scholarly journals Acts of Passage: Women Writing Translation in Canada1

2008 ◽  
Vol 20 (1) ◽  
pp. 245-279
Author(s):  
Alessandra Capperdoni
Keyword(s):  
Women's Movements ◽  
Daphne Marlatt ◽  
Female Subjectivity ◽  
French Canada ◽  
Nicole Brossard ◽  
Avant Garde ◽  
Intellectual Context ◽  
Innovative Work ◽  
Relationship Of ◽  
The Relationship

Abstract This article discusses the relationship of writing and translation in Canadian feminist poetics, specifically experimental. As feminist poetics collapsing the boundaries between theory and creative act, “writing as translation” is a mode of articulation for female subjectivity and a strategy for oppositional poetics. The article engages with the practice of “writing as translation” in the works of two leading avant-garde artists, the francophone Nicole Brossard and the anglophone Daphne Marlatt, located respectively in Montreal and Vancouver. Building on the groundbreaking critical work of Barbara Godard, Kathy Mezei and Sherry Simon, it situates these practices in the socio-political and intellectual context of the 1970s and 1980s, which witnessed the emergence of women’s movements, feminist communities and feminist criticism, and in relation to the politics of translation in Canada. This historicization is necessary not only to understand the innovative work of Canadian feminist poetics but also the political dissemination of a feminist culture bringing together English and French Canada.

scholarly journals ‘There Must Be a Poetry of Sound That None of Us Knows…’: Early British documentary film and the prefiguring of musique concrète

2017 ◽  
Vol 22 (2) ◽  
pp. 172-186
Author(s):  
Geoffrey Cox
Keyword(s):  
Case Studies ◽  
Electronic Music ◽  
Documentary Film ◽  
Post Office ◽  
Coal Face ◽  
Avant Garde ◽  
History Of ◽  
Relationship Of ◽  
The Relationship ◽  
Musique Concrete

Standard histories of electronic music tend to trace the lineage of musique concrète as lying mainly in the Futurists’ declarations of the 1910s, through Cage’s ‘emancipation’ of noise in the 1930s, to Schaeffer’s work and codifications of the late 1940s and early 1950s. This article challenges this narrative by drawing attention to the work of filmmakers in the 1930s that foreshadowed the sound experiments of Pierre Schaeffer and thus offers an alternative history of their background. The main focus of the article is on the innovations within documentary film and specifically the sonic explorations in early British documentary that prefigured musique concrète, an area ignored by electronic music studies. The theoretical and philosophical underpinnings of the documentary movement’s members, particularly their leader John Grierson, will be compared with those of Pierre Schaeffer, and the important influence of Russian avant-garde filmmaking on the British (and musique concrète) will be addressed. Case studies will focus on the groundbreaking soundtracks of two films made by the General Post Office Film Unit that feature both practical and theoretical correspondences to Schaeffer: 6.30 Collection (1934) and Coal Face (1935). Parallels between the nature and use of technologies and how this affected creative outputs will also be discussed, as will the relationship of the British documentary movement’s practice and ideas to post-Schaefferian ‘anecdotal music’ and the work of Luc Ferrari.

scholarly journals Architecture and music/sound: Points of meeting, networking, interactions

2014 ◽  
Vol 6 (1) ◽  
pp. 75-88
Author(s):  
Biljana Srećković
Keyword(s):  
Sound Art ◽  
Avant Garde ◽  
Formal Level ◽  
History Of ◽  
Music And Architecture ◽  
Relationship Of ◽  
The Relationship ◽  
Architecture And Music

This paper is devoted to perceiving the relationship between music and architecture, namely, the discourses which interpret, research, value these two practices in the context of their mutual networking. In that respect it is possible to set aside several problem strongholds which will make the focus of this paper, and which concern: the history of forming and evolution of discourse on the inter-relationship of these two practices; modernist, avant-garde and postmodernist problematization of music and architecture; theories of the artists as a field of music and architecture networking; the interaction of music and architecture on the technical and formal level; spatiality of sound, i.e., sound/music propagation in space and the emergence of the new art concepts based on this principle (sound architecture, aural architecture, sound art).

scholarly journals The fecund interval: visualizing acoustic space in Canadian experimental cinema.

2021 ◽  
Author(s):  
Daniel Browne
Keyword(s):  
Media Analysis ◽  
Space Forms ◽  
Cultural Traditions ◽  
Avant Garde ◽  
Experimental Cinema ◽  
History Of ◽  
Unique Approach ◽  
Acoustic Space ◽  
Relationship Of ◽  
The Relationship

"In this paper, I seek to develop an analysis of an aesthetic framework in which my filmmaking practice is situated, through Marshall McLuhan's ideas concerning acoustic space and their resonances within the avant-garde cinema. This may sound at first to be an inherently contradictory formula, given that a visually predominant medium such as the cinema may not be considered to impart experiences beyond this realm, with the exception of its acoustic components. (Sound cinema, similarly, is generally assumed to evoke sense impressions that exist merely in support of the fidelity of its 'realistic' image). However, I seek to demonstrate how the visualization of acoustic space forms a centrally unifying aesthetic strategy within the Canadian avant-garde cinema and many of the perceptual investigations conducted by film artists working during the time of Mcluhan's writings, resulting in a tradition of works which aim to translate visual experience beyond a fragmentary, visually-abstracted field, thus embodying aspects of kinesthetic vision and tactile/acoustic spatial experience. begin by examining the reception of Mcluhan's scholarship from within communication studies, suggesting the most fruitful reading of his often controversial figure as an artist-mystic rather than strictly as a theorist. I will then examine the varied influences from literary and cultural traditions that shaped his unique approach to media analysis and the development of his model of acoustic space-which Richard Cavell proposes as the primary feature that "connects a multiplicity of elements in Mcluhan's large and diverse oeuvre" (2003: xiii)-and consider the relationship of the cinema to Mcluhan's project of a history of the human sensorium."--Introduction.

The fecund interval: visualizing acoustic space in Canadian experimental cinema.

2021 ◽  
Author(s):  
Daniel Browne
Keyword(s):  
Media Analysis ◽  
Space Forms ◽  
Cultural Traditions ◽  
Avant Garde ◽  
Experimental Cinema ◽  
History Of ◽  
Unique Approach ◽  
Acoustic Space ◽  
Relationship Of ◽  
The Relationship

"In this paper, I seek to develop an analysis of an aesthetic framework in which my filmmaking practice is situated, through Marshall McLuhan's ideas concerning acoustic space and their resonances within the avant-garde cinema. This may sound at first to be an inherently contradictory formula, given that a visually predominant medium such as the cinema may not be considered to impart experiences beyond this realm, with the exception of its acoustic components. (Sound cinema, similarly, is generally assumed to evoke sense impressions that exist merely in support of the fidelity of its 'realistic' image). However, I seek to demonstrate how the visualization of acoustic space forms a centrally unifying aesthetic strategy within the Canadian avant-garde cinema and many of the perceptual investigations conducted by film artists working during the time of Mcluhan's writings, resulting in a tradition of works which aim to translate visual experience beyond a fragmentary, visually-abstracted field, thus embodying aspects of kinesthetic vision and tactile/acoustic spatial experience. begin by examining the reception of Mcluhan's scholarship from within communication studies, suggesting the most fruitful reading of his often controversial figure as an artist-mystic rather than strictly as a theorist. I will then examine the varied influences from literary and cultural traditions that shaped his unique approach to media analysis and the development of his model of acoustic space-which Richard Cavell proposes as the primary feature that "connects a multiplicity of elements in Mcluhan's large and diverse oeuvre" (2003: xiii)-and consider the relationship of the cinema to Mcluhan's project of a history of the human sensorium."--Introduction.

A Sphinx upon the Dnieper: Black Modernism and the Yiddish Translation of Race

Slavic Review ◽  
2021 ◽  
Vol 80 (2) ◽  
pp. 280-289
Author(s):  
Eli Rosenblatt
Keyword(s):  
African American ◽  
Soviet Union ◽  
The United States ◽  
James Weldon Johnson ◽  
Race And Racism ◽  
Avant Garde ◽  
The Soviet Union ◽  
Black Modernism ◽  
Relationship Of ◽  
The Relationship

This article examines the context and content of the 1936 Soviet Yiddish publication of Neger-Dikhtung in Amerike, which remains to this day the most extensive anthology of African-Diasporic poetry in Yiddish translation. The collection included a critical introduction and translations of nearly one hundred individual poems by twenty-nine poets, both men and women, from across the United States and the Caribbean. This article examines the anthology's position amongst different notions of “the folk” in Soviet Yiddish folkloristics and the relationship of these ideas to Yiddish-language discourse about race and racism, the writings of James Weldon Johnson and W.E.B. Du Bois, with whom Magidoff corresponded, and the Yiddish modernist poetry of Shmuel Halkin, who edited the book series in which the anthology appears. When placed alongside Du Bois's and others’ visits to the Soviet Union in the 1930s, the appearance of African-American and Caribbean poetry in Yiddish translation shows how a transatlantic Jewish avant-garde interpreted and embedded itself within Soviet-African-American cultural exchange in the interwar years. Magidoff served as a Soviet correspondent for NBC and the Associated Press from 1935. He was accused of espionage and expelled from the USSR in 1948.

Empires within and without: the conquest of the self and the Florentine avant-garde

Modern Italy ◽  
2019 ◽  
Vol 25 (1) ◽  
pp. 49-62
Author(s):  
Bertrand Marilier
Keyword(s):  
The Self ◽  
Individual Level ◽  
Avant Garde ◽  
Psychological Understanding ◽  
The Subject ◽  
The Individual ◽  
Intellectual Formation ◽  
Relationship Of ◽  
The Relationship ◽  
Intense Debate

This article examines the relationship of the young Giovanni Papini to the notion of imperialism. The period of Papini's intellectual formation was a time of intense debate among the Italian intelligentsia concerning imperialism and its relationship to nation and culture. He joined the conversation with a distinctive interpretation of the idea, one that could at once make him heir apparent to the tradition of Umbertian nationalism, while also rejecting the positivist slant of his forebears. William James's porous conception of the subject and Papini's sense of his own fragmented subjectivity provided the ground for a psychological understanding of imperialism: one that relied on knowledge and appreciation, which translated into literature at the individual level, and into culture at that of the nation. Ultimately, however, disappointments abroad, the demands of nationalist politics, and Papini's own avant-garde posture, led him to abandon his intellectual empire in favour of a more concrete one.

scholarly journals More humorous employees, more eager to innovate: psychological capital explained

2018 ◽  
Vol 74 ◽  
pp. 10018
Author(s):  
Indah Suciati ◽  
Alice Salendu ◽  
Eka Gatari
Keyword(s):  
Psychological Capital ◽  
Research Direction ◽  
Self Report ◽  
Future Research ◽  
Mediating Role ◽  
Innovative Work ◽  
Broaden And Build Theory ◽  
Innovative Work Behaviour ◽  
Relationship Of ◽  
The Relationship

Previous studies show that researchers are interested in studying the relationship of humour with creativity and innovation. Using the broaden-and-build theory, the present study explores the relationship between humour and innovative work behaviour then explain its process by the mediating role of psychological capital. 172 employees participated in this study through a self-report questionnaire. The result shows that psychological capital fully mediates the relationship between humour and innovative work behaviour. The theoretical and practical implications of the findings are discussed along with the future research direction.

A Rose is a Rose is a Hero is a Horse: Naming and Referentiality in the Poetry of Robert Kroetsch and Gertrude Stein

2004 ◽  
Vol 13 (2) ◽  
pp. 119-137 ◽  
Author(s):  
Maria Casas
Keyword(s):  
Literary History ◽  
Meaning Making ◽  
Gertrude Stein ◽  
Robert Kroetsch ◽  
Avant Garde ◽  
Philosophical Foundations ◽  
The Status ◽  
Relationship Of ◽  
The Relationship ◽  
Critical Writings

The contemporary Canadian poet Robert Kroetsch claims Gertrude Stein as an important influence on his work. On the surface, there are indeed many similarities between the poetics of Kroetsch and that of Stein. Separated by one generation and one epoch of literary history – from Stein’s Modernism to Kroetsch’s avowed Postmodernism – they are nevertheless both avant-garde poets, with an interest in the relationship of signifier to signified and in the problems and joys of representation. However, the poetry of these two writers diverges radically in meaning-making practices and, finally, philosophical foundations. Although Stein and Kroetsch share a fascination with the unstable relationship between signifier and signified, Stein’s approach seems to suggest that the instability was a problem and source of anxiety in her quest to represent reality, even inasmuch as ‘representation’ became ‘creation’, while Kroetsch’s poetry and critical writings express a joy and sense of play produced by his awareness of the gap between signified and signifier. I have reconstructed the metalinguistics of these two avant-garde writers by comparing poems by Kroetsch and Stein at the level of syntax, lexical collocation and coherence, and conception. Their poems share many themes and preoccupations, including conceptions of ‘naming’, the deconstruction of the signifier, and the status of the text. However, differences in technique are the direct reflection of philosophical differences in art movements at opposite ends of the 20th century.

scholarly journals Temporalization as Transcendental Aesthetics - Avant-Garde, Modern, Contemporary

2014 ◽  
Vol 23 (44-45) ◽  
Author(s):  
Peter Osborne
Keyword(s):  
18Th Century ◽  
Cultural Representation ◽  
Stable Set ◽  
Theoretical Terms ◽  
Dialectical Logic ◽  
Avant Garde ◽  
Late 18Th Century ◽  
Relationship Of ◽  
The Relationship

Reflections on the relationship of aesthetics to politics tend to circle, almost compulsively, around a relatively stable set of conceptual oppositions, inherited from German philosophies of the late 18th century. This essay proposes an expansion of the theoretical terms of the debate by extending the field of transcendental aesthetics into the domain of historical temporalization. Fundamental art-historical categories may thereby be incorporated, philosophically transformed, into ‘aesthetics’ as forms of historical temporalization: avant-garde, modern, contemporary. The essay expounds two theses, in particular: 1. The historical subsumption of the temporality of the avant-garde by the temporality of the modern: the modern stands to the avant-garde as the negation of its politics by the repetition of the new –‘the new as the ever–same’; 2. the historical subsumption of the temporality of the modern by ‘the contemporary’: the contemporary stands to the modern as the negation of the dialectical logic – and hence specifically developmentalist futurity – of the new by a spatially determined, but imaginary co-presencing. One effect of this latter subsumption, it is argued, is a particular, regressive ‘repetition of the national’, at the level of cultural representation, on the terrain of the global.

Sign in / Sign up

Export Citation Format

Share Document