Poetry of the Revolution.pdf

Eighteenth-Century Studies, 2004

“Reading Revolutionaries” proposes an alternative 'reading' of John Sparagana’s work in the form of a literal understanding of visual information as text. “Crowds & Powder: The Revolutionaries”, a large-scale work of art, is translated into the format of a mass-market paperback book. Arranged over eighty double-page spreads, each individual page frames a full-scale fragment of this work. This small volume perpetuates Sparagana’s manipulation of printed media and contributes to the ongoing study of the relationship between media and the arts. Not only does it allude to a growing discourse on the control and manipulation of visual narrative, as increasingly witnessed from political imagery to popular culture, but it also investigates the way we read and process (visual) language.

Biens symboliques, 2018

Manart : une base de données sur les manifestes artistiques et littéraires au xx e siècle Comment est né le projet de base de données ? Le projet Manart est né en 2012 lors de la journée d'études « Le manifeste artistique. Un genre collectif à l'ère de la singularité » organisée à l'École des hautes études en sciences sociales (EHESS). Une première base regroupant des manifestes artistiques et littéraires produits au xx e siècle, en France et dans le monde, y avait été présentée par Camille Bloomfield. Peu après, l'équipe s'est constituée avec les deux organisatrices de la journée, Viviana Birolli et Mette Tjell, et l'une des intervenantes, Audrey Ziane, toutes travaillant déjà sur l'histoire et l'évolution du manifeste en art et en littérature. Le projet a d'abord reçu un soutien de principe du centre Hubert de Phalèse (au sein du laboratoire Écritures de la modernité, Université Paris 3), spécialisé sur les rapports entre informatique

“I believe in the magic and authority of words.” (René Char) René Char was a 20th-century French poet and member of the French Resistance. Alongside Alphonse de Lamartine or Victor Hugo —albeit in a different way—, he epitomizes the figure of the poet who has a strong political role. Words have always been an efficient political weapon; in fact, the magic and authority of words are equally important for a politician and for a poet. Far from restraining the scope of the present work to what one might call “political poetry”, several forms of the relationship between politics and poetry shall be explored.

Anglia, 2019

The term resistance literature should be applied to all forms of poetry that voice opposition to oppression and not just, as Barbara Harlow defended, those engaged in the anti-colonial fight of the sixties.

SAGE Handbook of Frankfurt School Critical Theory, 2018

Within critical theory and beyond, many of the debates about the status of art turn, explicitly or implicitly, upon the concept of participation. Avant-garde movements of the 20th century linked themselves to emancipatory political movements through practices and rhetorics of mass participation, opening art to new audiences, lowering the barriers to participation for creators, and sometimes eliminating the distinction between makers and audiences altogether. Though the debates between Theodor Adorno, Walter Benjamin, György Lùkacs, Bertolt Brecht and others are often discussed through concepts such as autonomy, totality, and mimesis, this chapter argues that we might usefully reorganize our understanding of such debates by thinking through the links between aesthetic and political participation. Articulated in this manner, continuities between critical theory and later theorizations – such as those of the Situationist International – become visible. Finally, this chapter will consider the potent critiques of participation as an aesthetic and political ideology as well as the impasses that participatory theory and practice encounters over the course of the twentieth century. These impasses, it will be argued, are especially prominent within the social movements and cultural practices of the new century.

Journal For the Study of Religions and Ideologies, 2012

Our approach on Ramona Hosu's book is to emphasize her approach on some aspects of American society at the beginning of the twentieth century built by tradition, norms, myth and shaped by the means of communication. Contemporary scholarly works on this issue were used in order to explain multiple representations concerning cultural attitudes and social practices. We also focused on the directions and principles of modernism and postmodernism that caused changes in the definition of art and had an enormous impact on society. It is shown from the very beginning that it produced a crisis of identity for the human being, be it ethnic, sexual, social and cultural, and consequences of this situation are reflected in poetry, which remains a discursive construct with meanings that depend on its relations to all other cultural discourses and social institutions of that period and of nowadays. This book presents the class, racial and gender conflicts of the United States in the 1910s, 1920s and 1930s as they were ideologically inscribed in the poetry of the period. This is possible because literature is connected to social issues like tradition, convention, norms, forms, symbols, myths. It is linked to a certain social, economic and political system. The discourses of literature speak about currents of political and cultural, and social meanings that shaped the American society of those times. The diverse facets of difference, such as class, race, and gender, are reflected in multiple representations of clash and conflict, of power, of anxiety and uncertainty concerning the problem of individual and national identity. The book deals with the patterns of change, as they were recorded in society and the arts. The author shows how the emergence of the multicultural society and of the industrial economy at the beginning of the twentieth century contributed to changing social and cultural attitudes and everyday social practices. Certain mutations of social change can be easily perceived with respect to the American society of the times and the literature of the period. Regarding this, Ramona Hosu brings into reader's attention that modernization is about change in terms of values, attitudes, expectations and ideals. It was hard for some categories of society to accept and adapt to these changes. There were cultural contributors who experienced change dramatically, refusing to adapt to the new image of man and rejecting the new values promoted by modernization; they were always in search for the old, yet solid values of the past, to be found in the production of previous decades. Consequently, all new experiences of the decades before 1910 did not transmute easily into art. The culture of the Twenties was the reflection of the divided and transforming American society. In fact, Jacqueline Fear and Helen McNeil offer a catalogue of the most important social and cultural contributions to change, all embodying the "symbolic illusion and fragmentation" of the 20s. What dominated the culture of the Twenties was the exploding set of mass values of the consumer middle-class, due to Hollywood, radio, film and popular magazines. These induced dreams which would never come