By Apollinaire, Guillaume; Bohn, Willard; Apollinaire, Guillaume
The name of the current examine refers back to the indisputable fact that Apollinaire always labored on the innovative of contemporary aesthetics. the quantity seeks to rehabilitate 4 experimental genres particularly that experience got fairly little realization. the 1st bankruptcy examines a captivating artist's publication entitled The Bestiary, which gains illustrations by way of Raoul Dufy. the second one is worried with a gaggle of poems that commemorate usual, way of life. the subsequent bankruptcy considers Apollinaire's little-known debt to kid's rhymes. the ultimate bankruptcy discusses an avant-garde drama that was once destined to play a key function within the evolution of contemporary French theater. This publication might be of curiosity to an individual drawn to avant-garde aesthetics. it is going to allure not just to students of twentieth-century poetry but additionally to devotees of contemporary paintings and glossy theater
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Extra info for Apollinaire on the edge : modern art, popular culture, and the avant-garde
While Apollinaire could have chosen an abstract title, or simply dispensed with one altogether, the dedication “A Linda” establishes the poem’s purpose, subject, and destination. Not only is it concerned with Linda, whose beauty it ostensibly celebrates, but it is intended for her as well. Inevitably, one wonders if she ever received Apollinaire’s unusual tribute. To be sure, the composition bears little resemblance to a conventional love poem. Except for the title, it appears to be totally non-referential, totally abstract.
33 Ferdinand de Saussure, Course in General Linguistics, ed. , tr. Wade Baskin (1916, New York: McGraw-Hill, 1966), p. 15. 34 Longrée, L’Expérience idéo-calligrammatique d’Apollinaire, p. 117. 35 Saussure, Course in General Linguistics, pp. 67-70. 62 Apollinaire on the Edge angle, Apollinaire managed to give it a brand new life—much as pop artists would do with soup cans and soap boxes many years later. However, the closest parallel is with Dada instead of neo-Dada—with Marcel Duchamp instead of Andy Warhol.
The poem opens with three decasyllables, for example, one of which is dislocated to form the second and third lines. The use of definite articles where one would expect indefinite articles—as in “Il y a la fenêtre”—reinforces the presentational mode adopted by Apollinaire. Again one is tempted to compare the text to a painting. The mention of capes studded with olive trees in the following line situates the poem on the Côte d’Azur, 16 Susan Harrow, The Material, the Real, and the Fractured Self: Subjectivity and Representation from Rimbaud to Réda (Toronto: University of Toronto Press, 2004), p.
Apollinaire on the edge : modern art, popular culture, and the avant-garde by Apollinaire, Guillaume; Bohn, Willard; Apollinaire, Guillaume