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Chargement... Destruction Was My Beatrice: Dada and the Unmaking of the Twentieth Century (2015)par Jed Rasula
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"In 1916, as World War I raged around them, a group of bohemians gathered at a small nightclub in Zurich, Switzerland for a series of bizarre performances. Three readers simultaneously recited a poem in three languages; a monocle-wearing teenager performed a spell from New Zealand; another young man flung bits of papier-mâche into the air and glued them into place where they landed. One of these artists called the sessions "both buffoonery and a requiem mass." Soon they would be known by a more evocative name: Dada. In Destruction Was My Beatrice, modernist scholar Jed Rasula presents the first narrative history of the emergence, decline, and legacy of Dada, showing how this strange artistic phenomenon spread across Europe and then the world in the wake of the Great War, fundamentally reshaping modern culture in ways we're still struggling to understand today"-- Aucune description trouvée dans une bibliothèque |
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Google Books — Chargement... GenresClassification décimale de Melvil (CDD)700.41162The arts Modified subdivisions of the arts Standard subdivisions of the arts Special topics in the arts Arts displaying specific qualities of style, mood, viewpoint Nontraditional viewpointsClassification de la Bibliothèque du CongrèsÉvaluationMoyenne:
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I stepped aside from my Greek Project and plunged within. The initial Dadaist episode in Zurich is remarkable as an event but I am less convinced as a movement. One member quipped in a manifesto, I am opposed in principle to manifesto. I am also opposed to principles.
I admit I learned a great deal about figures like Duchamp. I enjoyed the spectacle of Eluard punching Tzara. I did grow weary of the incessant pillow talk. Was Dada a typographical movement rather than a torque of poetry, music and painting? Dada began midway through the Great War in the shrieking silence of Switzerland. There is difficulty in gauging the ultimate effect of these aggregate activities: sound poetry, atonal music, found object collages, image montage. I can always speculate but without much purchase. Surrealism and Constructivism are obviously linked not specifically in a causal way. One can rhapsodize about Borges and predecessors. One can remain anxious about any influence.
While I enjoyed the book, this was largely because of my unfamiliarity with certain figures. I fear the absence of a thesis or metric would’ve been problematic otherwise. ( )