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A. Hemingway, P. Jaskot (2000)
Farewell to an Idea: Episodes from a History of ModernismHistorical Materialism, 7
Quelques tableaux de 1928 , ” p . 35 ; Werke , p . 476 : “ Picasso n ’ acccept pas les choses données , ce que les faibles adorent encore comme une substance transcendentale
(1968)
“ Aphorismes méthodiques , ” Documents 1 ( 1929 ) , p . 33 ff . Werke 3 p . 473 ff
Wir hingegen glauben, daß gerade in diesem Unbewussten die Chance des Neuen ruht, dieses dauernd sich umbildet und somit progressiv gestellt sein kann
(1979)
Drei Studien zum Psychoanalytischen Denken
“ Aphorismes méthodiques , ” Documents 1 ( 1929 ) , p . 33 ff . Werke 3 p . 473 ff See Lacan , The Language of the Self : The Function of Language in Psychoanalysi s , p . 197
(1995)
Schriftsteller und Psychoanalytiker rücken in eine Nähe, wie sie enger nicht Dichter und Denker von 1800 verband
(1989)
Picasso n'acccept pas les choses données, ce que les faibles adorent encore comme une substance transcendentale. On sort avec lui de l'hallucination fataliste et stable de Freud
(1989)
“ überhelle ( r ) Präzision
(1929)
On regarde le monde conventionelle comme un ensemble de signes épuisés . . . un monde de signes rationneles à peu près arbitraries
A. Partington (1986)
The Originality of the Avant-garde and other Modernist MythsOxford Art Journal, 9
(1960)
“ fatale Bindungen durch die Dinge . ”
(1966)
Was mich interessiert, ist die Scheidung und Gliederung dessen, was sonst in einem Urbrei zusammenfließen würde
Rainer Rumold (2000)
Archeo-logies of Modernity in transition and Documents 1929/30Comparative Literature Studies, 37
âPainting as a Language. Why Not?â Carl Einstein in Documents RAINER RUMOLD Carl Einsteinâs unique gifts were also his very burden: he was a lyrical poet and writer of experimental prose, as such a participant in the movements of Expressionism, Dada, and Surrealism, as well as an uncompromising critic and theorist of avant-garde productions, including his own. As a theorist he focused more radically than earlier thinkers (Friedrich Nietzsche, Fritz Mauthner, and Hugo von Hofmannsthal) on the limits of symbolic language, the written word with its elevated status in literature, and, ultimately, on the limitations of Western conceptual culture. This particular strand of his thought comes to the fore in the Berlin of the mid-twenties with his writings on modern art, and expands in his contributions to the Parisian avant-garde journal Documents (Paris, 1929â30). Moreover, as the ï¬rst theorist to view African sculpture within the discourse of Cubism, he had already turned in Negerplastik (1915) against the abstraction of perspective and narrative in the visual arts. At an extreme, Einstein (the âlittle Einstein,â his friend the critic and editor Franz Blei, once called him) was to argue against literatureâbelles lettresâas the culture of subjectivity, of metaphor and interiority,
October – MIT Press
Published: Jan 1, 2004
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