Search results for ""Author Mary Ann Caws""

El arte es considerado habitualmente como una actividad solitaria. Pero los artistas visuales, escritores y músicos a menudo encuentran su energía a través de un entorno colectivo. Compartir ideas alrededor de una mesa siempre ha dado lugar a intercambios fructíferos entre artistas de todo tipo. En este libro, Mary Ann Caws explora una rica variedad de lugares de reunión, pasados y presentes, que han sido propicios para la liberación y el sustento necesario de las energías creativas. "Encuentros creativos" habla de estos lugares en Europa y Estados Unidos, desde paisajes urbanos hasta refugios en islas, desde casas privadas hasta cafés públicos y colonias de artistas. Los ejemplos incluyen la casa de Florence Griswold en Old Lyme, Connecticut, lugar de reunión de la antigua colonia de arte de Lyme; el Café Louvre de Praga, lugar de reunión de Kafka y Einstein; el café modernista de Picasso en Barcelona, Els Quatre Gats; Charleston Farmehouse, lugar de reunión de Virginia Woolf y Vaness

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For Mary Ann Caws—noted translator of surrealist poetry—the most appealing translations are also the oddest; the unexpected, unpredictable, and unmimetic turns that translations take are an endless source of fascination and instruction. Surprised in Translation is a celebration of the occasional and fruitful peculiarity that results from some of the most flavorful translations of well-known authors. These translations, Caws avers, can energize and enliven the voice of the original. In eight elegant chapters Caws reflects on translations that took her by surprise. Caws shows that the elimination of certain passages from the original—in the case of Stéphane Mallarmé translating Tennyson, Ezra Pound interpreting the troubadours, or Virginia Woolf rendered into French by Clara Malraux, Charles Mauron, and Marguerite Yourcenar—often produces a greater and more coherent art. Alternatively, some translations—such as Yves Bonnefoy’s translations of Shakespeare, Keats, and Yeats into French—require more lines in order to fully capture the many facets of the original. On other occasions, Caws argues, a swerve in meaning—as in Beckett translating himself into French or English—can produce a new text, just as true as the original. Imbued with Caws’s personal observations on the relationship between translators and the authors they translate, Surprised in Translation will interest a wide range of readers, including students of translation, professional literary translators, and scholars of modern and comparative literature.

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Mina Loy was born in London in 1882, became American, and lived variously in New York, Europe, and finally, Aspen, Colorado until she died in 1966. Flamboyant and unapologetically avant-garde, she was a painter, poet, novelist, essayist, manifesto-writer, actress, and dress and lampshade designer. Her life involved an impossible abundance of artistic friends, performance and spectacular adventures in the worlds of Futurism, Christian Science, Feminism, Fashion, and everything modern and modernist. This new account by Mary Ann Caws explores Mina Loy's exceptional life, and features many rare images of Loy and her husband, the swiss writer, poet, artist, boxer and provocateur Arthur Cravan, who disappeared without trace in 1918.

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Art is seen as a solitary, even a reclusive, endeavor. But visual artists, writers, and musicians often find themselves energized by a collective environment. Sharing ideas around a table has always provided a starting, and a continuing, place for fruitful exchanges between artists of all kinds. In her wide-ranging new book, Mary Ann Caws explores a rich variety of gathering places, past and present, which have been conducive to the release and sustenance of creative energies. Creative Gatherings surveys meeting locations across Europe and the United States, from cityscapes to island hideouts, from private homes to public cafes and artists' colonies. Examples include Florence Griswold's house in Old Lyme, Connecticut, meeting place of the Old Lyme Art Colony; Prague's Le Louvre caf , haunt of Kafka and Einstein; Picasso's modernist hangout in Barcelona, Els Quatre Gats; Charleston, gathering place of Virginia Woolf and Vanessa and Duncan Bell; and the caf s of Saint-Germain-des-Pr s and Montparnasse: the hangouts of Apollinaire, Sartre, and Patti Smith. Interweaving two hundred examples of collaborative artworks throughout the text, with more than one hundred in color, Creative Gatherings is a beautiful, erudite commingling as inspiring as the gathering places Caws depicts.

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Originating in 1916 with the avant-garde Dada movement at the famous Café Voltaire in Zurich, surrealism aimed to unleash the powers of the creative act without thinking. Max Ernst, André Breton, Tristan Tzara, Paul Éluard, Philippe Soupault, and Louis Aragon created a movement that spread wildly to all corners of the globe, inspiring not only poetry but also artists like Joan Miro and René Magritte and cinematic works by Antonin Artaud, Luis Bunuel, and Salvador Dalí. As the editor, Mary Ann Caws, says, “Essential to surrealist behavior is a constant state of openness, of readiness for whatever occurs, whatever marvelous object we might come across, manifesting itself against the already thought, the already lived.” Here are the gems of this major, mind-bending aesthetic, political, and humane movement: writers as diverse as Aragon, Breton, Dalí, René Char, Robert Desnos, Mina Loy, Paul Magritte, Alice Paalen, Gisele Prassinos, Man Ray, Kay Sage, and Elsa von Freytag-Loringhoven are included here, providing a grand picture of this revolutionary movement that shocked the world.

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A comprehensive bilingual collection of twentieth-century French poetry Not since the publication of Paul Auster’s The Random House Book of 20th Century French Poetry (1984) has there been a significant and widely read anthology of modern French poetry in the English-speaking world. Here for the first time is a comprehensive bilingual representation of French poetic achievement in the twentieth century, from the turn-of-the-century poetry of Guillaume Apollinaire to the high modernist art of Samuel Beckett to the contemporary verse of scourge Michel Houellebecq. Many of the English translations (on facing pages) are justly celebrated, composed by eminent figures such as T.S. Eliot, Wallace Stevens, and John Ashbery; many others are new and have been commissioned for this book. Distinguished scholar and editor Mary Ann Caws has chosen work by more than 100 poets. Her deliberately extensive, international selection includes work by Francophone poets, by writers better known for accomplishments in other genres (novelists, songwriters, performance artists), and by many more female poets than have typically been represented in past anthologies of modern French poetry. The editor has opted for a chronological organization that highlights six crucial “pressure points” in modern French poetry. Accompanying the selections are a general introduction, informative essays on each period, and short biographical notes—all prepared by the editor.

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A monograph on the work of Dorothy Eisner (1906-1984), an American painter whose career spanned more than seven decades.

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A collection of highlights from Mary Ann Caws's long, highly distinguished career writing about literature, art, and modernism. Throughout her long, highly distinguished career writing about literature and art, Mary Ann Caws has excavated, illuminated, and examined in depth the most intriguing works and personalities of Symbolism, Dada, Surrealism, and beyond. In these concise, but always colourful and insightful articles, Caws brings us fresh portraits of the most famous figures and introduces us to the writers and artists who merit more attention than they've received, with a special focus on female writers and artists. The author's sensitivity to the intersections of eccentric literature and eccentric life infuses each critical essay with the human passions that these essential modernists lived. From Dickinson and Mallarme to Duchamp and Mina Loy, Caws applies the art of close looking to shrewdly framed slices of the modernist experience. 'I cannot overstate the gift and importanc

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Food has always been a favourite subject of the world’s artists, from still-lifes by Matisse and Picasso to the works of Claes Oldenberg and Andy Warhol. But how do artists eat? The Modern Art Cookbook provides a window into how both great and lesser-known modern artists, writers and poets ate, cooked, depicted and wrote about food. A cornucopia of life in the kitchen and in the studio throughout the twentieth century and beyond, the book explores a wide-ranging panoply of artworks of food, cooking and eating from Europe and the Americas – from the early moderns through the Impressionists, Symbolists, Cubists, Futurists and Surrealists up to today’s art – as well as writing about food from contemporary novelists, writers and poets. Beautifully illustrated and often surprising, this new paperback edition is a joyous guide to the art of food.

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Mad Love has been acknowledged an undisputed classic of the surrealist movement since its first publication in France in 1937. Its adulation of love as both mystery and revelation places it in the most abiding of literary traditions, but its stormy history and technical difficulty have prevented it from being translated into English until now. ""There has never been any forbidden fruit. Only temptation is divine,"" writes André Breton, leader of the surrealists in Paris in the 1920s and '30s. Mad Love is dedicated to defying ""the widespread opinion that love wears out, like the diamond, in its own dust."" Celebrating breton's own love and lover, the book unveils the marvelous in everyday encounters and the hidden depths of ordinary things.

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The Edinburgh Companion to the Prose Poem is the first comprehensive guide to the prose poem written from an international and comparative perspective.

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What Freud did for dreams, André Breton (1896–1966) does for despair: in its distortions he finds the marvelous, and through the marvelous the redemptive force of imagination. Originally published in 1932 in France, Les Vases communicants is an effort to show how the discoveries and techniques of surrealism could lead to recovery from despondency. This English translation makes available "the theories upon which the whole edifice of surrealism, as Breton conceived it, is based." In Communicating Vessels Breton lays out the problems of everyday experience and of intellect. His involvement with political thought and action led him to write about the relations between nations and individuals in a mode that moves from the quotidian to the lyrical. His dreams triggered a curious correspondence with Freud, available only in this book. As Caws writes, "The whole history of surrealism is here, in these pages."

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The vital synergy between dress and the cinema has been in place since the advent of film. Broaching topics such as vampires, noir, and Marie Antoinette looks, Fashion in Film uncovers the way in which the alliance of these two powerhouse industries use myriad cultural influences—shaping narrative, national identity, and all points in between. Contributor essays address international films from early cinema to the present, drawing on the classic and the innovative. This abundantly illustrated collection reveals that fashion in conjunction with film must be understood in a different way from fashion tout simple.

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The French poet Saint-John Perse (1887-1975) succeeded, according to critic Roger Caillois, “in giving as a scene for his wholly spiritual chronicles a kind of supreme civilization, composed of the essence of those which history records and going beyond them in grandeur and majesty.” In this bilingual edition of the Selected Poems, editor Mary Ann Caws has assembled extracts from all his major works––Anabasis, Praises, Exile, Rains, Snows, Winds, Seamarks, Chronique, Birds, and Song for an Equinox, in translations by T. S. Eliot, Louise Varse, Denis Devlin, Hugh Chisholm, Wallace Fowlie, Robert Fitzgerald, and Richard Howard

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Originally published in France in 1934, Break of Day is André Breton’s second collection of critical and polemical essays, following The Lost Steps (Nebraska 1996). In fewer than two hundred pages, it captures the first full decade of the surrealist movement. The collection opens with an essay composed in 1924 that examines key elements of surrealism and concludes with Breton’s harsh revaluation in 1933 of automatic writing. Among the other essays in the volume are “Burial Denied” and “In Self-Defense,” two pieces that, in translator Mark Polizzotti’s words, “mark surrealism’s conscious break from the mainstream and the beginning of its attempts to work alongside the French Communist Party.” Also included are “Psychiatry Standing before Surrealism,” which addresses Breton’s complex, ambivalent views on mental illness and the emerging psychiatric establishment; “Introduction to Achim von Arnim's Strange Tales,” which reveals surrealism’s debt to such precursors as the German romantics and delineates a surrealistic aesthetic of the macabre; and “Picasso in His Element,” in which Breton demonstrates his formidable talents as a critic of the visual arts.

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This singular book illustrates how to edit a piece of prose and enhance its clarity of thought and felicity of style. The authors first present ten principles of effective composition, and then scrutinize three extended paragraphs, suggesting with remarkable specificity how to improve them. The volume also offers challenging practice questions, as well as two finished essays, one serious and one humorous, that demonstrate how attention to sound mechanics need not result in mechanical writing. Steven M. Cahn and Victor L. Cahn help readers deploy a host of corrective strategies, such as avoiding jargon, bombast, and redundancy; varying sentence structure; paring the use of adjectives and adverbs; properly deploying phrases and clauses; and refining an argument. Here is a book for all who seek to increase their facility in written communication.

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The Selected Poems of René Char is a comprehensive, bilingual overview reflecting the poet’s wide stylistic and philosophical range, from aphorism to dramatic lyricism. In making their selections, the editors have chosen the voices of seventeen poets and translators (Paul Auster, Samuel Beckett, Cid Corman, Eugene Jolas, W.S. Merwin, William Carlos Williams, and James Wright, to name a few), in homage to a writer long held in highest esteem by the literary avant-garde.

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A revealing investigation into Picasso's career-long fascination with the written word Throughout his life, Pablo Picasso had close friendships with writers and an abiding interest in the written word. This groundbreaking book, which draws on the collections of Yale University, traces the relationship that Picasso had with literature and writing in his life and work.Beginning with the artist’s early associations with such writers as Gertrude Stein, Guillaume Apollinaire, Max Jacob, and Pierre Reverdy, the book continues until the postwar period, by which time Picasso had become a worldwide celebrity. Distinguished authorities in art and literature explore the theme of Picasso and language from historical, linguistic, and visual perspectives and contextualize Picasso’s work within a rich literary framework. Presenting fascinating archival materials and written in an accessible style, Picasso and the Allure of Language is essential reading for anyone interested in this great artist and the history of modernism. Published in association with the Yale University Art GalleryExhibition Schedule:Yale University Art Gallery, New Haven (January 27 – May 24, 2009)Nasher Museum of Art at Duke University, Durham (August 20, 2009 – January 3, 2010)

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While her career as a painter was often eclipsed during her lifetime by that of her husband, Yves Tanguy, recent scholarship posits that the influence was mutual and that Kay Sage's work was distinct from Tanguy's. The full extent of Sage's talent is laid bare in this stunning slip-cased book that includes many works that have not been viewed publicly since the 1940s and 1950s. An insightful essay explores Sage's involvement with the Surrealists and her marriage to Tanguy, as a partner and sounding board. A generously illustrated chronology includes personal and archival material that reveals much about her life and practice. The paintings, collages, and works on paper-haunting, evocative, and original-are reproduced to full effect, each with comprehensive provenance and exhibition history. Impeccably researched and engagingly written, this monograph brings to life an intrepid and hugely gifted artist whose talent is long overdue for recognition.

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