballet with the consequences of the Freudian prohibition of incest13 – showing that the has grasped Freud’s link between human sacrifices, early forms of religion, and the killing of the victim, who embodies the god in whom the murdered father of the horde has been transmuted.
Woolf, who rarely engaged with painting in writing, made an exception for Sickert. Sickert would have been called a “post-impressionist” by Fry. In fact, he is harder to classify, yet is one of Britain’s most important painters – a selfconscious modernist, and a difficult one at that. He gained autonomy early after rejecting his first master’s teachings: he had started with Whistler, and 33 the new in the arts soon outgrew the American exile’s neo-symbolist pose to embrace a “French” position. He took as his model Degas, not Cézanne, Picasso, or Matisse, and appropriated Degas’ distinctive esthetics of everyday life.
Prehistoric folklore was a source of inspiration for many at the time, as is clear from the wide appeal of a novel like The War of Fire, published in 1911 by the brothers Rosny, who had made a specialty of primitivist romances set in prehistory with rough cave men discovering their humanity. ”7 Whereas Wagner had wanted operas to become “total works of art” entailing long performances, entire cycles, and an almost religious fervor, the new Russian ballet was fast, stunning, elegant, and short. The decors and costumes by Bakst were as much admired as the grace of the ballerinas; and there was the incomparable Nijinsky.
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