On Feeble Love And Bitter Love

Translation/ annihillation of Tristan Tzara's dada manifesto on occasion of Dada World Fair held by City Lights Books in San Francisco during the first 13 days of November, 2016.

Presents a collection of essays, manifestos, and illustrations that provide an overview of the Dada movement in art, describing its convictions, antics, and spirit, through the words and art of its principal practitioners.

Martin Puchner tells the story of political and artistic upheavals through the political manifestos of the 19th and 20th centuries. He argues that the manifesto was the genre through which modern culture articulated its revolutionary ambitions and desires.

This interdisciplinary collection of essays brings together scholars in the fields of art history, theatre, visual culture, and literature to explore intersections between the European avant-garde (c. 1880–1945) and themes of health and hygiene, such as illness, contagion, cleanliness, and contamination. Examining the artistic oeuvres of some of the canonical names of modern art – including Edgar Degas, Edvard Munch, Pablo Picasso, George Orwell, Marcel Duchamp, and Antonin Artaud – this book investigates instances where the heightened political, social, and cultural currencies embedded within issues of hygiene and contagion have been mobilised, and subversively exploited, to fuel the critical strategy at play. This edited volume promotes an interdisciplinary and socio-historically contextualised understanding of the criticality of the avant-garde gesture and cultivates scholarship that moves beyond the limits of traditional academic subjects to produce innovative and thought-provoking connections and interrelations across various fields. The book will be of interest to scholars working in art history, literature, theatre, cultural studies, modern history, medical humanities, and visual culture.

Artists who work with new media generally adopt a critical media approach in contrast to artists who work with traditional art media. Where does the difference lie between media artists and artists who produce modern art? Which key art objects illustrate this trend? The author investigates the relationship between art and technology on the basis of work produced by Edward Ihnatowicz and Harald Cohen, and on the basis of the pioneering computer art exhibition at Dokumenta X in 1997. His line of argument counters the generally held view that computer art straddles the gap between art and technology. Instead, he is seeking a genuine interpretation of the origin of media art, and to develop new perspectives for it.

This Companion offers an in-depth overview of the Beat era, one of the most popular literary periods in America.

The transnational modernist Mina Loy (1882–1966) embodied the avant-garde in many literary and artistic media. This book positions her as a theorist of the avant-garde and of what it means to be an artist. Foregrounding Loy’s critical interrogation of Futurist, Dadaist, Surrealist, and “Degenerate” artisthood, and exploring her poetic legacies today, Curious Disciplines reveals Loy’s importance in an entirely novel way. Examining the primary texts produced by those movements themselves—their manifestos, magazines, pamphlets, catalogues, and speeches—Sarah Hayden uses close readings of Loy’s poetry, prose, polemics, and unpublished writings to trace her response to how these movements wrote themselves, collectively, into being.

The Language of Surrealism explores the revolutionary experiments in language and mind undertaken by the surrealists across Europe between the wars. Highly influential on the development of art, literary modernism, and current popular culture, surrealist style remains challenging, striking, resonant and thrilling – and the techniques by which surrealist writing achieves this are set out clearly in this book. Stockwell draws on recent work in cognitive poetics and literary linguistics to re-evaluate surrealism in its own historical setting. In the process, the book questions later critical theoretical views of language that have distorted our ideas about both surrealism and language itself. What follows is a piece of literary criticism that is fully contextualised, historically sensitive, and textually driven, and which sets out in rich and readable detail this most intriguing and disturbing literature.