By Willard Bohn
The name of the current examine refers back to the incontrovertible fact that Apollinaire continuously labored on the innovative of recent aesthetics. the amount seeks to rehabilitate 4 experimental genres specifically that experience acquired quite little consciousness. the 1st bankruptcy examines an enthralling artist's e-book entitled The Bestiary, which beneficial properties illustrations by way of Raoul Dufy. the second one is worried with a gaggle of poems that commemorate usual, lifestyle. the subsequent bankruptcy considers Apollinaire's little-known debt to children's rhymes. the ultimate bankruptcy discusses an avant-garde drama that used to be destined to play a key function within the evolution of recent French theater. This e-book can be of curiosity to a person attracted to avant-garde aesthetics. it is going to attraction not just to students of twentieth-century poetry but in addition to devotees of contemporary paintings and sleek theater.
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Extra info for Apollinaire on the Edge: Modern Art, Popular Culture, and the Avant-Garde (Faux Titre, Volume 355)
The facade adorned with friezes and arcades in the background belongs to the Escaliers des Cent-Marches. The palace itself is too large to be included in the picture. Like the hapless Lion, who is associated with the Venetian empire, the Carp evokes France’s glorious past. The sole remaining witness of Louis XIV’s triumphs, it recalls the splendor of the French court as it contemplates the present age. Once again modern civilization suffers by comparison—whence, at least in part, the melancholy that pervades the last line.
Since Apollinaire was interested in linguistic anomalies, he included it in a list of redundant constructions in the cahier de Stavelot. As soon as the text appeared in print, however, it acquired an independent life of its own. Despite its humble origins, it became a daring, experimental piece of poetry. The key to this curious composition lies in its utter triviality, which testifies to the poem’s authenticity. As with other “Quelconqueries,” its subject is ultimately its own banality. Like pipe tobacco or snuff, the 50 centime coin was an extremely common object.
With one exception (a string of words beginning with “L”), the initial capital is repeated no more than twice in a row. And as the letters shift back and forth, the typographical skyline changes accordingly. In contrast to the first word, for instance, which utilizes two vertical strokes, the second contains three strokes. Whereas the former appear at opposite ends of the word, two of the latter occur at the beginning. Although the poem’s visual effects follow no perceptible pattern, the play of the five phonemes is carefully orchestrated.
Apollinaire on the Edge: Modern Art, Popular Culture, and the Avant-Garde (Faux Titre, Volume 355) by Willard Bohn