By Elza Adamowicz, Eric Robertson
This number of serious essays celebrates the subversive and hard creativity of the Dada flow, born in pacifist Zurich in 1916 in violent response to the 1st international struggle. It examines the collective and person actions that came about lower than the identify of Dada in Zurich, Cologne, Berlin, Paris, big apple and Barcelona, and explores many of the artistic kinds hired, together with textual content, university, photomontage, gadgets, dance, functionality and picture. The authors recommend new methods of knowing the paintings of the main recognized Dadaists, whereas additionally casting mild at the contribution of hitherto overlooked figures. "Dada used to be a bomb", declared Max Ernst in an interview in 1958. "Can you think someone, nearly part a century after the explosion of a bomb, attempting to gather its fragments and stick them jointly to be able to demonstrate them?" the purpose of this quantity isn't really to reconstitute the bomb, yet to examine a few of its explosive results and after-effects that proceed to resonate approximately a century later. faraway from trying to lessen Dada to a homogeneous flow, or to outline a unifying precept underneath and past the a number of instructions taken through Dadaists, this assortment goals to appreciate the variety and heterogeneity of the movement's collective actions in addition to the specificity of its person actors.
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Additional info for Dada and Beyond: Volume 1: Dada Discourses
Example text
L’ “accident” peut consister à piéger le mot titre dans son carcan, dans sa fonction pragmatique de titre. Ainsi Verlaine. Il pare volontiers un sonnet d’un titre qui n’a rien à voir avec la suite (Colloque sentimental ou En patinant : aucun patineur ne paraît). Ainsi Jules Laforgue, duquel Marcel Duchamp se réclame pour lui emprunter ce genre de distorsion, cette méprise dans la façon de titrer. On observe que la fonction pragmatique de titre, cet usage social, est bien maintenue. Fontaine (1917) est l’exemple mirifique.
TEXT”. s. d. org/. Kristeva, Julia. 1974. La Révolution du langage poétique. L’Avant-Garde à la fin du XIXe siècle: Lautréamont et Mallarmé. Paris: Éditions du Seuil. ) 1977. Dada Berlin. Texte, Manifeste, Aktionen. Stuttgart: Reclam. Saussure, Ferdinand de. 1955. Cours de linguistique générale (eds Ch. Bally and A. Sechehaye). Paris: Payot. Schaffner, Anna Katharina. 2006. Language Dissection in Avantgarde Poetry. Textual Politics from Cubist and Futurist to Concrete and Digital Poetics. PhD thesis.
Par “formes potentielles”, Saussure entend ces formes qui ne figurent pas (encore) au dictionnaire qui se construisent sur le principe de la 4e proportionnelle: révolution ! révolutionnaire; répression !? (*répressionnaire). Victor Henry explique un néologisme de son petit-fils par le même raisonnement: *retôt (tard ! retard; tôt !? (pour “en avance”). Bibliographie Apollinaire, Guillaume. 1991. Œuvres en prose. Écrits sur l’art. Critiques littéraires II. Paris: Gallimard (Bibliothèque de la Pléiade).