Twentieth-Century Poetry and Visual Culture: transatlantic Perspectives of European and American Modernism

[ES] Este estudio investiga el impacto de la cultura visual moderna en la poesía vanguardista desde una perspectiva que tiene en cuenta los intercambios transatlánticos entre el modernismo europeo y norteamericano. A principios del siglo veinte las imágenes formaban parte de una sociedad influenciada por los avances tecnológicos y el consumismo. Sensible a los métodos empleados por la cultura de masas y la publicidad, los poetas modernistas recurrieron al potencial de la experiencia óptica no sólo para promover sus obras sino también para apelar al sentido de la vista como el medio más rápido y efectivo en provocar una reacción en el espectador. Movimientos como el cubismo, el futurismo, el dadaísmo, el expresionismo alemán y el surrealismo francés ejercieron influencia sobre el experimentalismo británico y norteamericano. En Gran Bretaña el imagismo y el vorticismo tomaron como referentes las disciplinas de la pintura y la escultura para articular un lenguaje poético que reprodujera los efectos de la cultura publicitaria. En Estados Unidos poetas y artistas tales como William Carlos Williams, Hart Crane y los precisionistas utilizaron la imagen visual para recrear la energía de la metrópolis norteamericana. Otros modernistas en la línea de Gertrude Stein, T.S. Eliot y Ezra Pound expresaron en París su extrañamiento respecto de su patria escribiendo una poesía épica que se asentaba en el collage pictórico con el fin de proporcionar una visión plural que enfatizara las perspectivas interculturales. Asimismo, la aparición del cine y la fotografía inspira la poesía de Marianne Moore y H.D., cuya imagen cinemática puede interpretarse en favor de la democratización y la expansión del arte. El estudio de la cultura visual contribuye a conectar formas populares como los medios de masa con la estética de las bellas artes y de la poesía. La interrelación de los géneros literarios con las artes plásticas, el cine y la fotografía nos invita a reflexionar acerca de la condición ontológica del sujeto u objeto presentado en la obra artística así como la tensión entre arte y verdad en la época moderna. La estética de principios del siglo veinte participa en estructuras visuales e incluye nuevos modelos que emulan la realidad publicitaria y los medios de masas.[En] This study investigates the impact of modern visual culture on avant-garde poetry from a perspective that considers transatlantic exchanges between European and American Modernism. My argument is at the brink of twentieth century images were part and parcel of a highly technologized and capitalist society. Sensitive to the methods employed by mass culture and the advertising industry, Modernist poets relied upon the potential of optical experience not only to promote their works but also to appeal to eyesight as the fastest and most effective way to provoke a reaction in the viewer. Therefore, I pay heed to Cubism, Futurism, Dadaism, German Expressionism and French Surrealism as a means of exploring the origin of avant-garde aesthetics and their bearing on the British and American experimentalism. In Great Britain, Imagism and Vorticism relied upon the disciplines of painting and sculpture to articulate a poetic language that reproduced the artifice of promotional culture. In the U.S. poets and artists such as Williams, Crane, Stevens and the Precisionists, utilized visual imagery to envision American city life and natural landscapes. Other Modernists such as Stein, Eliot and Pound conveyed their displacement from their homeland by engaging in an epic poetry that reproduced cross-cultural perspectives thanks to the collage effect. Likewise, the emergence of cinema and photography makes a direct impact on the poetry of Moore and H.D., whose mechanized image might be interpreted in terms of the democratization and expansion of art. The study of visual culture thus helps connect popular or low forms, such as media, with high forms in line with the fine arts and poetry. The interrelation of the literary genre with plastic and mechanical forms is significant because it invites us to think over the original thing and its duplicates as well as the tension between art and truth in modernity. All in all, early twentieth-century aesthetics participates in visual structures, opening up models that emulate the free circulation of commodities, whether they are tangible or intangible

Modernist Repositionings of Rousseau's Ideal Childhood: Place and Space in English Modernist Children's Literature and Its French Translations

It is a little-known fact that several modernists wrote for children: this project will focus on T.S. Eliot‘s Old Possum‟s Book of Practical Cats, James Joyce‘s The Cat and the Devil, Gertrude Stein‘s The World is Round and Virginia Woolf‘s Nurse Lugton‟s Curtain. While not often thought of as a modernist, I contend that Walter de la Mare‘s short stories for children, especially The Lord Fish, take part in this corpus of modernist texts for children. These children‘s stories, while scarcely represented in critical circles, have enjoyed a wide popular audience and have all been translated into French. Modernism is often considered an elitist movement, but these texts can contribute to its reassessment, as they suggest an effort towards inclusivity of audience. The translation of children‘s literature is a relatively new field of study, which builds from descriptive translation studies with what is unique to children‘s literature: its relation to pedagogy and consequent censorship or other tailoring to local knowledge; frequently, the importance of images; the dual audience that many children‘s books have in relating to the adults who will select, buy and potentially perform the texts; and what Puurtinen calls ‗readaloud- ability‘ for many texts. For these texts and their French translations, questions of children‘s relations to place and space are emphasised, and how these are complicated in translation through domestication, foreignisation and other cultural context adaptations. In particular, these modernists actively write against Rousseau‘s notion of the ―innocent‖ boy delighting in the countryside and learning from nature. I examine the international dialogue that takes place in these ideas of childhood moving between France and England, and renegotiated over the span of the twentieth and twenty-first centuries. This study thus seeks to contribute to British modernist studies, the growing field of the translation of children‘s literature, and children‘s geographies

Mobilizing Pedagogy

What is—what should be—the place of art in society? Is it merely decorative? Is it only to affirm a given set of cultural preferences? Or should it examine, challenge, even upend these norms to bring open new perspectives for those who experience what artists create? Social practice artists offer a clear and unflinching answer to this question, setting before us works intended not merely to ask questions but to propose pathways toward large societal change. In this volume, the work of two social practice artists of different generations and different social locations—Suzanne Lacy and Pablo Helguera—are brought into creative tension by two visionary curators: Elyse A. Gonzalez of the Art, Design & Architecture Museum of the University of California, Santa Barbara, and Sara Reisman of the Shelley and Donald Rubin Foundation of New York. Working together, Gonzales and Reisman bring the work of these two engaged and activist artists into dialogue, showing how art can be not merely the mirror of society but the means of making it more just, more inclusive, and more humane

Multiple frameworks for creative instruction: academic content taught through music-infused instruction and integrated arts

Thesis (D.M.A.)--Boston UniversityThe purpose of this collective case study was to examine the manner in which teachers delivered content-specific lessons using music as a medium of instruction. All three participants graduated from the Creative Arts and Learning Masters program at Lesley University and received training in their degree programs on the use of music as an instructional tool. Two of the participants had elementary teaching assignments and one taught high school Spanish. All three participants expressed enthusiasm about the use of arts and music-infused techniques in their classrooms and were willing to share both their practical and philosophical approaches to instruction. Participants exhibited their capacity to teach core subject matter by implementing music-infused instructional strategies across an array of different grade levels. Investigating how teachers applied these techniques, examining their philosophical beliefs and practices regarding integration, and exploring how they prepared and implemented these instructional approaches established a clearer understanding of their professional practice. The central research questions were: (a) How do participants make use of music-infused techniques? (b) In what ways, if any, do participants use music-infused techniques? (c) How are the music-infused techniques that participants use aligned with the Techniques of Music-Infused Instruction (TOMI) inventory scale? (d) How does the use of music-infused techniques reflect participants' attitudes and beliefs and the training they received? Data was collected through observation, reflective responses, interviews, and written artifacts to discover how teachers applied instructional styles and techniques reflected in the literature. Patterns of behavior among case study participants revealed practical application of music-infused techniques in their classrooms including subservient techniques, experiential activities, historical, cultural, and thematic approaches to integrated music-infused instruction. The study revealed that TOMI functioned best when taught in a synchronized manner. When teachers focused together on thematic and conceptual ideas that integrated music and art across the curriculum, students developed a deeper understanding of the material through the multiple perspectives they used to explore different academic subjects

L'art pour l'art or l'art pour la vie?: an analysis of the historical avant-garde manifestos

This thesis examines the European Avant-Garde manifestos of the early twentieth century. The goal of this work is to determine, from an analysis of this primary material, the intentions of the historical avant-garde with regard to the autonomy of art. In accordance with the European Avant-Garde International Research Project coordinated by the University of Edinburgh, this thesis attempts to review the framework for study of the avant-garde established by Peter Burger in his Theory ofthe Avant-Garde of 1974.The manifestos selected for examination belong to the movements of German Expressionism, French Cubism, Italian Futurism, the Russian avant-garde, Dadaism and Surrealism. This range covers all those movements that Burger labels the "historical avant-garde". Whilst, in formulating a theory of avant-gardist intention, Burger focuses on Dadaism, early Surrealism and the Russian avant-garde "after the October revolution," this work aims to reformulate Burger's theory so that it may be applied equally to all movements of the historical avant-garde.In addition to establishing the intention of the avant-garde movements towards art's relationship to the social and political world, this thesis attempts to identify the extra-aesthetic implications of such objectives. Whether the movements were heralding a revolutionary doctrine of Tart pour la vie in line with Burger's theory, the traditional doctrine of Tart pour Tart, or were merely an instinctive reaction to advances in technology, their designs arguably impacted upon the direction taken by society and politics. The critical social theories of Walter Benjamin, Theodor Adorno, and Jiirgen Habermas are examined with respect to this extra-aesthetic impact

Transnational Modern Languages

In a world increasingly defined by the transnational and translingual, and by the pressures of globalization, it has become difficult to study culture as primarily a national phenomenon. A Handbook offers students across Modern Languages an introduction to the kind of methodological questions they need to look at culture transnationally. Each of the short essays takes a key concept in cultural study and suggests how it might be used to explore and illuminate some aspect of identity, mobility, translation, and cultural exchange across borders. The authors range over different language areas and their wide chronological reach provides broad coverage, as well as a flexible and practical methodology for studying cultures in a transnational framework. The essays show that an inclusive, transnational vision and practice of Modern Languages is central to understanding human interaction in an inclusive, globalized society. A Handbook stands as an effective and necessary theoretical and thematically diverse glossary and companion to the ‘national’ volumes in the series

Culture as Soft Power

Including a thorough literature review and a number of case studies referred to cultural institutions and organisations, this book sheds light on different usages of culture as a source of soft power. Through an innovative and interdisciplinary approach, it addresses issues tackled in international cultural relations, intellectual history, comparative literature, sociology of literature and global literary studies