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Giovanni Orelli's docufictional phantasmagoria revisits a lesser-known painting by Paul Klee titled "Alphabet I," which features black letters and symbols scrawled over the sports page of a newspaper reporting the results of the 1938 Swiss National Cup. This play of coincidences sets the stage for Orelli's encyclopedic portrait of European culture under Nazism, where a motley crew of philosopher-peasants as well as historical luminaries like Arthur Schopenhauer, Vincent van Gogh, Viktor Shklovsky, Marina Tsvetaeva, Klee himself, and the titular footballer Eugene Walaschek all meet at the local tavern and debate the significance of Klee's work. Allusive, ironic, and elegiac, Joycean in scope, "Walaschek's Dream" is a singular meditation on the ephemerality of sport and the immortalizing power of art.… (plus d'informations)
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[Klee was dead. He] would no longer draw the interminable, the radiant, that which is irreducible to a prime number; vertiginous, a cavity-unfathomability-hiding place for the innocent, before or after the devastations of life, to play hide-and-seek in; that softest, most delicate, heavenly spiral: Phryne's navel. [...] He was cured of life.
Take the impossible theatrics of the Circe chapter of Ulysses (minus the subconscious stuff), add a little 'futbol', as they call it in Europe, and a little World War II history, and a few philosophers and mathematicians (Schopenhauer, Berkeley, Bertrand Russell) and give them the Herculean task of pondering a lesser-known Paul Klee painting called Alphabet I, and you have this book.
It wasn't an easy read for me, especially not knowing my history or my Schopenhauer as well as I could (also his constant parentheticals in the middle of long sentences about a subject which I knew very little didn't make things any easier... I almost lost my Wille). But even for an ignoramus like me, it was entertaining. Just don't get overly bogged down in the details and enjoy the parts you enjoy. Orelli is very good at telling funny stories (sometimes true, sometimes fictional) in between more serious, somber ones, and he knows very well when to switch it up, so that between lively arguments, stories, quotes, asides, self-reflexive musings, futbol line-ups, and odd facts, the book (although lacking any narrative thrust) rarely slows down.
Also, there's a lot of politics here, but it never felt preachy or self-righteous. Just enough subtlety to be effective, I thought.
Just a few of the high points: Sindelar playing Rotten Egg as a kid but not picking up Bubi's handkerchief, border crossing cows of Pedrinate, Walaschek's and Klee's personal biographies, the futbol player who balanced the ball on his forehead and ran all the way to the goal, Sindelar's death, the part where Cesare Rossi and Giulia Sismondi deliver the ashes to Klee's widow. ( )
Informations provenant du Partage des connaissances anglais.Modifiez pour passer à votre langue.
“But Pardon, gentles all, The flat unraisèd spirits that hath dared On this unworthy scaffold to bring forth So great an object. Can this cockpit hold The vasty fields of France? Or may we cram Within this wooden O the very casques That did affright the air at Agincourt? O pardon: since a crookèd figure may Attest in little place a million, And let us, ciphers to this great account, On your imaginary forces work. Shakespeare, Henry V
Attendi attendi, Magnanimo campion (s’alla veloce Piena degli anni il tuo valor contrasti La spoglia di tuo nome), attendi e il core Movi ad alto desio. Giacomo Leopardi, “A un vincitore nel pallone”
Dédicace
Premiers mots
Informations provenant du Partage des connaissances allemand.Modifiez pour passer à votre langue.
Am 18. April 1938 fand in Bern der Schweizer Cupfinal statt.
Citations
Derniers mots
Informations provenant du Partage des connaissances allemand.Modifiez pour passer à votre langue.
und alsdann glich er denen die in Verona auf dem Plane laufen zum grünen Tuch, und er glich unter ihnen dem Unterlegnen nicht, vielmehr dem Sieger.
Références à cette œuvre sur des ressources externes.
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▾Descriptions de livres
Giovanni Orelli's docufictional phantasmagoria revisits a lesser-known painting by Paul Klee titled "Alphabet I," which features black letters and symbols scrawled over the sports page of a newspaper reporting the results of the 1938 Swiss National Cup. This play of coincidences sets the stage for Orelli's encyclopedic portrait of European culture under Nazism, where a motley crew of philosopher-peasants as well as historical luminaries like Arthur Schopenhauer, Vincent van Gogh, Viktor Shklovsky, Marina Tsvetaeva, Klee himself, and the titular footballer Eugene Walaschek all meet at the local tavern and debate the significance of Klee's work. Allusive, ironic, and elegiac, Joycean in scope, "Walaschek's Dream" is a singular meditation on the ephemerality of sport and the immortalizing power of art.
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▾Description selon les utilisateurs de LibraryThing
It wasn't an easy read for me, especially not knowing my history or my Schopenhauer as well as I could (also his constant parentheticals in the middle of long sentences about a subject which I knew very little didn't make things any easier... I almost lost my Wille). But even for an ignoramus like me, it was entertaining. Just don't get overly bogged down in the details and enjoy the parts you enjoy. Orelli is very good at telling funny stories (sometimes true, sometimes fictional) in between more serious, somber ones, and he knows very well when to switch it up, so that between lively arguments, stories, quotes, asides, self-reflexive musings, futbol line-ups, and odd facts, the book (although lacking any narrative thrust) rarely slows down.
Also, there's a lot of politics here, but it never felt preachy or self-righteous. Just enough subtlety to be effective, I thought.
Just a few of the high points: Sindelar playing Rotten Egg as a kid but not picking up Bubi's handkerchief, border crossing cows of Pedrinate, Walaschek's and Klee's personal biographies, the futbol player who balanced the ball on his forehead and ran all the way to the goal, Sindelar's death, the part where Cesare Rossi and Giulia Sismondi deliver the ashes to Klee's widow. ( )