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Journal articles on the topic 'Literary manifestos'
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1
Schwarz, Olga Katharina. "Sie wollten die Museen zerstören. : Zur Tradition des literarischen Manifests um 1900 (Gebrüder Hart, Moréas, Marinetti, Hiller)." Zeitschrift für Germanistik 31, no. 3 (January 1, 2021): 452–73. http://dx.doi.org/10.3726/92170_452.
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Abstract Der Beitrag untersucht den für das literarische Manifest um 1900 charakteristischen Umgang mit Tradition. Das Traditionsbewusstsein, das die Manifeste selbst zum Ausdruck bringen, wie auch die zwischen ihnen zu ziehenden Traditionslinien verweisen auf die Kontinuität, die durch die Manifeste verkörpert wird, und relativieren die in ihnen proklamierten Brüche. Gezeigt wird, in welcher Weise das literarische Manifest in dieser Hinsicht Modell für die Manifeste der historischen Avantgarde war.This study of literary manifestos published around the year 1900 investigates their relationship to tradition. The conscious appeals to tradition which the manifestos include, as well as the lines of tradition which may be traced from one manifesto to the next, point to a certain continuity which puts their claims to a rupture with the past in relative perspective. The paper shows that in this respect the literary manifesto served as a model for the manifestos of the historical avant-garde.
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Boscán, Juan, and Garcilaso de la Vega. "Three Literary Manifestos of Early Modern Spain." PMLA/Publications of the Modern Language Association of America 126, no. 1 (January 2011): 233–42. http://dx.doi.org/10.1632/pmla.2011.126.1.233.
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The emergence of Spain as a world power in the early sixteenth century compelled a radical change in its language and literature. reflecting the country's global expansion, Spanish culture moved beyond its medieval belatedness to compete with Renaissance Italian culture, whose superiority was based on the humanist rebirth of ancient values. The cultural rivalry between Spain and Italy is documented in the prefaces that follow, written by the Catalan poet Juan Boscán (1490?–1542) and the Toledan noble Garcilaso de la Vega (1499?–1536). Through these poets' efforts, Spain became the first European nation-state not only to appropriate Italian versification and prose style but also to displace Italy from the political and literary spheres of power (King 240–41). The political and cultural significance of Boscán's and Garcilaso's revisionary poetics makes their prefaces the first literary manifestos of early modern Spain.
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Saveleva, Mariia Sergeevna, and Nadezhda Aleksandrovna Kritskaya. "Russian modernist manifestos: the genre characteristics." Культура и искусство, no. 3 (March 2023): 50–58. http://dx.doi.org/10.7256/2454-0625.2023.3.39936.
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The paper deals with the features and functions of Russian Modernist manifestos. It is shown that proletarian writers adopted, refined and used in a specific manner for their own purposes some of the techniques implemented in the Silver Age theoretical declarations. This may account in part for the active use of the originally political term “manifesto” in the Soviet literary studies. In critical works from recent years one can observe a departure from this tradition.
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Dimova, Irena. "Teaching The Manifesto." Bulgarski Ezik i Literatura-Bulgarian Language and Literature 63, no. 4 (August 9, 2021): 419–29. http://dx.doi.org/10.53656/bel2021-4-6-teach.man.
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In this article, we look at the genre of the manifesto and its possible uses in high school. First, we point out some basic characteristics of this type of text and link them to the idea of a “form of rebellion”. Second, we make a connection between teaching literature in school with teaching the literary events and facts as part of the so-called literary narrative, i.e., putting the phenomena into the larger framework of what is happening in the cultural context of the observed period. we propose a possible way of teaching the manifesto, based on an example of the aesthetico-theoretical work of Geo Milev, having in mind that the author has texts with the characteristics of a manifesto, not complete manifestos.
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Hanna, Julian. "Blasting AfterBlast:Wyndham Lewis's Late Manifestos." Journal of Modern Literature 31, no. 1 (September 2007): 124–35. http://dx.doi.org/10.2979/jml.2007.31.1.124.
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Murphy, David. "Literature after Empire: a comparative reading of two literary manifestos." Contemporary French and Francophone Studies 14, no. 1 (January 2010): 67–75. http://dx.doi.org/10.1080/17409290903412714.
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Cywińska, Marta. "Teksty programowe Pomarańczowej Alternatywy a francuskie manifesty surrealizmu – wybrane konteksty." Copernicus Czasy Nowożytne i Współczesne 1, no. 1 (2022): 125–36. http://dx.doi.org/10.15804/ccniw.2022.01.08.
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«Orange Alternative program texts and French surrealism manifestos » are a contribution to a detailed analysis of the Orange Alternative program texts in terms of surreal inspirations, many of which can be found not only in the Manifesto of Surrealist Socialism, but in Waldemar Fydrych’s books: Hokus pokus, or the Orange Alternative, written together with with Bogdan Dobosz in 1989. Żywoty Mężów Orangeowych- 2001, Krasnoludki i gamonie- 2006, Major- 2013. The author analyzes various levels of relations between the most important assumptions of the French surrealism contained in the manifestos and the program texts and literary works of Waldemar «Major» Fydrych, taking into account his ties with France. He mentions selected contexts of the activity of the New Culture Movement and the Orange Alternative, referring to the meaning of the characters, ideas and program content. He does not forget about the role of manifestos in the history of the European avant-garde (including the Manifesto of the Communist Party, but futuristic and Dadaist) and the universal dimension of the high-profi le slogans of surrealism, both in Europe and in Poland. He evokes the notion of «socio-political surrealism» and its universal dimension, as well as situates the actions of the Orange Alternative between Solidarity and the authorities of the time.
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Barreiro León, Bárbara. "Dreams, the Female Gaze, and the City of Paris: Urban Landscapes through the Writings of the Surrealist Movement." Escritura e Imagen 17 (November 24, 2021): 89–101. http://dx.doi.org/10.5209/esim.78935.
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From the time of the Renaissance, treaties on architecture, odes to the arts, and the study of their canons through written sources, have served to defend, emphasise, or proclaim the validity of different artistic forms and styles. In this way, programmes and manifestos have reinforced the character of organisations and movements through their fundamental ideas. The artistic Avantgardes have thus used this literary resource to lay the theoretical foundations for their future artistic contributions, being able to justify without any qualifications their most extravagant occurrences. The Avant-garde manifesto shall therefore be considered a literary contribution written in the first place for the subsequent development of the artistic and creative activity of the group or school. The Surrealist Movement generated a lot of written work because the founders, André Breton, Louis Aragon, and Philippe Soupault, were writers. Some of these texts included the Movement’s two manifestos, periodicals such as Le Surréalisme au service de la révolution, Littérature, or Minotaure, and individual writings that were penned by Breton and Aragon. This study will relate the Surrealist written work with the Movement’s idea of the city and its urban imaginary.
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Park, Jeong-min. "Fear of War and War Manifestos with Propaganda and Agitation Strategies during the Japanese Invasion of Korea." Daedong Hanmun Association 73 (December 30, 2022): 37–61. http://dx.doi.org/10.21794/ddhm.2022.73.37.
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War, one of the extreme situations in human history, brings ultimate fear to human. And in war manifestos(檄文) which are to be written for the purpose of declaration, oppression, and conciliation during wartime, this “fear” functions as an important factor for logic design. In this regard, this study aims to explore how this inevitable feeling during a war situation is treated in the literary field, particularly focusing on the war manifestos written during the Japanese Invasion of Korea.
In Chapter 2, the study examined that the Japanese invasion of Korea aroused certain emotions - a vague ‘anxiety’ about war and a ‘fear’ towards a definite object. In Chapter 3, the study confirmed that propaganda informing general people of war situation and information about the enemy actually performed a function to develop readers' vague anxiety into definite fear and anger, by looking through propaganda(宣傳) strategies shown in the war manifestos written during the Japanese Invasion of Korea. In Chapter 4, it also confirmed that the contents of war manifestos written to soothe public anxiety and promote their participation in war and cooperation carried out a function to overpower(威壓) and blow away(揮發) readers' fear, by examining instigation(煽動) strategies shown in the war manifestos written during the Japanese Invasion of Korea.
War manifestos written during the Japanese Invasion of Korea in order to prevent the collapse of the Joseon Dynasty is the product of human will(意志) not to be overwhelmed by uncontrollable anxiety and fear. And the propaganda and instigation(煽動) strategies in the war manifestos during the Japanese Invasion of Korea that raised others' will based on that will comes right from the logic of fear that triggers readers' dynamic emotional change.
This study considered the war manifestos as ‘a writer's deliberate product to arouse target readers’ passion and behavioral changes' and examined the logic of war manifestos, particularly in association with ‘fear’. I hope that this study will be contributed to the development of more diversified war manifesto studies in future.
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Patricio Mulero, Maria, and Juan Pecourt Gracia. "The writer’s contest: manifestos and literary struggle in Catalonia (2014–2020)." Cultural Trends 31, no. 2 (November 10, 2021): 152–68. http://dx.doi.org/10.1080/09548963.2021.1999769.
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Kulish, Yuliia. "The Place of a Literary Manifesto in the 21st Century." NaUKMA Research Papers. Literary Studies 3 (September 2, 2022): 42–48. http://dx.doi.org/10.18523/2618-0537.2022.3.42-48.
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The manifesto, both political and aesthetic, significantly marked the map of cultural history. The genre, steaming from approximately the beginning of the 19th century, has gone through a number of transformations in terms of form and content and reached its participative peak in the 1920s. Being established during the times of modernism, manifesto practice gradually decreased at the cusp of cultural epochs, thus resulting in being marginalized, parodied, and extruded from the present discourse. The article, narrowly focusing on the literary manifesto, suggests several reasons for the mentioned phenomena.Taking the two semantic aspects of a literary manifesto – performative and theoretic – the author explores their functioning in terms of the two representative movements of modernism and postmodernism. “The moment of the manifesto,” meaning the climax regarding the quantity of produced manifestos in times of modernist flourish, is explained by the collapse of a public sphere concept, the performativity of the epoch itself, and the prevalence of complex theoretical paradigms aiming at rethinking the literary canon. The postmodern fall concerning manifesto tradition is argued to be the result of the shift in theoretical approach and apparatus, associated with the linguistic turn in art and philosophy, while the performative aspect is claimed to be ruined due to such reasons as the acceleration of the literary process, inactiveness in terms of protest activity due to the post-capitalist reality, alienation from “the real” politics and the tendency to consider art more quality if being peripheralized.Therefore, the article elaborates on the need for manifesto practice in the 21st century as the manifesto is considered as the instrument of reconstructing and reviving the performative aspect, necessary for political emancipation. Also, noticing the present theoretic stagnation in literary studies, the author necessitates the resurgence of a manifesto as it may appear helpful in reinvigorating the field of literary theory.
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Caison, Gina, and Amy Clukey. "Afterword: Future Souths—Emerging Voices in Southern Studies." Publications of the Modern Language Association of America 131, no. 1 (January 2016): 193–96. http://dx.doi.org/10.1632/pmla.2016.131.1.193.
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In spring 2014, the society for the study of southern literature (sssl) executive council asked us to assemble a roundtable of manifestos by emerging scholars on the future of southern literary studies for Other Souths, a conference to take place in Arlington, Virginia. As a companion to a plenary panel of manifestos by senior scholars, this roundtable, titled Future Souths, was sure to draw an engaged crowd. We anticipated that the speakers would not only delineate their research but also set the stage for new trajectories in the field. Before organizing the event, we discussed our ideas about where southern literary studies was headed in the short term and where we thought it ought to go next.
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Dicusar, Cristina. "Approaches to the Problem of Literary Authenticity. A Historical Outline (II)." Philologia, no. 2(320) (August 2023): 79–89. http://dx.doi.org/10.52505/1857-4300.2023.2(320).07.
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The present article follows the evolution of the approaches to the problem of authenticity, focusing on the various forms of literary authenticity reflected in modernist literary theory texts and manifestos. We will emphasize the differences and similarities between the conceptions, phenomena, and literary currents that refer to authenticity, trying to understand their causes and evolution. The subjects we will particularly draw attention to refer to the definition of authenticity throughout literary history, literary authenticity expressed within the literary currents of modernism, and the influence of philosophical conceptions concerning authenticity on modernist literature.
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Caracchini, Cristina. "Laughter and the Manifesto: Aldo Palazzeschi’s Counter-Futurist Futurist Il controdolore." Quaderni d'italianistica 36, no. 2 (July 27, 2016): 103–26. http://dx.doi.org/10.33137/q.i..v36i2.26901.
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Literary history made a Futurist out of Palazzeschi, and he himself said about his manifesto, Il controdolore (published in Lacerba in 1914) that it represented his “modest and direct” contribution to Marinetti’s movement. This article situates Il controdolore among other mainly contemporary texts devoted to laughter. Referring to theories of manifestos, it looks at Palazzeschi’s text as a theatrical space, underlining its literary and non-pragmatic nature. I intend to show that, in this iconic work, we start to recognize certain recurring features and ideas that position Palazzeschi’s very anomalous avant-garde experience among the ranks of the Futurists, in a space of autonomous opposition to both poles of the binary Futurism/non-Futurism. As a matter of fact, his position, liminal, and somewhat anarchic, makes his work a convincing antecedent of avant-garde movements to come, especially Dadaism.
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Sokolova, Olga V. "Contro tutto e contro tutti: The linguistic pragmatics of protest in the Italian futurists’ manifestoes." Vestnik of Saint Petersburg University. Language and Literature 20, no. 1 (2023): 98–116. http://dx.doi.org/10.21638/spbu09.2023.106.
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The speech act theory by J.L.Austin and the conception of the degree of strength of illocutionary force (point) by J.R. Searle and D.Vanderveken underlies the study of exercitive speech act as the act of objection/protest expressed by prepositions contro and against ‘против’. Historically, protest as a genre goes back to the Ancient rhetorical tradition, but in the 20th century, it has also become an aesthetic foundation of the Avant-garde poetic discourse. The expression of protest and a critical attitude towards the dominant discourse become one of the grounds for the interaction of the Avant-garde poetic and political discourses. Discourse and linguopragmatic analysis of the Italian Futurists’ manifestos is carried out from the standpoint of the linguistic creativity that manifests itself in the form of the Avant-garde linguistic experiment. Further, the Italian Neo-avant-garde (Neoavanguardia, Gruppo ‘63) develops the idea of confronting linguistic and cultural norms in its poetical texts and manifestoes like Linguaggio e opposizione (1961) by Nanni Balestrini or Ideologia e linguaggio (1965) by Edoardo Sanguineti. The markers of adversative semantics include such grammatical and lexico-grammatical means as но, однако, впрочем, против, напротив, вопреки, наперекор; ma, anzi, mentre, però, bensì, pure, eppure, contro, piuttosto, etc. The paper focuses on the pragmatic and semantic features of the preposition contro as one of the most frequent opposition markers in the Italian Futurists’ manifestos. The study distinguishes methods of deviation from standard use, aimed at increasing the illocutionary force and the performative potential of the message.
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Pakhsaryan, Natalia. "GUISTAVE FLAUBERT AS LITERARY CRITIC." Literaturovedcheskii Zhurnal, no. 3 (2021): 72–83. http://dx.doi.org/10.31249/litzhur/2021.53.04.
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The article analyzes the uniqueness of the literary-critical position of Gustave Flaubert, a writer who did not leave large theoretical texts about literature, did not write manifestos or critical articles, but constantly reflects on writing in his correspondence. Through the epistolary reflection of Flaubert about literature, one can clarify his aesthetic position, understand the peculiarities of his relationship to the form and style of narration. The writer’s position was not stable and unambiguous: starting with attempts to create notes in the spirit of “romantic writing”, he comes to rejection of the open manifestation of sympathies and antipathies in art, advocating impersonal creativity, understanding the morality of art as what is contained in its beauty. Nevertheless, Flaubert’s thoughts should not be equated with the idea of “art for art”, he understood this idea in his own way and tried in every possible way to preserve a personal, unlike others attitude to literary creativity in general, and to individual writers and works.
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Czerwinski, E. J., Tadeusz Kantor, and Michal Kobialka. "A Journey through Other Spaces: Essays and Manifestos, 1944-1990." World Literature Today 68, no. 2 (1994): 396. http://dx.doi.org/10.2307/40150275.
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Peppis, P. "Poetry of the Revolution: Marx, Manifestos, and the Avant-Gardes." Comparative Literature 60, no. 2 (January 1, 2008): 193–97. http://dx.doi.org/10.1215/-60-2-193.
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ﺣﻠﻴﻢ, Hala Halim/ ﻫﺎﻟﺔ, and Hala Halim. "Literary Manifestos since the Seventies: Introduction and Translation/ ﺑﻴﺎﻧﺎﺕ ﺃﺩﺑﻴﺔ ﻣﻨﺬ ﺍﻟﺴﺒﻌﻴﻨﺎﺕ : ﻣﻘﺪﻣﺔ ﻭ ﺗﺮﺟﻤﺔ." Alif: Journal of Comparative Poetics, no. 11 (1991): 98. http://dx.doi.org/10.2307/521569.
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Belobratov, Alexander V. "Art nouveau period: borders and concepts." Semiotic studies 1, no. 1 (April 19, 2021): 33–41. http://dx.doi.org/10.18287/2782-2966-2021-1-1-33-41.
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The article offers an extensive overview of modern approaches to definition of art nouveau as a literary era and to establishing its chronological boundaries. There have been analyzed main variations of the self-definition of the era as well as researchers attempts to find an appropriate definition to this complex aesthetic phenomenon. The extended interpretation of art nouveau as a macroepoch is examined, the period dating back to the end of the 18th century and connected primarily with the artistic system of Romanticism. Based on the aesthetic manifestos of German Naturalism, the meaning of the literary situation in 1880th Germany is examined, where the widespread proclamations of the aesthetic revolution and modern attitudes coexisted with the adherence to the deterministic aesthetics of the previous decades. The leading trends in the culture of the fin de sicle are connected with the onset of the first stage of art nouveau in the art and literature of 1890-1900, soon to be replaced by avant-garde art at the turn of the second decade of the new century. Avant-garde, which associated itself with modernity, was mainly destroying already established art forms. This article suggests that the literary avant-garde as a project of the future manifests a utilitarian approach to the attitudes of the art nouveau on the brink of the new century, making art nouveau accessible for the audience and bringing the artist into the space of political interaction with the society.
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Khaliullin, Karim Rishatovich. "ANTI-NAPOLEONIC CAMPAIGNS OF 1805–1807 AND THE MILITARY THEME IN RUSSIAN POETRY." Russkaya literatura 3 (2021): 142–55. http://dx.doi.org/10.31860/0131-6095-2021-3-142-155.
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The article analyzes the connections between the offi cial rhetoric and the poetry on Napoleonic War of 1805–1807 in the Russian Empire. During the fi rst period of the war (War of the Third Coalition), only a handful of poems was published, whereas the second period (War of the Fourth Coalition) produced a much bigger volume of verse. The author suggests that the quantitative difference in the poetical output between these two phases of the War is directly related to the strategy of the offi cial rhetoric, since in the beginning of the War of the Third Coalition Emperor Alexander I did not publish a special manifesto (just the Recruitment Ordinance) while after the beginning of the War of the Fourth Coalition three Emperor’s manifestos were released. These documents shaped an ideological coordinate system in which the poets were able to produce new texts.
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Kiebuzinska, Christine, Tadeusz Kantor, and Michal Kobialka. "A Journey through Other Spaces: Essays and Manifestos, 1944-1990." Theatre Journal 47, no. 3 (October 1995): 437. http://dx.doi.org/10.2307/3208913.
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Alegria, Diego. "Modernismo or Transatlantic Romanticism: José Martí and William Wordsworth." Essays in Romanticism: Volume 28, Issue 1 28, no. 1 (April 1, 2021): 43–56. http://dx.doi.org/10.3828/eir.2021.28.1.5.
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In this essay, I argue that Spanish American modernismo (1880-1917) constitutes an affirmation and negation of Romanticism: it is a manifestation of Romanticism’s critical reason and self-definition as literature in the Spanish American sphere, and it is a denial of Romanticism as a European cultural period and as a metropolitan literary model. To explore this contradiction, I contrast the allegories of literature in William Wordsworth’s “Preface” to Lyrical Ballads (1802) and José Martí’s “Prólogo al Poema del Niágara de Juan A. Pérez Bonalde” (1882). Both texts have been considered as pivotal literary manifestos of Romanticism and modernismo, respectively. Through this essay, its theoretical background, and rhetorical reading, I rethink the transatlantic relationship between both cultural movements and their self-definitions as literature.
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Gonzales Muñoz, Francesca. "El discurso mítico a partir del testimonio: comparación en dos contextos de enunciación." Desde el Sur 14, no. 3 (September 30, 2022): 0029. http://dx.doi.org/10.21142/des-1403-2022-0029.
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This work proposes an analysis between the mythical discourses presented from the indigenous testimony in the colonial stage that is presented in the book Testimonies, letters and indigenous manifestos, compiled by Martín Lienhard, and the testimonial account that appears in the text From the corner of the dead of Juan Ansión. To do this, critical discourse analysis and literary historiography will be used. This analysis will allow us to recognize and compare the representation of the mythical discourse in the testimonies of the indigenous communities,
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PUCHNER, MARTIN. "Society of the Counter-Spectacle: Debord and the Theatre of the Situationists." Theatre Research International 29, no. 1 (March 2004): 4–15. http://dx.doi.org/10.1017/s0307883303001214.
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This article examines the work of the Situationists and their leading member, Guy Debord, as it relates to theatre history and the history of the manifesto. The Situationists privileged the writing of manifestos over the production of art works in order to avoid the fate of the historical avant-garde, whose provocative art had been co-opted by the cultural establishment. Despite this pro-manifesto and anti-art stance, the Situationists drew on the theatre, envisioning the construction of theatrical ‘situations’ influenced by the emerging New York happening as well as modern theatre artists such as Brecht and Artaud. This theatrical inheritance prompted a recent theatrical representation of their activities based on Greil Marcus's Lipstick Traces. What this theatrical rendering demonstrated, however, is that the theatricality of the ‘situation’ is different from that produced on a stage, reminding us that the strategies of the neo-avant-garde cannot be easily transferred to a traditional theatrical form.
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Zechenter, Katarzyna, Tadeusz Kantor, and Michal Kobialka. "A Journey through Other Spaces: Essays and Manifestos, 1944-1990." Slavic and East European Journal 38, no. 3 (1994): 533. http://dx.doi.org/10.2307/308875.
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Ellerson. "African Women Professionals in Cinema: Manifestos, Communiqués, Declarations, Statements, Resolutions." Black Camera 12, no. 2 (2021): 536. http://dx.doi.org/10.2979/blackcamera.12.2.26.
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Riabchenko-Shats, Valeriia Dmitrievna. "The "Apollo" Magazine as the Field of the Last Battle of Symbolist Manifestos." Культура и искусство, no. 1 (January 2023): 12–25. http://dx.doi.org/10.7256/2454-0625.2023.1.39585.
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The magazine "Apollo" completes a number of symbolist magazines of the Silver Age and in a sense sums up the intensive artistic life of the late XIX – early XX century. Its pages captured the rapid and multidirectional artistic discourse of the turn-of-the-century era, which was analyzed in the article with the help of discourse analysis. Aesthetic manifestos published on the pages of the art magazine "Apollo" were chosen as the subject of this research, the object of the work was the evolution of aesthetic and philosophical ideas in "Apollo". The content analysis of the journal's materials allowed us to study the development of the ideas of symbolism and acmeism within the framework of the editorial program of Apollo, which was the purpose of this work. The magazine "Apollo" is traditionally perceived as a magazine that promoted the ideas of Acmeism, however, the analysis of published materials shows that an acute symbolist controversy unfolded on the pages of "Apollo" in the early 1910s. In addition, the study demonstrates that the ideas of Acmeism were very heterogeneous and did not receive the support of many members of the editorial board, who believed that Acmeism had not formed into a full-blooded literary phenomenon. The results of the research can contribute to theoretical knowledge about the "Apollo" magazine and the history of Russian journalism, as well as the history of the development of the ideas of symbolism and acmeism.
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Striano, Apollonia. "A Reflection on the Concept of Youth as Identity in Literary Journals in Italy a Century Ago." puntOorg International Journal 6, no. 1 (January 2021): 6–11. http://dx.doi.org/10.19245/25.05.pij.6.1.2.
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This contribution aims to develop some observations on the concept of identity with specific reference to a particular historical moment, the period just before the First World War, in a particular context, Italy, in which young intellectuals compared their ideas and debated with each other in periodicals. Through the collation of two manifestos, published in two journals in distant geographical areas, and of the experiences of the two publishing houses, we have tried to verify the dogma itself of the writing and the communicative action, perceived as an indispensable stimulus to engagement, to the aesthetic composition of another world and to the tacit evocation of the miracle of a new beauty.
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Chamberlain, Bobby J. "Sobre Jorge Schwartz, Vanguardas latino-Americanas: Polêmicas, Manifestos e Textos Críticos." Revista Iberoamericana 64, no. 182 (June 28, 1998): 330–32. http://dx.doi.org/10.5195/reviberoamer.1998.6170.
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MORISI, E. C. "The OuLiPoe, or Constraint and (Contre-) Performance: "The Philosophy of Composition" and the Oulipian Manifestos." Comparative Literature 60, no. 2 (January 1, 2008): 107–24. http://dx.doi.org/10.1215/-60-2-107.
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McClure, John A. "Vitalist Nation." Christianity & Literature 67, no. 3 (May 17, 2018): 419–35. http://dx.doi.org/10.1177/0148333117725605.
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This article describes romantic vitalism as a postsecular tradition of energy mysticism and traces its elaboration over the last two centuries. It identifies a tension in vitalist thinking, which can tend either toward unregulated self-assertion or toward the proposition that “everything that lives is holy” and deserving of respect. This tension emerges in Blake, Whitman, and Nietzsche. And it distinguishes two of the most important literary manifestos of mid-twentieth century America, Rand’s Atlas Shrugged and Kerouac’s On the Road. Published in 1957 and immediate bestsellers, these works suggest an America divided by its allegiance to contradictory forms of vitalism.
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Nizhnik, Anna. "Literary rhythm of the cycle by Isaac Babel “Red Cavalry”." Litera, no. 12 (December 2020): 10–17. http://dx.doi.org/10.25136/2409-8698.2020.12.34407.
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This article examines the cycle by Isaac Babel “Red Cavalry in the context of literary trends of the 1920s. I. Babel avoided various literary organizations and loud manifestos; therefore, his role within the post-revolutionary literary system remains somewhat isolated: he had a reputation of a realist writer (although with some reservations) mostly due to specifically historical backstory of his military cycle. In this regard, his literary style is rarely viewed as a phenomenon of modernist literature – metareflective, intertextual, centered on the experiments with literary form. However, the works of I. Babel can be viewed as a characteristic to modernism phenomenon of “synthesis of arts” – not only painting and cinematography, but music as well. His musicality is traced both on the semantic level and particular recurring images, an on the level of rhythmic structure of the text. The article demonstrates “pretexts” (genre and stylistic models) that underlie the cycle “Red Cavalry”: folk songs, revolutionary marches, poetry of French symbolism (namely A. Rimbaud), which targeted to substitute versification with a rhythmic prose. Thus, some elements of I. Babel's prose are interpreted as variations of a free verse, which corresponds to the draft genre definitions given by the author to his stories, as well as to his writing style testified by some of his contemporaries.
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DIMOVA, Irena. "Childhood memory as “Natural memory” in poems by the Slovak author Ján Stacho." Problems of slavonic studies 70 (2021): 181–89. http://dx.doi.org/10.30970/sls.2021.70.3746.
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Background: Ján Stacho is an eminent Slovak author (1936–1995) who first has published in 1959. Two years later he became member of the so-called Trnava group, made up of him, Ján Ondruš, Jozef Mihalkovič and Ľubomír Feldek. The group’s poet-ics and aesthetics can be found in their manifestos – “There will be a talk about chil-dren's poetry”, “There will be a talk about translation” and “There will be a talk about poetry”, the last of which is lost. Ján Ondruš’s debut book “Wedding Journey“ was first published in 1961. His poems and one of the group’s literary manifestos are the subject of the present study. Purpose: The article examines the idea of childhood memory as “natural memory”. The concept is found in the poetry of Ján Ondruš, who is part of the Slovak poetry Trnava group. His poems serve the purpose of the article – to look at the realizations of the concretists’ theoretical views in the poems of the author mentioned above. Results: The article outlines the concept of memory, which we find in the aesthetic platform of the Slovak Trnava group, specifically in their manifesto “There will be a talk about children's literature.” In this text, the authors plead for writing poetry that is not “sucked from the finger” but is “squeezed” from memory. We deduce the “uses” of memory from the texts of one of the Trnava groups’ representatives, Ján Stacho. The subject of our research is his debut poetry collection from 1961, “Wedding Journey.” In his poems, we connect memory – as childhood and natural – with the metaphor of “salt-ing the senses” and the naive, unencumbered “sensing” the world to grasp the latter. We also include an intertextual reference to the text "Memory" of another poet from the Trnava group Ján Ondruš, which representatives refer to as one of their program’s works. Key words: childhood memory, natural memory, senses, Slovak literature, Trnava group. Bílik, R., 2000. Ľubomír Feldek. Bratislava: Kalligram. (In Slovak) Bokníková, A., 2006. Trnava Group – Concretists. Bratislava: Kalligram. (In Slovak) Feldek, Ľ., 2007. The Doomed Group of Trnava. Bratislava: Columbus. (In Slovak) Gilman, R., 2005. The Drama Is Coming Now: The Theater Criticism of Richard Gilman. New Haven and London: Yale University Press. (In English) Hajko, D., 1998. Ján Stacho: Essay on the Poet Who Wanted to Read the Ciphers of Being. Bratislava: National Literary Centre. (In Slovak) Jelínek, A., 1961. Vítězslav Nezval. Praha: Czechoslovak Writers. (In Czech) Kupec, I., 1955. In Defense of Poetry. Cultural Life, 44 (10), pp.4–6. (In Slovak) Maslowski, N. and Šubrt, J., 2015. Collective Memory. Theoretical Questions. Praha: Karolinum. (In Slovak) Matejov, F., 1986. Ján Ondruš’ Poem Memory. V: Literary Views. Proceedings of Young Literary Science. Bratislava: Smena, pp.164–185. Mikula, V., 2013. “Red” Fifties in “Golden” Sixties. V: Waiting for History. Articles on Slovak Literary History. Bratislava: UK, pp.127–147. (In Slovak) Nora, P., 2004. The Global Rise of Memory. V: Y. Znepolsky, red. Pierre Nora. Places of Memory and Constructing the Present. Sofia: House for Science and Society, pp.19–35. (In Bulgarian) Ondruš, J., 1965. The Mad Moon. Bratislava, 1965, 1982. (In Slovak) Ondruš, Ya., 1997. Out of the Mirror. Sofia: Literary front. (In Bulgarian) Prodanov, V., 2006. Memory Speculations. V: Culture and Memory. Varna, pp.58–85. (In Bulgarian) Stacho, J., 1961. Wedding Journey. Bratislava, 1961. (In Slovak) Šimonovič, J., 1962. According to Wedding Journey. Young Creation, 7(8–9), pp.28–29. (In Slovak)
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Caputi, Jane. "Burn It Down! Feminist Manifestos for the Revolution. BreanneFahs. Verso, 2020." Journal of American Culture 44, no. 1 (March 2021): 64–66. http://dx.doi.org/10.1111/jacc.13233.
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Vandenburg, Margaret. "Oeditorial Repression: The Case Histories of Hemingway and the Fitzgeralds." Prospects 30 (October 2005): 471–86. http://dx.doi.org/10.1017/s0361233300002131.
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With the persistence of repetition compulsion, Modernists define their movement vis-à-vis the classic Freudian assumption that sexuality is the mainspring of virtually everything, including literary merit. The most libidinous of their aesthetic manifestos is Ezra Pound's characterization of creativity as a “phallus or spermatozoid charging, head-on, the female chaos … driving a new idea into the great passive vulva of London.” Though C. G. Jung is far less enamored of the phallus, he endows masculinity with the “creative and procreative” power of Logos, which, echoing Pound, he calls the “spermatic word.” As if to fend off “scribbling women,” Jung warns that “mental masculinization of the woman has unwelcome results,” most notably frigidity, homosexuality, and “a deadly boring kind of sophistry.” Gertrude Stein's iconoclasm notwithstanding, her paradoxical assertion that her genius is masculine simultaneously reifies and defies this theory that biology determines literary destiny. In the Modernist canon, the pen is a penis, even when a cigar is just a cigar. The most influential of the movement's manifestos, T. S. Eliot's “Tradition and the Individual Talent,” codifies aesthetic essentialism, positing an Oedipal model of canonicity contingent on the authority of literary fathers. Even Virginia Woolf's rejection of gendered canonicity inA Room of One's Ownassumes its tenacity, as if she were protesting too much against the inevitable.Woolf is not alone in protesting too much. Modernism's swaggering canonicity masks a castration anxiety that debilitated F. Scott Fitzgerald and even bedeviled Papa Hemingway inThe Garden of Eden. One of Hemingway's most famous letters to Fitzgerald, written during the tortured composition ofTender Is the Night, provides a paradigmatic example of the Modernist crisis of masculinity:We are all bitched from the start and you especially have to be hurt like hell before you can write seriously. But when you get the damned hurt use it – don't cheat with it…. You see, Bo, you're not a tragic character.
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Di Mauro-Jackson, Moira. "D'Annunzio’s Il piacere: A Generational Gaze on New Values." Forum Italicum: A Journal of Italian Studies 51, no. 2 (April 6, 2017): 525–48. http://dx.doi.org/10.1177/0014585817698421.
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This paper centers on the nature of Gabriele d’Annunzio’s first, and very influential novel, Il piacere, and its influence on Italian thought at the time. I argue that Il piacere is truly a breviary, to borrow Cevasco’s term, a bible—or in socio-economic terms, a manifesto—for its time. I draw from Charles Altieri’s Radical Poetics and from Martin Puchner’s Poetry of the Revolution: Marx, Manifestos and the Avant-Gardes to prove that Il piacere is indeed a social critique of its time, an attempt by D’Annunzio to bridge the gap that Italian Unification produced by projecting a mostly agricultural country—which had long lost its epic stature, dating back to the Renaissance years—into modern thought and society.
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Kruidenier, Julie-Franoise. "Francophone manifestos: on solidarity in the French-speaking world." International Journal of Francophone Studies 12, no. 2 (December 1, 2009): 271–87. http://dx.doi.org/10.1386/ijfs.12.2-3.271/1.
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Bogue, Ronald. "On the Superiority of Anglo-American Literature." Deleuze Studies 7, no. 3 (August 2013): 302–18. http://dx.doi.org/10.3366/dls.2013.0113.
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In Dialogues, Deleuze contrasts French and Anglo-American literatures, arguing that the French are tied to hierarchies, origins, manifestos and personal disputes, whereas the English and Americans discover a line of flight that escapes hierarchies, and abandons questions of origins, schools and personal alliances, instead discovering a collective process of ongoing invention, without beginning or determinate end. Deleuze especially appreciates American writers, and above all Herman Melville. What ultimately distinguishes American from English literature is its pragmatic, democratic commitment to sympathy and camaraderie on the open road. For Deleuze, the American literary line of flight is toward the West, but this orientation reflects his almost exclusive focus on writers of European origins. If one turns to Chinese-American literature, the questions of a literary geography become more complex. Through an examination of works by Maxine Hong Kingston and Tao Lin, some of these complexities are detailed.
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Morar, Ovidiu. "De la suprarealism la „onirismul structural”." Philologica Jassyensia 38, no. 2 (December 30, 2023): 215–30. http://dx.doi.org/10.60133/pj.2023.2.17.
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This approach tries to emphasize the similarities and differences between the poetics of Surrealism and the so-called “structural oneirism”, produced in the late sixties by a new Romanian avant-garde group. The two leaders of this group, the poet Leonid Dimov and the novelist Dumitru Țepeneag, published a series of literary manifestos in some literary magazines of the time, in which they tried to build a coherent and original aesthetic program. The main ideas were the rational structure of the new literature and its dream-like atmosphere produced by a deliberate technique, characteristics that placed it in the category defined by Angelo Guglielmi in the late fifties as “experimentalism”. However, the dark dreamy atmosphere, the “convulsive beauty”, the programmatic incoherence of the narration in order to create the dream-like effect, the incompatibility of the associations, etc. are features that still link this new literature to older Surrealism.
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Kranert, Michael. "Populist Elements in the Election Manifestoes of AfD and UKIP." Zeitschrift für Anglistik und Amerikanistik 67, no. 3 (September 25, 2019): 265–82. http://dx.doi.org/10.1515/zaa-2019-0023.
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Abstract The term populism is omnipresent in current political science and political discourse. This paper discusses how so-called “populist” discourse is linguistically construed in the 2017 election manifestos of the German Alternative für Deutschland (AfD) and the British United Kingdom Independence Party (UKIP). It does so by operationalising populism concepts from political science, specifically the difference between exclusive and inclusive populism. In order to investigate how “populist” discourses depend on the respective political culture of a discourse community, these categories are employed in a corpus based comparative politico-linguistic analysis. Based on a corpus of German and British election manifestos from 2017, the paper demonstrates that both UKIP and the AfD combine elements of in inclusive populism based on demands of a democratic renewal, and an exclusive populism based on the idea the people as a homogeneous ethnos. The discursive realisation, however, differs because of general historic and political differences such as Britain being a state of four nations and the AfD aiming to avoid a rhetoric known from Germany’s past. Particularly pronounced are differences in the delineation to the enemy “European Union” as both parties link their euro-sceptical discourse to different central signifiers of the German and British political culture.
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Chaskes, D. "Ethnic Modernism; Modernism, Race, and Manifestos; Apostles of Modernity: American Writers in the Age of Development." American Literature 81, no. 4 (January 1, 2009): 852–54. http://dx.doi.org/10.1215/00029831-2009-055.
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CALCHI NOVATI, GABRIELLA. "Language under Attack: The Iconoclastic Theatre of Socìetas Raffaello Sanzio." Theatre Research International 34, no. 1 (March 2009): 50–65. http://dx.doi.org/10.1017/s0307883308004239.
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The Italian theatre company Socìetas Raffaello Sanzio, led by Romeo Castellucci, began its passionate incursion into Italian theatre in the 1980s. Through an analysis of their most challenging critical texts and manifestos, as yet unpublished in English, this paper will examine the theoretical foundations of Socìetas Raffaello Sanzio's oeuvre and the profound implications of the iconoclasm of their performances, and propose new means of deciphering their work. During the 1980s the company forged new linguistic and visual theatrical techniques, which were further developed through the 2002–2004 project, Tragedia Endogonidia. I argue that the relevance of their early work lies in their theoretical and practical widening of the parameters of representation. Excerpts from manifestos and texts written by Romeo and Claudia Castellucci, along with critical texts related to their work, are unless otherwise indicated translated into English by the present author.
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Belavina, Ekaterina M. "French poems of Nikolay Gumilyov." Izvestiya of Saratov University. Philology. Journalism 22, no. 4 (November 23, 2022): 428–33. http://dx.doi.org/10.18500/1817-7115-2022-22-4-428-433.
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Paris, regarded for centuries as the literary capital of the world, the literary ‘homeland of choice’, gave shelter (permanently or temporarily) to many great writers. Poets all over the world have dreamed of gaining access to the French reader; it has tacitly been considered a special stepping stone to global recognition. At the turn of the nineteenth and twentieth centuries, the paths of many Russian poets crossed in Paris. It was there that Gumilyov met A. Tolstoy, M. Voloshin, A. Bely and others. Most of his poems were written in his native language and translated from the foreign language into the native language. A rare case of cultural transfer and cross-linguistic contact are poetic texts written by the author in a foreign language, based on the original in his native language (auto-translation from the native language), or subsequently written in his native language (auto-translation from a foreign language). The auto-translations by Nikolai Gumilyov (1886–1921) did not have a resonance and his name is not very familiar to the French reader. The few translations done by the French have appeared in anthologies, and the first book of selected poems was published in France in the twenty-first century. Gumilyov’s rhyming poems were not well-received at a time when vers libre standard was being developed in France. The linguistic roughness of the form, striving for the classical form, gave the impression of linguistic errors. Gumilyov’s innovation manifested itself in overcoming national and temporal boundaries. A later fondness for the history of French literature manifested itself in programmatic focus of manifestos on tradition, which ran counter to Parisian contemporaries who deviated from laws of “beautiful clarity”. The desire to convey the music of the Russian syllabo-tonic also did not favour publications in French. Gumilev’s reception in France was delayed in time.
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Kalniņa, Ieva. "THE LITERARY GROUP “TRAUKSME” (“ALERT”) AND CONSTRUCTIVISM." Culture Crossroads 8 (November 13, 2022): 235–45. http://dx.doi.org/10.55877/cc.vol8.181.
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A number of literary groups existed in Latvian literature at the turn of the 1920s and 1930s. The literary groups had at least two of the following elements: literary manifestos or programmatic articles, media publications, and a definite circle of authors. The defender of the leftist ideas in the political and aesthetic respect was the literary group “Trauksme” (“Alert”). The magazine was irregularly published from November 1928 until January 1931; however, the group actively existed until May 1930. The editorial board of the magazine consisted of Pēteris Ķikuts, Jānis Grots, and Jānis Plaudis. In the first issue of the magazine they published a programmatic article “We Exist”. In this article it was aggressively declared what the members of the group were for or against. They were in favour of the social function of literature. The most important theoreticians of the group were Pēteris Ķikuts, who stressed the affiliation of the group with constructivism, and Jānis Plaudis, who examined the issue of the present. The poetry of the “Trauksme” group members was characterised by an opposi tion of criticism and utopia. They took over the sharp contrasts of expressionism; however, they made these contrasts socially and sometimes also politically concrete. In order to reveal a new reality, the group “Trauksme” chose to depict the city. The authors turned to suburbs and port areas, factories and working-class dwellings. The favourite images of their poetry were the beggars and the poor. Their utopian ideas were connected with the ideas of industrialisation of the world, a working-class state and the East as a space for the birth of a new and creative culture. The members of the group made the East concrete by the concept of China and the socially lowest classes of its society.
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Melo, Luís Carlos Alves de. "A poesia intimista-militante guineense: elos entre a literatura e o engajamento político." Scriptorium 4, no. 2 (January 25, 2019): 148. http://dx.doi.org/10.15448/2526-8848.2018.2.32320.
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O presente artigo tem como objetivo central promover uma reflexão sobre a poesia engajada produzida na Guiné-Bissau desde os movimentos de libertação nacional até os dias atuais, desaguando no que conhecemos como literatura intimista-militante, como meio hábil para se demonstrar os elos de aproximação entre literatura e política. A literatura guineense é, sem sombra de dúvidas, exemplo de como esses dois elementos são parte de um mesmo contexto e de como podemos estar diante de obras poéticas que se transfiguram em verdadeiros manifestos políticos, assim como discursos políticos que podem ser vertidos em peças poéticas de grande valor estético. *** The intimate-militant Guinean poetry: links between literature and political engagement ***This article has as main objective to promote a reflection on the engaged poetry produced in Guinea Bissau since the national liberation movements to present day, in what we know as intimate-militant literature as a way to demonstrate the links between literary and political approaches. Guinean literature’s, without doubt, an example of how these two elements are part of the same context, and how we can be in touch with poetic works that transform into real political manifests, as well as political speeches that can be understood as poetic pieces of great aesthetic value.Keywords: Guinean literature; intimate poetry; engagement; political literature.
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Gould, Robert. "'Integration', 'Solidaritat ' and the Discourses of National Identity in the 1998 Bundestag Election Manifestos." German Life and Letters 53, no. 4 (October 2000): 529–51. http://dx.doi.org/10.1111/1468-0483.00184.
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Quirici, Marion. "15Disability Studies." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 282–302. http://dx.doi.org/10.1093/ywcct/mbz015.
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Abstract This chapter reviews three books published in 2018 centering on disability and resistance. It is organized into five sections. The first, ‘Resistance, Disability, and Democracy’, summarizes debates about the political obligations of disability studies, and outlines how disability justice is replacing the former emphasis on rights. The second section, ‘Academic Perspectives’, reviews the provocative collection Manifestos for the Future of Critical Disability Studies, volume 1, identifying areas of contention and raising questions about the field’s current direction. The third section, ‘Activist Perspectives’, reviews Alice Wong’s collection Resistance and Hope: Essays by Disabled People. The fourth section, ‘Beyond Identity’, reviews Robert McRuer’s Crip Times: Disability, Globalization, and Resistance. The concluding section, ‘An Abbreviated Manifesto’, asserts the vital role of disability justice in establishing alternatives to neoliberalism, resisting tyranny, and achieving democracy.
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Diamond, Elin. "Polly Dick and the Politics of Fisicofollia." Theatre Research International 24, no. 3 (1999): 264–67. http://dx.doi.org/10.1017/s030788330001912x.
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On 10 March 1913, the artist, arsonist, and suffragette Mary Richardson, alias Polly Dick, a member of the militant Women's Social and Political Union, walked into London's National Gallery and took an axe to Velázquez's ‘Rokeby Venus’. Her act resulted in the closure of the National Gallery and other museums. At her trial Richardson announced: ‘I have tried to destroy the picture of the most beautiful woman in mythological history as a protest against the Government for destroying Mrs Pankhurst, who is the most beautiful character in modern history.’ In 1911 Umberto Boccioni wrote to his friend Gino Severini in heady enthusiasm about the manifestos he had co-written and signed—Futurist Painting and Sculpture (January 1910), and Futurist Painting: Technical Manifesto (April 1910). The first featured the familiar futurist exhortation to smash the ‘cult of the past, all things old, academic pedantry’, to bear ‘bravely and proudly’ the banner of ‘madness’ with which ‘they’ try to dismiss innovators. Boccioni echoes the words of Marinetti's The Foundation and Manifesto of Futurism (1909):So let them come, the gay incendiaries with charred fingers! Here they are! … Come on! Set fire to the library shelves! Turn aside the canals to flood the museums! O the joy of seeing the glorious old canvasses bobbing adrift on those waters, discoloured and shredded … Take up your pickaxes, your axes and hammers and wreck, wreck the vulnerable cities.
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Žemla, Martin. "From Paracelsus to Universal Reform." Daphnis 48, no. 1-2 (March 19, 2020): 184–213. http://dx.doi.org/10.1163/21971927-00601002.
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This article analyses the content, context, and legacy of an influential collection of texts ascribed to Paracelsus (1493–1541) and Valentin Weigel (1533–1588). Published under the title Philosophia Mystica in 1618, it was one of the earliest printed publications of the theologica of Paracelsus. By combining Paracelsus and Weigel, the volume demonstrated their unified theological approach. Besides, it included two works by the promulgator of the “Theophrastia Sancta,” Adam Haslmayr (1560–1630), as well as a treatise by the alchemist Johann Siebmacher, who might have also been the editor of the whole volume. By using these sources the book indicated that Paracelsianism and Weigelianism were, basically, aiming at universal reform which connected them with the ethos of the Rosicrucian manifestos.