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Relevant bibliographies by topics / Modernist poetry

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Academic literature on the topic 'Modernist poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 14 February 2022

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Journal articles on the topic "Modernist poetry"

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Muhammad Ramzan, Shah Faisalullah, and Dr. Abdul Karim Khan. "Post-modernist Elements in Javed Ihsas’s Poetic Collection ‘Ayina (The Mirror)’." sjesr 4, no. 2 (June 15, 2021): 374–79. http://dx.doi.org/10.36902/sjesr-vol4-iss2-2021(374-379).

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Javed Ihsas is a prominent contemporary Pashto poet, critic, and columnist. He writes poetry with the new spirit and style of the modern critical theories of literature and philosophy. In his verses, we can observe the elements of Modernism and Post-modernism as well. In this study, we explored the post-modernist elements in his poetry, especially in his Pashto poetic collection titled Ayina. The word 'Ayina' is a Pashto word that means 'The Mirror'. The very title of the collection gives a symbolic representation in the sense that it depicts a realistic picture of society. This study is an attempt to examine the Post-modernist elements in his poetry by using a post-modernist approach. The poet touches on the elements of post-modernism in his poetry such as the element of social construction; the notion that ideas, politics, and language are socially constructed, consumerism, postponement, etc. This study explores the post-modernist elements in Javed Ihsas’ poetry which are will prove a beacon light for the young poets.

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Ingelbien, Raphael. "Metres and the Pound: Taking the Measure of British Modernism." European Review 19, no. 2 (April 14, 2011): 285–97. http://dx.doi.org/10.1017/s1062798710000554.

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Seen in the broader context of European modernism, British modernist literature stands out through the limited role of collective avant-gardes and the conservative or reactionary politics of the writers who make up the canon of modernist poetry. This article explores how these peculiarities are replicated in the use of traditional poetic forms (metres in particular) in the works of W.B. Yeats (1865–1939), Ezra Pound (1885–1972) and T.S. Eliot (1888–1965). As modernist (rather than avant-garde) writers, those poets rejected or backed away from free verse and simultaneously cultivated forms that harked back to older and less insular poetic traditions than the ones that dominated mainstream English poetry in the Victorian period.

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Hodgkins, Hope Howell. "Rhetoric versus Poetic: High Modernist Literature and the Cult of Belief." Rhetorica 16, no. 2 (1998): 201–25. http://dx.doi.org/10.1525/rh.1998.16.2.201.

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Abstract: High-modernist writers professed a disdain for rhetoric and yet found it hard to escape. They scorned the artifice of traditional, overt rhetoric and they did not wish to acknowledge that all communication is rhetorical, whether frankly or covertly. They especially distrusted “persuasion by proof” just as they distrusted traditional religion, aversions which had significant consequences for modernist literature. Modernists such as Pound favored poetry over the more frankly rhetorical genre of fiction. They valued the poet's privilege, first articulated by Aristotle and later by Sidney, of writing only of possibilities and therefore escaping the constraints of rhetoric and of historical veracity. Nevertheless, in order to justify their poetics, these modernists developed the concept of poetic belief first popularized by Matthew Arnold and elaborated upon by I. A. Richards and T. S. Eliot. Ultimately that modernist poetics became not only a substitute for religion but a new form of the rhetoric which modernists had hoped to avoid. The poetic theory helped the literature create a covert religious rhetoric that frequently denied its own existence in a ploy for audience belief.

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Caccavale, Fiammetta, and Anders Søgaard. "Predicting Concrete and Abstract Entities in Modern Poetry." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 858–64. http://dx.doi.org/10.1609/aaai.v33i01.3301858.

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One dimension of modernist poetry is introducing entities in surprising contexts, such as wheelbarrow in Bob Dylan’s feel like falling in love with the first woman I meet/ putting her in a wheelbarrow. This paper considers the problem of teaching a neural language model to select poetic entities, based on local context windows. We do so by fine-tuning and evaluating language models on the poetry of American modernists, both on seen and unseen poets, and across a range of experimental designs. We also compare the performance of our poetic language model to human, professional poets. Our main finding is that, perhaps surprisingly, modernist poetry differs most from ordinary language when entities are concrete, like wheelbarrow, and while our fine-tuning strategy successfully adapts to poetic language in general, outperforming professional poets, the biggest error reduction is observed with concrete entities.

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Carson, L. "Cinematic Modernism: Modernist Poetry and Film." Genre 41, no. 1-2 (January 1, 2008): 211–15. http://dx.doi.org/10.1215/00166928-41-1-2-211.

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Nichols, John G. "Ezra Pound's Poetic Anthologies and the Architecture of Reading." PMLA/Publications of the Modern Language Association of America 121, no. 1 (January 2006): 170–85. http://dx.doi.org/10.1632/003081206x96177.

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Between 1914 and 1933, Ezra Pound edited four anthologies of poetry: Des Imagistes, Catholic Anthology, Profile, and Active Anthology. These compilations arose out of crucial stages of Pound's career in the teens, when he reacted against Victorian poetry, and in the 1930s, when he acted as a spokesperson for the modernist movement. Using the anthology as a vehicle for the presentation of innovative poetry as well as a guidebook on how to read it, Pound experimented with anthology formats to propel readers into the project of modernism through devices such as elliptical prefaces and fragmentary notes. He sought to train readers for the demands of interpreting modernist poetry and to reclaim control over an audience educated by burgeoning university literature departments and the mainstream poetic anthologies they employed. (JGN)

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MacLeod, Glen G. "Cinematic Modernism: Modernist Poetry and Film (review)." William Carlos Williams Review 26, no. 1 (2006): 101–2. http://dx.doi.org/10.1353/wcw.2007.0005.

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Trotter, David. "Cinematic Modernism: Modernist Poetry and Film (review)." Modernism/modernity 13, no. 2 (2006): 394–96. http://dx.doi.org/10.1353/mod.2006.0054.

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Rogić Musa, Tea. "Protumodernost modernoga – pjesnički protusvijet Julija Benešića." Poznańskie Studia Slawistyczne, no. 17 (November 6, 2019): 221–35. http://dx.doi.org/10.14746/pss.2019.17.15.

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This article deals with the poetry of Julije Benešić (his collection Istrgnuti listovi – Torn Pages) in the context of Croatian modernist poetry based on three assumptions: the first, deductive one is that Benešić’s literary, literary-historical, theatrical and public personality is a potential metonymy of the entire Croatian culture of the first two decades of the 20th century; the second, literary-historical assumption is that the choice to use free verse can be read as a counter-modernist gesture against rationalism and structure of rhymed verse of Croatian modernist poetry; third, from the cultural-historical point of view, it is assumed that Benešić’s poetical profile is a reflection of his counter-modernist attitude that was shaped beyond the dominant poetical practices of modernism. The goal of this presentation is as much a cultural-historical as it is a literary-historical one, aimed at proving a thesis by which a small poetical contribution by Julije Benešić is synecdoche for the condition and the atmosphere of Croatian culture of the late modernism and the first interwar years. The notion of counter-modernism is historiographically restricted here and encompasses Benešić’s disputing statements in relation with the dominant paradigm in synchrony with the modernist period. The choice of free verse is understood as a statement of notion about the restraints of the poetics of rhymed verse of Croatian modernism. Since free verse was not part of the canon at the time, Benešić tried to use it to legitimize his own work and democratize the system of poetical competencies.

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Buckridge, Patrick. "Colin Bingham, the Telegraph and poetic modernism in Brisbane between the wars." Queensland Review 23, no. 2 (December 2016): 151–63. http://dx.doi.org/10.1017/qre.2016.26.

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AbstractBrisbane has sometimes been represented as a bulwark of literary traditionalism against the advances of poetic modernism in the southern capitals during the first half of the twentieth century. But as William Hatherell showed in The Third Metropolis, modernism had a brief but intense flourishing in the northern city during and immediately after World War II. This article traces the reception and practice of poetic modernism in Brisbane even earlier than that, in the period between the wars, both in the form of a vigorous critical debate over ‘modernistic poetry’ in the Courier-Mail and elsewhere, and also in the composition and publication of a significant quantity of self-consciously modernist poetry in Brisbane's evening daily, the Telegraph, with the active encouragement of the paper's literary editor, Colin Bingham, from 1930 to 1939.

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Dissertations / Theses on the topic "Modernist poetry"

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Potter, Rachel Chase. "Unacknowledged legislators : women's modernist poetry." Thesis, University of Cambridge, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.625064.

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Dalton, Bridget. "Kindness in modernist American poetry." Thesis, University of East Anglia, 2016. https://ueaeprints.uea.ac.uk/59451/.

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This thesis poses the question, ‘can we find Kindness in modernist American poetry?’ It is a work comprised primarily of detailed and extended close readings that will track Kindness through selections from the works of Gertrude Stein, Ezra Pound, William Carlos Williams, Louis Zukofsky, George Oppen and Charles Reznikoff. Working within an understanding that no interpretation can be naïve, this thesis argues a case for Kindness as a “grammar of reading” that accounts for the readerly experience of the neophyte by considering the notion of “reading in exile”. This is undertaken not only as an ethical step towards accessibility in texts that are conventionally identified as presenting a stark and difficult aesthetics but also with the historical considerations of the relationship between high art and mass culture, with which recent thought on modernism is concerned (Huyssen, Perelman, Jennison). This “grammar of reading” is developed through interpretations of twenty-‐first century theorists such as Derek Attridge (“singularity”), Jane Bennett (“vibrant matter”) and Eve Kosofsky Sedgwick (“reparative reading” and the “paranoid position”). The theoretical work of this “grammar of reading” is based around the notion of “behaviour” as it evinces a potential critical position that can account for naïveté, vulnerability, and not knowing within reading and within poems themselves. The attendant aim of this project then is to explore the potential and implications of identifying a recognizable Kindness in early-‐twentieth century modernist poetry.

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Emara, Mohamed Hamed Hafez. "Modernist Arabic poetry and the English modernists : a comparative linguistic study." Thesis, University of Exeter, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326926.

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Ellis, Toshiko 1956. "The modernist dilemma in Japanese poetry." Monash University, School of Asian Languages and Studies, 2002. http://arrow.monash.edu.au/hdl/1959.1/8720.

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Perril, Simon. "Contemporary British poetry and modernist innovation." Thesis, University of Cambridge, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309700.

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Forcer, Stephen. "Modernist song : the poetry of Tristan Tzara." Thesis, University of Oxford, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.400622.

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Hercock, Edwin Henry Frederick. "Modernist objects/objects under modernity : a philosophical reading of Discrete series." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54335/.

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This thesis is the first book-length treatment of the poems in George Oppen's Discrete Series (1934), providing a counterbalance to critical readings of Oppen's work which have to date focused on work published after his return to poetry (i.e. from 1962 onwards). It is a philosophical presentation of the work which argues that the poems are themselves philosophical presentations of objects, and by those objects and that presentation, of the historical circumstances of those objects and the poems themselves. Its method is Adornian in three senses: first, it holds that literature is not only subject-matter for a (sub)subset of philosophy but a potential mode of participation within it; second, the philosophical writing with which the thesis puts the poems into dialogue is not a single authorship nor strictly aesthetic, but a broad range of writings by Kant, Hegel, Marx and Nietzsche (with a special emphasis on Hegel); and third, continual recourse is made to Adorno's own writings on art and objecthood. After a brief account of the pre-history of Objectivism, of Oppen's connection with Ezra Pound, and the circumstances of the work's production and appearance, the poems are analysed in depth alongside more thoroughly institutionally validated works by, among others, Pound and T.S. Eliot. The main focus of these readings is on the physical objects represented: their nature, type, consistency, and the fact and manner of their presentation. These objects are characterised by their resolute materiality – their distinctive hardness and their uniform impenetrable surfaces. These properties are analysed from literary-historical, historical and philosophical perspectives, i.e. in the contexts of modernist hardness and its precursors; industrial production and the individual; and the causes and consequences, in thought, of the experience of bare materiality that the poems present. Finally it considers how the poems, as well as registering a particular mode of object experience, themselves seek to produce it.

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Weingarten, Jeffrey. "Lyric historiography in Canadian modernist poetry, 1962-1981." Thesis, McGill University, 2014. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=121330.

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This dissertation focuses on five closely knit writers who, between 1962 and 1981, produced exemplary historiographic poetry that guided their contemporaries. Al Purdy, John Newlove, Barry McKinnon, Andrew Suknaski, and Margaret Atwood were the chief voices of a literary mode that I term "modernist lyric historiography": a meditative modernist lyric that is self-critical, self-consciously incapable of claiming and skeptical about any claim to authority over history, and fundamentally historiographic (in the sense that it synthesizes, discards, and/or critically evaluates fragments of history). Arguably, Purdy was the inaugurator of lyric historiography: in the early 1960s, he experimented with a modernist lyric attentive to a broad vision of Canadian history. Newlove was one of many poets who saw Purdy's lyric historiography as a mode that could be used to provide insight into neglected prairie histories. As part of their search for more intimate connections to history that could sustain longer, narrative poems, McKinnon and Suknaski adapted lyric historiography to explore the familial past. Atwood reimagined lyric historiography as the search for Canadian "foremothers," proto-feminists that could serve as models for the second-wave feminist movement.Addressing the archives, creative writing, and historical contexts of these five writers, this dissertation proposes two primary claims. First, modernism persisted well into the 1970s (and even beyond) and shared with Canadian postmodernism a sophisticated approach to the idea of "history." Second, modernist lyric historiography was a continued investigation into one's ability to claim authority over historical narratives. Many modernists found some measure of such authority by exploring the most intimate connections to the past, which tended to be literal and figurative familial ones.
Cette thèse traite de cinq écrivains, qui, entre 1962 et 1981, ont créé des modèles de poésie historiographique, qui ont guidé leurs contemporains modernistes. Al Purdy, John Newlove, Barry McKinnon, Andrew Suknaski et Margaret Atwood ont été les figures principales d'un mode littéraire que nous appelons «l'historiographie lyrique moderniste». Ce terme désigne une poésie lyrique moderniste et méditative, qui est autocritique, réticente à revendiquer une quelconque autorité sur l'histoire et méfiante de cette autorité lorsqu'elle est invoquée, ainsi que fondamentalement historiographique. Au début des années 1960, Purdy expérimente avec la poésie moderniste sur l'histoire du Canada. Newlove considérait l'historiographie lyrique de Purdy comme une manière d'écrire qui pourrait offrir une nouvelle façon de voir le passé négligé des prairies. McKinnon et Suknaski ont adapté l'historiographie lyrique en examinant le passé de leur famille. Atwood a réinventé l'historiographie lyrique en tant que recherche des «aïeules» canadiennes, des proto-féministes qui pourraient servir de modèle à la deuxième génération de féministes. En tenant compte des archives, de l'écriture et des contextes historiques de ces cinq écrivains, cette thèse propose deux idées principales. Premièrement, nous affirmons que le modernisme a persisté durant l'après-guerre et qu'il partageait avec le postmodernisme canadien une approche sophistiquée et critique de l'histoire. Deuxièmement, nous soutenons que l'historiographie lyrique moderniste consistait en un questionnement persistant sur la capacité de revendiquer une certaine autorité concernant un récit historique. Plusieurs modernistes ont trouvé une certaine autorité en explorant les liens les plus intimes avec le passé, qui avaient tendance à être des liens familiaux littéraux et métaphoriques.

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Mann, Jonathan David. "Intertextual poetics : the modernist poetry of Anthony Burgess." Thesis, Manchester Metropolitan University, 2013. http://e-space.mmu.ac.uk/332121/.

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This dissertation offers a series of exegetical readings of short and long poems by Anthony Burgess, with the aim of establishing the extent to which this poetry participates in Modernist and Postmodernist traditions. Beginning with Burgess's poems of the 1930s, the thesis discusses all of his major poetic works until 1993. Making extensive use of unpublished manuscript material, this is the first thesis to treat poetry and verse drama (including translations) as a discrete area of Burgess's literary production. As such, the thesis significantly extends the critical enquiries of previous scholars. Having identified specific poetic influences, the thesis addresses the poetic effects of the intertextual techniques used by Burgess. His poetry and writing about poetry are accounted for chronologically, and a selection of longer texts are discussed in detail. Influential Modernist poets are found to practice a range of techniques which Burgess parodies and pastiches with serious intent. Burgess is found to use Modernist techniques throughout his literary career, and to apprehend tradition through a conservative version of Modernism. Burgess's later poetry is shown to be self-reflexive and formalist in ways which are identifiably Postmodern. In texts such as Byrne, St. Winefred's Well and The End of Things, Burgess reassesses his relationship with Modernism, and intertextuality itself becomes a key preoccupation. Arguing the case for Burgess as a transitional late Modernist poet, the thesis charts the development of Burgess's engagement with Modernism and Postmodernism, and proposes that the two are interdependent rather than antithetical.

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Au, Chung-to, and 區仲桃. "Shifting ground: modernist aesthetics in Taiwanese poetry since the 1950s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B2554939X.

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Books on the topic "Modernist poetry"

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Cinematic modernism: Modernist poetry and film. Cambridge, U.K: Cambridge University Press, 2004.

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Reading modernist poetry. Malden, MA: Wiley-Blackwell, 2010.

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Middleton, Peter, and Nicky Marsh, eds. Teaching Modernist Poetry. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289536.

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Teaching modernist poetry. Basingstoke [England]: Palgrave Macmillan, 2010.

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David, Young. Six modernist moments in poetry. Iowa City, IA: University of Iowa Press, 2006.

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Ronald Johnson's modernist collage poetry. New York: Palgrave Macmillan, 2010.

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Six modernist moments in poetry. Iowa City: University of Iowa Press, 2005.

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Bloom, Clive, and Brian Docherty, eds. American Poetry: The Modernist Ideal. London: Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1007/978-1-349-24057-9.

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Chinitz, David E., and Gail McDonald, eds. A Companion to Modernist Poetry. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118604427.

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Davis, Alex, and Lee M. Jenkins, eds. A History of Modernist Poetry. Cambridge: Cambridge University Press, 2015. http://dx.doi.org/10.1017/cbo9781139839242.

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Book chapters on the topic "Modernist poetry"

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Fokkema, Douwe W. "Modernist poetry?" In Approaches to Discourse, Poetics and Psychiatry, 181. Amsterdam: John Benjamins Publishing Company, 1988. http://dx.doi.org/10.1075/ct.4.13fok.

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Whitworth, Michael H. "Science and Poetry." In Teaching Modernist Poetry, 45–57. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289536_4.

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Baldick, Chris. "Modernist Criticism." In A Companion to Modernist Poetry, 185–96. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118604427.ch15.

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Wang, Zuoliang. "Modernist Poetry in China." In China Academic Library, 85–104. Berlin, Heidelberg: Springer Berlin Heidelberg, 2014. http://dx.doi.org/10.1007/978-3-662-45475-6_11.

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Kalaidjian, Walter. "Left Poetry." In A Companion to Modernist Poetry, 267–80. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118604427.ch22.

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Montgomery, Will. "Balsam Flex: Cassette Culture and Poetry." In Modernist Legacies, 129–41. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137488756_8.

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Milne, Drew. "Politics and Modernist Poetics." In Teaching Modernist Poetry, 25–44. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289536_3.

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Marsh, Nicky. "Introduction: Pedagogy and Poetics." In Teaching Modernist Poetry, 1–9. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289536_1.

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Sheppard, Robert. "Experiment in Practice and Speculation in Poetics." In Teaching Modernist Poetry, 158–69. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289536_10.

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Bernstein, Charles. "Wreading, Writing, Wresponding." In Teaching Modernist Poetry, 170–78. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230289536_11.

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Conference papers on the topic "Modernist poetry"

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Yu, Rong, and Wei-Yan Shen. "American Modernist Poetry under Intertextual Perspective." In International Conference on Humanity and Social Science (ICHSS2016). WORLD SCIENTIFIC, 2017. http://dx.doi.org/10.1142/9789813208506_0063.

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Ding, Liming. "The Correlation between Lawrence Modernist Poetry and Impressionism Painting." In 2015 International conference on Applied Science and Engineering Innovation. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/asei-15.2015.118.

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Love, Heather A. "Modernist feedback loops: Norbert Wiener's cybernetics and the poetry of Ezra Pound." In 2014 IEEE Conference on Norbert Wiener in the 21st Century (21CW). IEEE, 2014. http://dx.doi.org/10.1109/norbert.2014.6893942.

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Peng, Dongxiao. "Modernistic Characteristics in the Poetry of Emily Dickinson." In 2016 International Conference on Contemporary Education, Social Sciences and Humanities. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/iccessh-16.2016.26.

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Li, Yanni, Shixing Li, Likun Liu, Peiguo Wang, Yiqun Liu, and Baichao Gong. "On Semiotic Features of Post-modernistic Visual Poetry in Advertisement." In 2015 3rd International Conference on Education, Management, Arts, Economics and Social Science. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icemaess-15.2016.281.

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Nguyen, Phuong Lien. "Conceptualizing Religions (Confucianism and Buddhism): From Poetic-Stories to Reality in Indochina." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.14-1.

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Influenced by being situated between China and India, two historical giants, the people of the three nations of Viet, Lao and Khome exhibit strong histories of imported cultures. The religions of these regions, which closely connect to people’s lives, offer strong symbolisms of lifeworlds and enculturations. People in Indochina assign great significance to living and to interpersonal relationships, more so than toward deities and spiritual agents, as well as to the creation of the cosmos. Here, folk stories frequently include the ‘first man,’ the messages from which serve to educate society. This study aims to present that Indochinese poetic stories exhibit imported theories, the moral messages within which have reached levels of mastery in the literary genre, that is, the poetic story. These moral lessons emerge in texts such as Luc Van Tien (Vietnam), Thao Hung Thao Chuong (Lao) and Tum Tieu (Cambodia). Based on historical facts, these texts expose people’s attention to humanity’s opinions of Confucianism (China) and Buddhism (India). The stories also present differences and similarities, the descriptions of which can offer pathways to explaining social dynamics in modernity. As such, locating markers within figurative talk in this literary genre may inform theories in larger narratives and philosophical texts.

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Yang, Guisi. "Star and Lyric Poet in ModernArt World Xu Beihong's Assessment on Ren Bonian." In 2013 International Conference on Advances in Social Science, Humanities, and Management. Paris, France: Atlantis Press, 2013. http://dx.doi.org/10.2991/asshm-13.2013.192.

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Bchir, E. "Towards a specific modernity of architecture: the trade-off between text and context in defining a poetic approach of individual housing in Tunis." In STREMAH 2015. Southampton, UK: WIT Press, 2015. http://dx.doi.org/10.2495/str150231.

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Reports on the topic "Modernist poetry"

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Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, December 2020. http://dx.doi.org/10.46877/klengel.2020.30.

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The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.

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