By Jean-Michael Rabaté
This cutting edge ebook places modernist literature in its cultural, highbrow, and international context, in the framework of the 12 months 1913.Broadens the research of canonical texts and creative occasions via exhibiting their cultural and international parallels Examines a few simultaneous inventive, literary, and political endeavours together with these of Yeats, Pound, Joyce, Du Bois and Stravinsky Explores Pound's Personae subsequent to Apollinaire's Alcools and Rilke's Spanish Trilogy, Edith Wharton's The customized of the rustic subsequent to Proust's Swann's approach
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Additional resources for 1913: The Cradle of Modernism
A friend chases him as he toys with a pistol, talking meanwhile on the phone with his wife, played by Lillian Gish. Tod Browning starred in two 1913 short films, Scenting a Terrible Crime and A Fallen Hero. Other 1913 shorts include The Battle of Elderbush Gulch, The Primitive Man, and The House of Darkness, but Griffith was starting to move toward full-length feature films. A two-reel film from 1913, The Mothering Heart, is cloyingly sentimental, featuring Lillian Gish in her first major role (her husband betrays her with another woman while their baby becomes mortally ill).
In March, Russolo read The Art of Noise, mixing language and music. Marinetti published Parole in libertà, poems in the newly launched futurist magazine Lacerba; Severini’s new manifesto was entitled Plastic Analogies of Dynamism, Carra’s manifesto was called Painting in Sounds, Noises and Smells, and Marinetti’s own manifesto campaigned for the Destruction of Syntax: The Imagination without Constraints and Words in Freedom. Pratella composed an opera, L’Aviatore Dro. But in 1913 both Marinetti and Papini were busy defining a futurist political program in a time of national elections.
In March 1913, a futurist evening took place at the Costanzi theater in Rome, with poetic readings by Buzzi, Palazzeschi, and Folgore, and speeches by Boccioni and Papini. In March, Russolo read The Art of Noise, mixing language and music. Marinetti published Parole in libertà, poems in the newly launched futurist magazine Lacerba; Severini’s new manifesto was entitled Plastic Analogies of Dynamism, Carra’s manifesto was called Painting in Sounds, Noises and Smells, and Marinetti’s own manifesto campaigned for the Destruction of Syntax: The Imagination without Constraints and Words in Freedom.