From 1902 to 1912, William Carlos Williams wrote more than 300 letters to his younger brother Edgar, an architect with whom he shared the desire to become 'a great artist'. This collection of 200 letters sheds light on the aesthetic thoughts and practices with which Williams was engaged before his unique voice emerged in 'The Wanderer'.
William Carlos Williams first spoke to the issue of form shortly after the publication of “The Wanderer” in 1914—his move to vers libre—and didn’t stop talking about form until his death in 1963. His poetry shows, decade after decade, persistent formal innovation. Bruce Holsapple’s The Birth of the Imagination relates the form, structure, and content of Williams’s poetry to demonstrate how his formal concerns bear upon the content, namely, how form testifies to a vision that the style verifies. Tracing the development of Williams’s work from Poems in 1909 through The Wedge in 1944, Holsapple aligns emerging aesthetic concepts and procedures with shifts in Williams’s writing to disclose how meaning becomes refigured, affecting what the poems “say.” While focusing primarily on Williams’s experimental works, including the novellas, this innovative study charts how significant features in Williams’s poetry result from specific imaginative practices.
A remarkable collection of 42 poets connected with the Rutherford, NJ poetry revival gives voice to memorable poetry and essays in the third edition of The Rutherford Red Wheelbarrow. Published by the Red Wheelbarrow Poets, this third annual edition of the literary journal celebrates the epic in the local and poetic voices in the American grain that so inspired William Carlos Williams, Rutherford's hometown doctor and poet, whose liberation of the voice of the common man (and woman) in poetry was a true revolution in words during the last century.--The Red Wheelbarrow Poets.
Modernism in the Green traces a trans-Atlantic modernist fascination with the creation, use, and representation of the modern green. From the verdant public commons in the heart of cities to the lookout points on mountains in national parks, planned green spaces serve as felicitous stages for the performance of modernism. In its focus on designed and public green zones,Modernism in the Green offers a new perspective on modernism’s overlapping investments in the arts, politics, urbanism, race, class, gender, and the nature-culture divide. This collection of essays is the first to explore the prominent and diverse ways greens materialize in modern literature and culture, along with the manner in which modernists represented them. This volume presents the idea of "the green" as a point of exploration, as our contributors analyze social-organic spaces ranging from public parks to roadways and refuse piles. Like the term "green," one that evokes both more-than-human natural zones and crafted public meeting places, these chapters uncover the social and spatial intersection of nature and culture in the very architecture of parks, gardens, buildings, highways, and dumps. This book argues that such greens facilitate modernists’ exploration of how nature can manifest in an era of increasing urbanization and mechanization and what identities and communities the green now enables or prevents.
Modernism's Mythic Pose recovers the tradition of Delsartism, a popular international movement that promoted bodily and vocal solo performances, particularly for women. This strain of classical-antimodernism shaped dance, film, and poetics. Its central figure, the mythic pose, expressed both skepticism and nostalgia and functioned as an ambivalent break from modernity.
The Massachusetts Institute of Technology (MIT) was founded in 1861 as the cornerstone of Copley Square in Boston's Back Bay, then the center of a progressive, proto-globalist Brahmin culture committed to intellectual modernism and educational innovation. MIT founder William Barton Rogers's radical vision to teach by "mind and hand" was immediately successful. In 1916 MIT, growing by leaps and bounds, moved its campus to the nearby Charles River Basin in Cambridge, where it now stretches along the shore overlooking the Back Bay. MIT: The Campus Guide presents the history of the Institute's founding and its two campuses. Today, the campus is studded with buildings designed by noted architects such as William Welles Bosworth, Alvar Aalto, Eero Saarinen, I. M. Pei, Steven Holl, Charles Correa, J. Meejin Yoon, Frank Gehry, and Fumihiko Maki, among others. Alongside the architecture is a distinguished array of public art including works by Picasso, Henry Moore, Alexander Calder, Louise Nevelson, Frank Stella, Sol LeWitt, and Jaume Plensa.
Foregrounding Loy's critical interrogation of Futurist, Dadaist, Surrealist, and "Degenerate" artisthood, and exploring her poetic legacies today, Curious Disciplines reveals Loy's importance in an entirely novel way.
"Brings together and highlights some of the latest and most engaging work on William Bartram and efforts to commemorate his journey through the disparate region that would become the Southeastern US"--
Marching to the Canon examines the history of Schubert's Marche militaire no.1 from its beginnings, through its many arrangements, to its impact on dance, literature, film, and music. Marche militaire is Franz Schubert's most recognizable and beloved instrumental work. Originally published for piano four hands in 1826, this tuneful march -- Schubert's first of three military marches -- was arranged, adapted, and incorporated into new incarnations over the next two centuries. Its success was due to its chameleonlike ability to cross the still-porous borders between canonic and popular repertories, creating a performance life thatmade deep inroads into dance, literature, and film, and inspired quotations or allusions in other music Marching to the Canon examines the history of Schubert's storied Marche militaire from its modest beginnings as aduet published for domestic consumption to its now-ubiquitous presence. After detailing the composition, publication, and reception of the original march, the book analyzes the impact of transcriptions and arrangements for solo piano, orchestra, band, and other settings. In addition, it considers the ways the march was used symbolically, even manipulated, during the Franco-Prussian War and the two world wars, as well as the diverse creative uses of the piece by significant figures as varied as Willa Cather, Isadora Duncan, Walt Disney, and Igor Stravinsky. This study of the reception and impact of the Marche militaire offers a unique narrative illuminating the world that enshrined this remarkable score as one of the most memorable musical works of the nineteenth century. Scott Messing is the Charles A. Dana Professor of Music at Alma College, and the author of two works available from theUniversity of Rochester Press: Neoclassicism in Music and the two-volume Schubert in the European Imagination.
