By Willard Bohn
The identify of the current research refers back to the proven fact that Apollinaire continually labored on the leading edge of contemporary aesthetics. the quantity seeks to rehabilitate 4 experimental genres particularly that experience got fairly little awareness. the 1st bankruptcy examines an enthralling artist's booklet entitled The Bestiary, which good points illustrations via Raoul Dufy. the second one is anxious with a gaggle of poems that remember traditional, daily life. the following 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 position within the evolution of recent French theater. This publication could be of curiosity to somebody drawn to avant-garde aesthetics. it's going to attraction not just to students of twentieth-century poetry but additionally to devotees of recent artwork and glossy theater.
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Additional info for Apollinaire on the Edge: Modern Art, Popular Culture, and the Avant-Garde (Faux Titre, Volume 355)
Again one is tempted to compare the text to a painting. The mention of capes studded with olive trees in the following line situates the poem on the Côte d’Azur, 16 Susan Harrow, The Material, the Real, and the Fractured Self: Subjectivity and Representation from Rimbaud to Réda (Toronto: University of Toronto Press, 2004), p. 73. Apollinaire and the Whatnots 51 as do the lemon trees in line 23. 17 Conceived as a family portrait, it depicts the poet, his mother, and his brother enjoying a typical midday meal.
56 Apollinaire on the Edge Trivial Pursuits Mention should also be made of “Le Tabac à priser” (“Snuff”), another whimsical poem in which tobacco plays a prominent role. Like “Le Repas,” it is set in Provence and was composed while Apollinaire was living on the Côte d’Azur. Comprising four unrhymed stanzas, the text includes bits and pieces of earlier poems arranged to form a kind of mosaic. 23 Not only is each stanza a different length, but the lines themselves vary in length from one stanza to the next.
9. 22 Paola Antonelli, Humble Masterpieces: Everyday Marvels of Design (New York: Regan, 2005), p. 1. 54 Apollinaire on the Edge A T T E N T ION DANGER DE MORT Arranged so as to imitate a warning sign near high-tension wires, the four words are set off from the text and isolated on the page. The earliest example of expressive typography in Apollinaire’s work, they precede his first visual poem (“Lettre-Océan”) by at least two months. The poet seems to have borrowed the original idea from the Italian Futurists, who had been experimenting with similar devices since the beginning of 1914.
Apollinaire on the Edge: Modern Art, Popular Culture, and the Avant-Garde (Faux Titre, Volume 355) by Willard Bohn