Dada small group work

Please explain to the class the meaning and the significance of the following quotes. Please also make sure you draw our attention to specific passages.

Group 1:
Dada is a new tendency in art. One can tell this from the fact that until now nobody knew anything about it, and tomorrow everyone in Zurich will be talking about it. Dada comes from the dictionary. it is terribly simple. In French it means “hobby horse.” In German it means “good-by,” “Get off my back,” “Be seeing you sometime.” In Romanian: “Yes, indeed, you are right, that’s it. But of course, yes, definitely, right.” And so forth.

An international word. Just a word, and the word a movement. Very easy to understand. Quite terribly simple. To make of it an artistic tendency must mean that one is anticipating complications. Dada psychology, dada Germany cum indigestion and fog paroxysm, dada literature, dada bourgeoisie, and yourselves, honored poets, who are always writing with words but never writing the word itself, who are always writing around the actual point. Dada world war without end, dada revolution without beginning, dada, you friends and also-poets, esteemed sirs, manufacturers, and evangelists. Dada Tzara, dada Huelsenbeck, dada m’dada, dada m’dada dada mhm, dada dere dada, dada Hue, dada Tza.

How does one achieve eternal bliss? By saying dada. How does one become famous? By saying dada. With a noble gesture and delicate propriety. Till one goes crazy. Till one loses consciousness. How can one get rid of everything that smack of journalism, worms, everything nice and right, blinkered, moralistic, europeanized, enervated? By saying dada. Dada is the world soul, dada is the pawnshop. Dada is the world’s best lily-milk soap. Dada Mr. Rubiner, dada Mr. Korrodi. Dada Mr. Anastasius Lilienstein.

In plain language: the hospitality of the Swiss is something to be profoundly appreciated. And in questions of aesthetics the key is quality.

I shall be reading poems that are meant to dispense with conventional language, no less, and to have done with it. Dada Johann Fuschgang Goethe, Dada Stendhal. Dada Dalai Lama, Buddha, Bible and Nietzsche. Dada m’dada. Dada mhm dada da. It’s a question of connections, and of loosening them up a bit to start with. I don’t want words that other people have invented. All the words are other people’s inventions. I want my own stuff, my own rhythm, and vowels and consonants too, matching the rhythm and all my own. If this pulsation in seven yards long, I want words for it that are seven yards long. Mr. Schulz’s words are only two and a half centimeters long.

It will serve to show how articulated language comes into being. I let the vowels fool around. I let the vowels quite simply occur, as a cat miaows… Words emerge, shoulders of words, legs, arms, hands of words. Au, oi, uh. One shouldn’t let too many words out. A line of poetry is a chance to get rid of all the filth that clings to this accursed language, as if put there by stockbrokers’ hands, hands worn smooth by coins. I want the word where it ends and begins. Dada is the heart of words.

Each thing has its word, but the word has become a thing by itself. Why shouldn’t I find it? Why can’t a tree be called Pluplusch, and Pluplubasch when it has been raining? The word, the word, the word outside your domain, your stuffiness, this laughable impotence, your stupendous smugness, outside all the parrotry of your self-evident limitedness. The word, gentlement, is a public concern of the first importance.

Group 2:
DADA is a virgin microbe
DADA is against the high cost of living
DADA limited company for the exploitation of ideas
DADA has 391 different attitudes and colours according to the sex of the president
It changes — affirms — says the opposite at the same time — no importance — shouts — goes fishing.
Dada is the chameleon of rapid and self-interested change.
Dada is against the future. Dada is dead. Dada is absurd. Long live Dada.
Dada is not a literary school, howl.
–Tristan Tzara

Group 3:
“In those days we were all Dadaists. If the word meant anything at all, it meant seething discontent, dissatisfaction and cynicism. Defeat and political ferment always give rise to that sort of movement.

We held Dadaist meetings, charged a few marks admission and did nothing but tell people the truth, that is, abuse them. The news spread quickly and soon our meetings were sold out, crammed with people wanting to be scandalized or just after fun.

Between insults we performed ‘art,’ but the performances were as a rule interrupted. Thus hardly would Walter Mehring begin to rattle away at his typewriter while reciting some piece or other of his own composition, when Heartfield or Hausmann would come out from behind the stage and yell: ‘Stop! You’re not trying to bamboozle that feeble-minded lot down there, are you?’ ”
–George Grosz, The Autobiography of George Grosz [1955]

‘What we call Dada is a piece of tomfoolery from the void, in which all the lofty questions have become involved . . .’
–Hugo Ball

Group 4:
‘Dada means nothing. We want to change the world with nothing.’
–Richard Huelsenbeck

‘Art is dead. Long live Dada.’
–Walter Serner

‘Freedom: Dada, Dada, Dada, crying open the constricted pains, swallowing the contrasts and all the contradictions, the grotesqueries and the illogicalities of life.’
–Tristan Tzara

Group 5:
‘We do not wish to imitate nature, we do not wish to reproduce. We want to produce. We want to produce the way a plant produces its fruit, not depict. We want to produce directly, not indirectly. Since there is not a trace of abstraction in this art we call it concrete art.’
–Hans Arp

‘Dada . . . wants over and over again movement: it sees peace only in dynamism.’
–Raoul Hausmann

‘I wish to blur the firm boundaries which we self-certain people tend to delineate around all we can achieve.’
–Hannah Hoch

Group 6:
‘Invest your money in Dada! Dada is the only savings bank that pays interest in the hereafter!’
–Kurt Schwitters

‘Art has nothing to do with taste. Art is not there to be tasted.’
–Max Ernst

‘I have forced myself to contradict myself in order to avoid conforming to my own taste.
–Marcel Duchamp

‘Dada talks with you, it is everything, it includes everything, it belongs to all religions, can be neither victory nor defeat, it lives in space and not in time.’
–Francis Picabia

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Futurist poems small group work

Do your absolute best to give the class a reading or an interpretation of your assigned futurist work; if possible, tie your reading back into the things I’ve been lecturing to you about in class on Futurism. Do whatever you can to avoid saying “I don’t know” and, again, consider using this as the basis for your forum post due on Friday.

Group 1: Marinetti’s “Après la Marne”

Group 2: Marinetti’s “Correction of Proofs + Desires in Speed”

Group 3: Canguillo’s “Detonation” and Marinetti’s “A Landscape Heard”

Group 4: Marinetti’s “They Are Coming”

Group 5: Depero’s “Colors”

Group 6: Marinetti’s “Variety Theatre Manifesto” (mostly just explain key points and talk about their motivation for writing this)

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in class work on the Futurist Manifesto

Look at the last part of Marinetti’s futurist manifesto that was not included in the pdf handout I gave you:

  1. What does Marinetti have against museums?
  2. What do you think about this statement: “Art, in fact, can be nothing but violence, cruelty, and injustice.” What does it mean? What do you think is urging Marinetti to write this? Can you think of reasons to agree with this statement?
  3. What do you think of this statement: “You have objections?—Enough! Enough! We know them… We’ve understood!…Our fine deceitful intelligence tells us that we are the revival and extension of our ancestors—Perhaps!… If only it were so!—But who cares? We don’t want to understand!… Woe to anyone who says those infamous words to us again!” Why does he want to embrace the irrational? What’s to be gained from the irrational, from lack of understanding?
  4. In the “Manifesto of the Futurist Painters,” they conclude with the following:

With our enthusiastic adherence to Futurism, we will:

1. Destroy the cult of the past, the obsession with the ancients, pedantry and academic formalism.

2. Totally invalidate all kinds of imitation.

3. Elevate all attempts at originality, however daring, however violent.

4. Bear bravely and proudly the smear of “madness” with which they try to gag all innovators.

5. Regard art critics as useless and dangerous.

6. Rebel against the tyranny of words: “Harmony” and “good taste” and other loose expressions which can be used to destroy the works of Rembrandt, Goya, Rodin…

7. Sweep the whole field of art clean of all themes and subjects which have been used in the past.

8. Support and glory in our daytoday world, a world which is going to be continually and splendidly transformed by victorious Science. The dead shall be buried in the earth’s deepest bowels! The threshold of the future will be swept free of mummies! Make room for youth, for violence, for daring!

Do these statements hold true for us today? Do we still need to free ourselves from “the cult of the past”? Do we still need to free ourselves from “all kinds of imitation”? Why the embrace of madness? What’s problematic, do you suppose, about the use of the words “harmony” and “good taste”? Why the embrace of the everyday, the “day to day world”?

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literary research overview

1. What is the difference between a primary source and a secondary source? Should a research paper include primary sources, secondary sources, or both?

2. What is an example of a nonacademic source and what do you use these nonacademic sources for?

3. What is the difference between a library catalog and a database? Name some databases relevant to our class.

4. What is the difference between Chinook and Prospector and Interlibrary Loan?

5. What is the difference between subject word searching and keyword searching?

6. What does “peer reviewed article” mean and why do you want to include these sources in your papers?

7. Which literature related databases are full text? What IS “full text”? Which database is the most complete and extensive for doing literary research?

8. When you’re doing an advanced search, what function does the Boolean operator “and” serve?

9. When you’re doing an advanced search, what function does the Boolean operator “or” serve?

10. When you’re doing an advanced search, what function does the Boolean operator “not” serve?

11. When you’re doing an advanced search, what function does the Boolean operator “*” or “?” serve?

12. When evaluating a source for a research project, what aspects of the source should you consider?

13. What do you need to do to conduct research on your computer at home/offcampus?

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“Un Coup de Dés” / “A throw of the dice” small group work

Spend some time looking through/reading “Un Coup de Dés” by Stephan Mallarmé.

Put yourselves in groups of three and discuss the following two questions:

  1. How and why does this text emphasize the materiality of the word?
  2. What difference does it make to the content or to the meaning of the poem when it is compressed and properly punctuated?
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“Sound Poem” 1 and 2 by Jean Toomer

Toomer, Jean, 1894-1967 :  SOUND POEM (I)
Mon sa me el kirimoor,
Ve dice kor, korrand ve deer,
Leet vire or sand vite,
Re sive tas tor;
Tu tas tire or re sim bire,
Rozan dire ras to por tantor,
Dorozire, soron,
Bas ber vind can sor, gosham,
Mon sa me el, a som on oor.

Toomer, Jean, 1894-1967 :  SOUND POEM (II)
Vor cosma saga
Vor reeshen flaga
Vor gorden maga
Vor shalmer raga

 

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Welcome to English 3060

Hello everyone – I’m glad to have you in our class. The first and most important thing I’d like you to do is to “follow” our blog. You should see a small “follow” tab somewhere on this page (depending on what browser you’re using). Click “follow” and you can subscribe to our blog so you always get email updates about homework and announcements.

Second, please look through the syllabus carefully and bookmark the url for our class blog. This is a paperless class so nearly everything will take place through this blog.

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