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The Eclogues. The pastoral poems.
I GENERALLY DISTRUST PERSONAL ANECDOTE in literary criticism. It seems so subjective, so limited, indeed, so anecdotal. But sometimes stories can convey complicated information more easily than abstract argumentation. Let me illustrate my thesis with four short personal anecdotes. First, let me recall my childhood in Los Angeles. I was raised among working-class people, none of whom had any higher education and many of whom were born speaking Spanish or Italian. Yet most of them liked poetry—not exclusively or excessively, of course—but they considered it one of life's many pleasures. They knew poems by heart and quoted them unselfconsciously. They also liked hearing poetry recited. These were generally people who were otherwise suspicious of intellectual things. But they quoted these poems, nearly all of which they had learned in school, with obvious pleasure and pride. Their education, however limited, had instilled an appetite and appreciation for poetry.
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A representative sample of this orientation of "open" collage-poetics can be found in the opening of "Tincture of Pine," by the poet Gillian Connoley. Connoley relishes wide gaps of association and uses the "field" of the page, a la Apollinaire, to hang fragments in the white space, "open" to the reader's interpretative industry:
Guillaume Apollinaire - Wikipedia
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What happened, however, was that Poetry Out Loud was a huge and immediate success. Even though the program was poorly funded and not fully available in most states, Poetry Out Loud soon had hundreds of thousands of American teenagers memorizing and reciting poems in thousands of competitions at a local, state, and national level. Students actually liked poetry once they took it off the page. Growing up in an entertainment culture dominated by hip hop, these teenagers felt more comfortable hearing and reciting poetry than reading and analyzing it. Sound and performance was the right entry point into the art. The competitive format also added a special energy to the recitals. At these competitions, the students not only performed their poems, they also heard the poems recited by others. The performers and the audience were saturated in poetry sometimes for hours. The administrators and arts consultants were openly astonished by the program's popularity. Meanwhile the teachers were surprised that the best performers were usually not the best academic students. The winners were often problem kids-the class clown, the sullen athlete, the previously silent outsider. Moreover teachers noted that the energy of the competition spilled over into the rest of the course work, as students developed an increased comfort and command of literary language.
e.e. cummings lived in France after the First World War, but for him Paris seems to have been a place of beautiful streetwalkers and abundant liquor. He is a conventional and sentimental poet whose typographical and syntactic oddities are the pranks of an incurable Harvard Boy. They certainly have nothing to do with the sickness of the European heart which began in 1848 and became fatal in Père Lachaise in 1871. Everybody pretends not to notice that among his comical cut-ups are some of the most scurrilous bits of anti-Semitic doggerel in any language, including German. Anti-Semitism is unknown in America except among lunatics. So in the sense that he is a sane and educated man and an antidreyfusard, he may be said to show French influence. It is a little ominous that he is just beginning to be appreciated in France.
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He is a poet, playwrite, and art critic who took part in all avant garde movements in French literature at the beginning of the 20th century.
He was an innovator in the theatre of the absurd and avant garde.
He made known: Cubism as a school of painting with his study Peintres Cubistes (1913).
Surrealism with writing the play The Breasts of Tiresias (1917) which was one of the first described as surrealist.
Orphism: a principal in art where everything progresses into total abstraction.
He was Pablo Picasso's best friend!
Which brings us back to poetry and the twentieth century. How many Americans would be prepared to admit that the greatest American poet of the turn of the century did not write in English at all, but in French? How many have ever heard of him? Hardly any. I am referring of course to Stuart Merrill. Yet who is there to compete with him? Trumbull Stickney? George Santayana? I do not care for Edwin Robinson or Robert Frost myself, so I would say that Stuart Merrill remained the best American poet until the end of the First World War, with the sole exception of Carl Sandburg. Of course, if you prefer, you can have Vielé-Griffin.
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Apollinaire’s poetry and short stories are ..
Pop music provides useful perspective on Plato's association of poetry with madness. There was something dangerously irrational in poetry that worried the philosopher. It wasn't the semantic content but the visceral power of the sound and rhythm. Poetry compellingly communicates feelings that lie beyond or beneath rational discourse. The physicality of poetic speech separates it from the conceptual language of philosophy. Witnessing the moment in Greek civilization when written and oral cultures first came into conflict, Plato distrusted the emotional and intuitive nature of sung and chanted poetry. (Written poetry had hardly yet emerged.) He feared the irrational intoxication that Friedrich Nietzsche would later call Dionysian. As Robert Burton declared more bluntly in The Anatomy of Melancholy, 'All poets are mad.' Plato responded to the dangers of poetry by suggesting—with notorious lack of success—that its practitioners be banished from the ideal state. (Contemporary thinkers have enjoyed far more success in suppressing poetry by sequestering it in the classroom.) Plato recognized poetry's power to convey meaning in ways that did not foster conscious and reasonable response. What Plato noticed, in other words, was that poetry was a species of song. What he feared was its Dionysian enchantment.
Guillaume apollinaire zone dissertation abstract - …
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Inspiration Apollinaire's first collection of poetry was L'enchanteur pourrissant (1909), but it is Alcools (1913) that established his reputation combining traditional poetic forms with modern imagery.
Guillaume apollinaire zone explication essay
In it he explains the aesthetics, he praises it, encourages it, defends it!
After his injury: Staying true to his innovation to the avant-grade and progression of art, he outlined his optimism in the new wave of development in art and the direction of exploration of artists in L'esprit nouveau et les poëtes (1917) "The New Spirit and the Poets" In 1916 he enlisted to fight in the first World War.
Stationed at Champagne he suffered a severe wound to his temple.
Apollinaire died of influenza during the Spanish Flu pandemic of 1918.
Guillaume Apollinaire Zone Dissertation Writing
Individual poems may be easily accessed by using the "Poetry Title Index."
Brautigan wrote and published several poems that were never collected in any volume.
Information and resources are provided here for each of Brautigan's known, published, and uncollected poems.
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