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Journal articles on the topic 'Tzara'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

Steele, Stephen. "Tristan Tzara (review)." L'Esprit Créateur 46, no. 2 (2006): 112–13. http://dx.doi.org/10.1353/esp.2006.0027.

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2

Heller-Roazen, Daniel. "Secrets of Tristan Tzara." October 144 (May 2013): 25–48. http://dx.doi.org/10.1162/octo_a_00139.

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3

Szalay, M. "Inviolate Modernism: Hemingway, Stein, Tzara." Modern Language Quarterly 56, no. 4 (1995): 457–85. http://dx.doi.org/10.1215/00267929-56-4-457.

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4

Howard, Seymour. "DUCHAMP, DALÍ, TZARA, AND DADAIST COPROPHILIA." Source: Notes in the History of Art 10, no. 1 (1990): 26–35. http://dx.doi.org/10.1086/sou.10.1.23202678.

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5

Hemus, R. "Modernist Song: The Poetry of Tristan Tzara." French Studies 62, no. 4 (2008): 492–93. http://dx.doi.org/10.1093/fs/knn119.

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6

Deco Prados, Francisco Javier. "Vingt-cinq (et un) poèmes de Tristan Tzara : las etapas de su elaboración." Epos : Revista de filología, no. 25 (January 1, 2009): 131. http://dx.doi.org/10.5944/epos.25.2009.10611.

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En este artículo me propongo aportar algunos datos para la historia de un libro clave en la formación de las vanguardias europeas de principios del siglo XX, Vingt-cinq poèmes de Tritan Tzara. En un primer momento se estudia la evolución textual del libro a partir del análisis pormenorizado de las variantes del poema inicial del volumen, «Le géant blanc lépreux du paysage». Una atención especial es consagrada al problema que plantean las pruebas de imprenta TZR 577 del fondo Tzara de la Biblioteca Doucet, identificadas por el editor de las obras completas del poeta, Henri Béhar, como las galer

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7

Lévesque, Martine. "Hamlet dans Mouchoir de nuages de Tristan Tzara." Urgences, no. 25 (1989): 30. http://dx.doi.org/10.7202/025542ar.

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8

Boeschoten, Cheryl. "Tzara et Marinetti: Une étude de leur théâtre." Quaderni d'italianistica 7, no. 1 (1986): 33–75. http://dx.doi.org/10.33137/q.i..v7i1.11016.

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9

Baker, George. "The Artwork Caught by the Tail." October 97 (July 2001): 51–90. http://dx.doi.org/10.1162/octo.2001.97.1.51.

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If it were married to logic, art would be living in incest, engulfing, swallowing its own tail.… —Tristan Tzara, Manifeste Dada 1918 The only word that is not ephemeral is the word death…. To death, to death, to death. The only thing that doesn't die is money, it just leaves on trips. —Francis Picabia, Manifeste Cannibale Dada, 1920

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10

Eram, Cosana. "The Posthuman Dada Guide: Tzara & Lenin Play Chess." Modernism/modernity 17, no. 3 (2010): 696–98. http://dx.doi.org/10.1353/mod.2010.0012.

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11

Korg, Jacob. "The Posthuman Dada Guide: Tzara & Lenin Play Chess." Modernism/modernity 17, no. 3 (2010): 698–700. http://dx.doi.org/10.1353/mod.2010.0015.

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12

Kašparová, Jaroslava, and Jana Konečná. "French Provenance in the Personal Library of the Art Critic and Theorist Karel Teige in the National Museum Library." Acta Musei Nationalis Pragae – Historia litterarum 61, no. 1-2 (2016): 83–92. http://dx.doi.org/10.1515/amnpsc-2017-0023.

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The National Museum Library contains the personal library of an outstanding Czech critic and modern art theorist, Karel Teige. From the 1920s, he was in touch with the founders and important representatives of modern art movements, mostly from France, whose relations and cooperation are i.a. demonstrated by the books donated to him. The article presents several dedications by André Breton, Tristan Tzara, Filippo Tommaso Marinetti, Le Corbusier and Salvador Dalí.

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13

Jaussen, Paul. "“Allow Intelligence to Survive”: Life’s Language in Williams and Tzara." William Carlos Williams Review 28, no. 1-2 (2011): 17–33. http://dx.doi.org/10.1353/wcw.2011.0005.

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14

Vasiliev, Alexandre. "Sonia Delaunay and Simultanism." Experiment 22, no. 1 (2016): 107–16. http://dx.doi.org/10.1163/2211730x-12341281.

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The life and work of Sonia Delaunay (1885-1979), especially her clothing and textile designs as reflections of the theory of Simultanism, are the focus of this article. Also discussed are her works for the Ballets Russes and other theater companies, her commercial undertakings, the impact of her color theory on Russian artists such as Georgii Yakulov, and her connections with the Paris avant-gardists such as André Lhote and Tristan Tzara.

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15

Pereira, Vinicius Carvalho. "Blackout Poetry: uma poética do corte como rasura." Literatura e Sociedade 22, no. 24 (2018): 78–93. http://dx.doi.org/10.11606/issn.2237-1184.v0i24p78-93.

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O presente artigo discute a poética do corte perpetrada por Austin Kleon no seu projeto de blackout poetry, em que poemas experimentais são produzidos a partir da rasura de notícias de jornal. Apresentando similaridades com a proposta de Tristan Tzara no último manifesto dadaísta, os poemas em blecaute põem em questão uma produção artística que se dá por excisão, e não por adição, o que subverte os paradigmas mais tradicionais de interpretação de textos literários.

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16

Pereira, Vinicius Carvalho. "Blackout Poetry: uma poética do corte como rasura." Literatura e Sociedade 1, no. 24 (2018): 78. http://dx.doi.org/10.11606/issn.2237-1184.v1i24p78-93.

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O presente artigo discute a poética do corte perpetrada por Austin Kleon no seu projeto de blackout poetry, em que poemas experimentais são produzidos a partir da rasura de notícias de jornal. Apresentando similaridades com a proposta de Tristan Tzara no último manifesto dadaísta, os poemas em blecaute põem em questão uma produção artística que se dá por excisão, e não por adição, o que subverte os paradigmas mais tradicionais de interpretação de textos literários.

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17

Hentea, Marius. "On the Outskirts of Modernity: Tristan Tzara and Dada in Romania." Modernist Cultures 8, no. 2 (2013): 215–31. http://dx.doi.org/10.3366/mod.2013.0062.

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18

Dayan, Peter. "TaTa Dada: The Real Life and Celestial Adventures of Tristan Tzara." French Studies 69, no. 4 (2015): 552. http://dx.doi.org/10.1093/fs/knv163.

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19

Hemus, Ruth. "TaTa Dada: The Real Life and Celestial Adventures of Tristan Tzara." Modern & Contemporary France 23, no. 4 (2015): 542–43. http://dx.doi.org/10.1080/09639489.2015.1052058.

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20

Orledge, Robert. "Erik Satie's Ballet Mercure (1924): From Mount Etna to Montmartre." Journal of the Royal Musical Association 123, no. 2 (1998): 229–49. http://dx.doi.org/10.1093/jrma/123.2.229.

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Mercure, a ballet in three tableaux with scenery and costumes by Pablo Picasso and choreography by Léonide Massine, created a scandal on a par with that of Parade (1917) when it was first performed at La Cigale Theatre in Montmartre on 15 June 1924 as part of the ‘Soirée de Paris’ season mounted by the wealthy Comte Etienne de Beaumont. Although Mount Etna, as it transpired, featured in the scenario but not in Picasso's stage sets, the première was certainly the scene of a volcanic eruption, a deliberate demonstration orchestrated by the Surrealists (led by the poet André Breton), who tried to

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21

Wilson. "Tristan Tzara, Cabaret Voltaire and Dada: A Theatrical Avant-Garde, 1916-1924." Yearbook of English Studies 50 (2020): 44. http://dx.doi.org/10.5699/yearenglstud.50.2020.0044.

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22

Bernard, Michel. "Le Secret de Villon à l'épreuve de l'ordinateur. Tzara et les anagrammes." Romania 113, no. 449 (1992): 242–52. http://dx.doi.org/10.3406/roma.1992.2190.

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23

Hentea, Marius. "The Education of Samuel Rosenstock, or, How Tristan Tzara Learned His ABCs." From Dada to Infra-noir: Dada, Surrealism, and Romania 20 (January 1, 2015): 1–22. http://dx.doi.org/10.17077/0084-9537.1294.

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24

Brown, Kathryn. "Collage as Form and Idea in the Art Criticism of Tristan Tzara." French Studies 73, no. 4 (2019): 544–60. http://dx.doi.org/10.1093/fs/knz180.

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25

Mateus, Andrea Martins Lameirão. "“Os círculos de abuláfia”: mística judaica e contracultura." Letrônica 9, no. 2 (2016): 391. http://dx.doi.org/10.15448/1984-4301.2016.2.23824.

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Como parte da geração que foi chamada de “os cabalistas da contracultura”, Jerome Rothenberg contempla em sua poesia diferentes aspectos da tradição mística judaica da cabala. O foco deste trabalho é um exemplo, entre tantos, dessa tendência: o poema “Os Círculos de Abuláfia”. Publicado em 1979 e republicado em 1980, este poema longo nos traz três personagens judeus históricos: Abraão Abuláfia, Jacob Frank e Tristan Tzara. Tomados como personagens em uma aventura mística, a estrutura cíclica do poema nos apresenta a visão vertiginosa do amálgama feito por Rothenberg entre sagrado e profano e s

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26

Gascoigne, David. "Boomboom and Hullabaloo: Rhythm in the Zurich Dada Revolution." Paragraph 33, no. 2 (2010): 197–214. http://dx.doi.org/10.3366/para.2010.0004.

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The drumbeats which punctuated Zurich Dada performances signal and enact the dismantling of the complexities of a culture the participants deemed wholly discredited. While the Futurists looked to technology for rhythmic renewal, Dadaists sought a deeper, more indefinable rhythm to nourish a far-reaching renaissance of human values. Study of ‘nonsensical’ texts by Huelsenbeck, Ball and Tzara reveals some traditional metrical elements. However, in Dadaist performance pieces in an imaginary hybrid language or in a ‘simultaneous poem’ in three languages at once, such elements are freed from tradit

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27

Papachristos, Katherine. "L’inscription de l’oral dans la Première Aventure Céleste De Monsieur Antipyrine de Tristan Tzara." Analyses 31, no. 1 (2005): 109–17. http://dx.doi.org/10.7202/501227ar.

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Cet article porte sur l'inscription de l'oralité dans la Première Aventure Céleste de Monsieur Antipyrine (1920) de Tristan Tzara. L'éclatement générique dont témoigne la pièce-manifeste tzarienne remet autant en question la linéarité de la structure dramaturgique aristotélicienne que celle de l'écriture alphabétique occidentale. Cette liquidation métaphorique de l'écriture phonétique instaure un syllabaire (dada) qui se définit par une sonorité (oralité) libre des contingences syntaxico-sémantiques. L'oral se trouve ainsi inscrit dans ces mots-syllabes agrammaticaux qui renforcent la nature b

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28

Meyer Minnemann, Klaus. "Rose Corral, Anthony Stanton y James Valender (eds.), Laboratorios de lo nuevo. Revistas literarias y culturales de México, España y el Río de la Plata en la década de 1920. El Colegio de México, México, 2018; 451 pp." Nueva Revista de Filología Hispánica (NRFH) 68, no. 2 (2020): 803–9. http://dx.doi.org/10.24201/nrfh.v68i2.3665.

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Revistas de literatura, artes plásticas y de música no sólo acompañaban los movimientos de vanguardia de la primera mitad del siglo veinte, hoy llamados históricos, sino los plasmaban y expresaban. Su número es abrumador, tanto en Europa como en América. En su imprescindible panorama de las vanguardias, Serge Fauchereau, colocando al expresionismo alemán (o, mejor dicho, de lengua y cultura alemanas) a la cabeza del surgimiento y evolución de las avant-gardes históricas, señala algunas revistas al respecto como Der Sturm (1910-1932), de Herwart Walden, o Die Aktion (1911-1932), de Franz Pfemfe

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29

LEGGE, ELIZABETH. "FAIRE DE SON HISTOIRE UNE BOUCLE (NOIRE): WAYS OF LOOKING AT TRISTAN TZARA." Art History 32, no. 1 (2009): 144–76. http://dx.doi.org/10.1111/j.1467-8365.2008.00649.x.

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30

Kohlmann, Benjamin. "TaTa Dada: The Real Life and Celestial Adventures of Tristan Tzara by Marius Hentea." Modernism/modernity 22, no. 1 (2015): 206–8. http://dx.doi.org/10.1353/mod.2015.0006.

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31

Patouet, Jacqueline. "« Des torches dans nos abîmes ». Tristan Tzara, dadaïste et surréaliste. Une poésie a-vènement." L'en-je lacanien 24, no. 1 (2015): 165. http://dx.doi.org/10.3917/enje.024.0165.

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32

Hentea, Marius. "Federating the Modern Spirit: The 1922 Congress of Paris." PMLA/Publications of the Modern Language Association of America 130, no. 1 (2015): 37–53. http://dx.doi.org/10.1632/pmla.2015.130.1.37.

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The aim of the ill-fated 1922 Congress of Paris, an international conference organized by André Breton, was to diagnose the sources of the “modern spirit.” Although the congress had ambitious international goals, it was brought down by a remark with xenophobic connotations. Largely remembered today as the death knell of Paris Dada—the public fight between Tristan Tzara and Breton meant not only that the congress never took place but also that Paris Dada was dissolved—the congress's failure stemmed from the tensions involved in selfconsciously deining modernism. Arguing that ambivalence over th

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33

Chereches, Lavinia. "Interpretive-analytical hypostases in “Sept fragments de Tristan Tzara” for voice and piano by Adrian Pop." Studia Universitatis Babeş-Bolyai Musica 64, no. 2 (2019): 229–59. http://dx.doi.org/10.24193/subbmusica.2019.2.13.

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34

Orita-Serban, Manuela. "Le mouvement dadaïste : sources, histoire littéraire ; précurseur du surréalisme. La figure emblématique du poète roumain Tristan Tzara." Studia Universitatis Babeș-Bolyai Philologia 64, no. 3 (2019): 185–96. http://dx.doi.org/10.24193/subbphilo.2019.3.14.

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35

Miguel, Antonio. "Art Requiem: um anti-poema dada digital para o ocaso da arte casual." Revista Internacional de Pesquisa em Educação Matemática 10, no. 2 (2020): 14–57. http://dx.doi.org/10.37001/ripem.v10i2.2167.

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Este anti-resumo diz do anti-poema que aqui se apresenta que ele não tem como propósito convencer ou induzir os leitores a quaisquer teses acerca de possíveis conexões entre literatura, matemática e educação. Este anti-poema sem conteúdo, lógica, enredo ou propósito também não problematiza nada e nem reivindica autoria, originalidade ou cientificidade. Se autor houver que, com certeza, a possa reivindicar, ele não é outro senão o acaso, o imprevisível. Este anti-poema que não contém partes é constituído de duas partes. Na primeira – que antecede mas também se inclui na segunda –, a

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36

Constantinescu, Muguraş. "Quelques certitudes sur la préservation de l’incertitude dans le texte traduit." Meta 61, no. 1 (2016): 187–203. http://dx.doi.org/10.7202/1036989ar.

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Nous proposons dans notre article une réflexion sur les stratégies de préservation de l’ambiguïté – globale, ponctuelle ou totale – dans un texte littéraire, notamment dans un texte poétique traduit, accueilli par une autre culture. Comme on le sait, le texte poétique en particulier et le texte littéraire en général exploitent parfois l’ambiguïté, l’obscurité et la plurivalence des sens ; le défi pour le traducteur sera alors de les garder, leur préservation étant garante de toutes les lectures possibles. En partant de plusieurs traductions de poèmes de Mallarmé, Valéry et Tzara du français ve

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37

Barcellos, Guy. "Devaneios de um professor herético, impenitente, pertinaz e obstinado Manifesto de um Réu Confesso." Revista Teias 21, no. 63 (2020): 34–45. http://dx.doi.org/10.12957/teias.2020.53931.

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O presente artigo trata da expressão poética e literária, entremeada por reflexões filosóficas e pedagógicas, sobre os processos de assujeitamento e as subjetivações de um professor na escola pública durante dois anos letivos de experiência como docente de Seminários Integrados e Projetos. No texto, influenciado por Bachelard, Barthes, Cioran, Corazza, Feyerabend, Montaigne, Nietzsche, Sloterdijk, Tristan Tzara, são elaboradas escrituras heréticas e trágicas. São expressos os tensionamentos sofridos pelo autor, que também foi o sujeito da pesquisa, no decurso da vivência que causou profundas m

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38

Forcer, Stephen, and Emma Wagstaff. "Dedication and Friendship in Two Livres d'artistes: Parler seul (Tzara-Miró, 1948–1950) and Vivantes cendres, innommées (Leiris-Giacometti, 1961)." Nottingham French Studies 50, no. 3 (2011): 103–16. http://dx.doi.org/10.3366/nfs.2011-3.008.

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39

Пилипушко, Богдан. "Cognitive distancing between the author and the creative work: Dynamics of development of the methodology from Tristan Tzara to William Burroughs." Artistic Culture. Topical Issues, no. 13 (December 12, 2017): 56–73. http://dx.doi.org/10.31500/1992-5514.13.2017.133816.

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40

Kelly, Van. "René Daumal's Exceptional French and Hindu Poetics: Poetry as Inward Theatre, Posture, and Meditation in the Light of Tzara, Desnos, and Dupin." Contemporary French and Francophone Studies 12, no. 3 (2008): 393–401. http://dx.doi.org/10.1080/17409290802284990.

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41

Rotiroti, Giovanni. "Per una poetica e una politica dei resti a partire da Urmuz: il caso di Tristan Tzara, Eugène Ionesco, Paul Celan e Gherasim Luca." Caietele Echinox 33 (October 20, 2017): 62–72. http://dx.doi.org/10.24193/cechinox.2017.33.04.

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42

Dayan, Peter. "Truth in Art, and Erik Satie's Judgement." Nineteenth-Century Music Review 6, no. 2 (2009): 91–107. http://dx.doi.org/10.1017/s1479409800003116.

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AbstractIt is certainly true that Satie, in his later years, did not tire of repeating that there is ‘no Truth in Art’; and in saying so, he was doubtless very much in tune with the spirit of his artistic milieu, which included, after all, such aesthetic anarchists as Picabia and Tzara, as well as the great artistic revolutionaries of the time, Picasso and Stravinsky, for whom he had unbounded admiration. And every time he did so, he was careful to attribute the erroneous belief that there is a Truth in Art to that class of writers whom he variously called ‘critiques’, ‘pédagogues’, ‘Pontifes’

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43

Mosher, Michael R. "The Posthuman Dada Guide: Tzara & Lenin Play Chess by Andrei Codrescu. Princeton University Press, Princeton, NJ, U.S.A., 2009. 248 pp. Paper. ISBN: 978-0691-13778-0." Leonardo 43, no. 2 (2010): 184–85. http://dx.doi.org/10.1162/leon.2010.43.2.184.

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44

Chang, Je-Hyung. "Das selbstreflexive Leben der Kunst im Medium der Kunst des Lebens im Dadaismus － Die Performativität der Schrift-Bilder am Beispiel von Chronique Zurichoise 1915-1919 von Tristan Tzara －." Hesse-Forschung 40 (December 31, 2018): 81–103. http://dx.doi.org/10.31133/hf.2018.12.40.81.

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45

Mathieu, Anne. "Ludwig Renn, Tristan Tzara, Rafael Alberti, Louis Aragon, Egon Ervin Kisch et quelques autres� Dialogues internationalistes au service de la R�publique espagnole dans les revues Commune et El Mono Azul." Aden N�9, no. 1 (2010): 208. http://dx.doi.org/10.3917/aden.009.0208.

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46

SHEPPARD, R. "Review. Reimpression integrale et dossier critique de la revue publiee de 1917 a 1922 par Tristan Tzara. Tomes I et II. Dossier critique presente par Michel Sanouillet et Dominique Baudoin. Dada." French Studies 39, no. 4 (1985): 497. http://dx.doi.org/10.1093/fs/39.4.497.

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47

Zhang, Zhi-Hao, Shaoqing Li, Yizhe Yan, Jianbo Qu, and Jian-Yong Wang. "A novel fast-responsive fluorescent probe based on 1,3,5-triazine for endogenous H2S detection with large Stokes shift and its application in cell imaging." New Journal of Chemistry 45, no. 22 (2021): 9756–60. http://dx.doi.org/10.1039/d1nj01319j.

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A novel fast-responsive fluorescent probe TzAr-H2S based on 1,3,5-triazine was constructed to monitor endogenous H<sub>2</sub>S. The probe TzAr-H2S can quickly (only 20 s) detect H<sub>2</sub>S with good selectivity, large Stokes shift (100 nm) and low cytotoxicity.

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48

Abbott, Berenice, Mina Loy, and Amy E. Elkins. "From the Gutter to the Gallery: Berenice Abbott Photographs Mina Loy's Assemblages." PMLA/Publications of the Modern Language Association of America 134, no. 5 (2019): 1094–103. http://dx.doi.org/10.1632/pmla.2019.134.5.1094.

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In 1958 Marcel Duchamp and a friend gained access to the modernist poet Mina Loy's apartment on stanton street near the Bowery in New York, so that they could display the art she was storing there in a one-woman show of her assemblage artwork (Burke, Becoming 433–34). The show, which Loy herself couldn't attend since she was unwell and living with family in Aspen, Colorado, was known as the Bodley Gallery Exhibition and generated considerable interest, even drawing the increasingly reclusive Djuna Barnes to its lively opening (434). The show was described by Stuart Preston in a New York Times

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49

Gonnova, N. V. "LEXICAL SETS OF TZAR-DERIVATIVES." Vektor nauki Tol'yattinskogo gosudarstvennogo universiteta, no. 4 (2016): 63–67. http://dx.doi.org/10.18323/2073-5073-2016-4-63-67.

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50

Mendelevich, Vladimir D. "Tzar cloudy Ivan in thepsychiatric chambers." Neurology Bulletin LIII, no. 1 (2021): 5–12. http://dx.doi.org/10.17816/nb55485.

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The article describes a clinical case of patient P., 43 years old, a political activist who conducted extravagant performances in the image of the Tsar, who called for a return to monarchical rule and, in connection with this, was hospitalized involuntarily in a psychiatric hospital. A comparative analysis with the actions of Pyotr Pavlenky and Pavel Krysevich is carried out, the contribution of the psychopathological to the creative activity of representatives of contemporary art is estimated. The validity of the psychiatric diagnoses exposed to patient P., the recognition of his social dange

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