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The Passive Vampire
Originally published in 1945 by Les ditions de l'Oubli in Bucharest, The Passive Vampire caught the attention of the French Surrealists when an excerpt appeared in 1947 in the magazine La part du sable. Luca, whose work was admired by Gilles Deleuze, attempts here to transmit the "shudder" evoked by some Surrealist texts, such as Andr Breton's Nadja and Mad Love, probing with acerbic humor the fragile boundary between "objective chance" and delirium. Impossible to define, The Passive Vampire is a mixture of theoretical treatise and breathless poetic prose, personal confession and scientific investigation it is 18 photographs of "objectively offered objects," a category created by Luca to occupy the space opened up by Breton. At times taking shape as assemblages, these objects are meant to capture chance in its dynamic and dramatic forms by externalizing the ambivalence of our drives and bringing to light the nearly continual equivalence between our love-hate tendencies and the world of things.
Gherasim Luca
Retrace le parcours roumain du poète surréaliste et son adoption du non-conformisme esthétique et de la révolte sociale. Analyse ses contributions théoriques au surréalisme et les grands thèmes de sa mythologie personnelle à travers ses oeuvres, partiellement réécrites en français.
Paths to Contemporary French Literature
The first volume of Paths to Contemporary French Literature offered a critical panorama of over fifty French writers and poets. With this second volume, John Taylor?an American writer and critic who has lived in France for the past thirty years?continues this ambitious and critically acclaimed project.Praised for his independence, curiosity, intimate knowledge of European literature, and his sharp reader's eye, John Taylor is a writer-critic who is naturally skeptical of literary fashions, overnight reputations, and readymade academic categories. Charting the paths that have lead to the most serious and stimulating contemporary French writing, he casts light on several neglected postwar Fren...
Sounds Senses
Sounds Sensesis about what happens to the francophone postcolonial condition when sound is taken as a point of departure for engaging cultural production. Offering a synthetic overview of sound studies, it dismantles the retinal paradigms and oculocentrism of francophone postcolonial studies. By shifting the sensory hermeneutics of perception from the visual, the textual, and the graphemic to the sonic, the auditory, and the phonemic, the book places cultural production that privileges or otherwise exaggerates æstheticized sensorial experiences at the forefront of francophone postcolonialism. In the process, it introduces two primary theoretical thrusts—the unheard and the unintegrated—...
Globalizing the Avant-Garde
How has the process of globalization shaped artistic practices on the one hand, and art history and theory on the other? The contributions in this volume approach this question from a range of perspectives, taking into account the role of travel, for example, or practitioners’ increasing knowledge of other cultures, art’s increasing awareness of itself as existing on a global level, literary translation, the advance of technology, and the ever-changing grand narratives of art history. As well as reflections on European avant-gardes and neo-avant-gardes, the collection features discussions of Japan, Latin America, Africa, Asia and the Pacific. As a whole, the volume engages with broader current discourses about cultural globalization, and features input from leading scholars around the world as well as some important novel interventions by early-career researchers. The authors not only make a major contribution to the evolution of avant-garde studies, but also offer valuable, original points of view to art history and to the cultural theory of globalization more broadly.
Dialogues II
French journalist Claire Parnet's famous dialogues with Gilles Deleuze offer an intimate portrait of the philosopher's life and thought. Conversational in tone, their engaging discussions delve deeply into Deleuze's philosophical background and development, the major concepts that shaped his work, and the essence of some of his famous relationships, especially his long collaboration with the philosopher Félix Guattari. Deleuze reconsiders Spinoza, empiricism, and the stoics alongside literature, psychoanalysis, and politics. He returns to the notions of minor literature, deterritorialization, the critical and clinical, and begins a nascent study of cinema. New to this edition is Deleuze's essay "Pericles and Verdi," which reflects on politics and historical materialism in the work of the influential French philosopher François Châtelet. An enduring record of Deleuze's unique personality and profound contributions to culture and philosophy, Dialogues II is a highly personable account of the evolution of one of the greatest critics and theorists of the twentieth century.
History of the Literary Cultures of East-Central Europe
Continuing the work undertaken in Vol. 1 of the History of the Literary Cultures of East-Central Europe, Vol. 2 considers various topographic sites--multicultural cities, border areas, cross-cultural corridors, multiethnic regions--that cut across national boundaries, rendering them permeable to the flow of hybrid cultural messages. By focusing on the literary cultures of specific geographical locations, this volume intends to put into practice a new type of comparative study. Traditional comparative literary studies establish transnational comparisons and contrasts, but thereby reconfirm, howev.
Self-shadowing Prey
One of the final texts by the Romanian poet Luca (1913-1994) is clearly constructed around the sought complications of language. Embodying the surrealist operation of play with considerable exactitude and rigor, it is rich with neologistic stupors, nouns made verbs, and compelling repetitions and linguistic expansions.
Im Zeichen der Stadt
In den Kunstlerkreisen Rumaniens setzten avantgardistische Stromungen zu einem vergleichsweise spaten Zeitpunkt, zu Beginn der 1920er Jahre, ein. Sie wurden von einer Gruppe junger Kunstler verbreitet, die nach dem Ersten Weltkrieg Kontakte in die westeuropaischen Avantgardemetropolen knupfte. In Bukarest traten Kunstler wie Max Herman Maxy, Marcel Janco oder Victor Brauner in Erscheinung und polemisierten mit ihren Kunstwerken, Aktionen und Manifesten die offentliche Meinung. Denn diese neigte, infolge der erheblichen territorialen Vergrosserung Rumaniens nach dem Ersten Weltkrieg, zu erhohtem nationalen Selbstbewusstsein. Die konservative Elite des Landes versuchte, das gestiegene politische Ansehen mit dem Ideal einer Nationalkultur zu betonen. In diesem geistigen Klima sorgte die Avantgarde, die den Bruch mit uberholten nationalen Traditionen postulierte, fur weitreichende Auseinandersetzungen. Roland Prugel geht in seiner Arbeit, die eine profunde Analyse der rumanischen Avantgarde bietet, dieser Auseinandersetzung nach und zeichnet zugleich ein lebendiges Bild der rumanischen Zwischenkriegskunst.
