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• W14897613 abstract "ABSTRACT critics have discussed influence of either or on Stevens' The Man with Blue Guitar. paper examines impact of both of these movements on poem. It claims that Stevens referred to Cubist aesthetics to protect himself from which he round too radical. argument is partly based on considering artistic events which were taking place in United States around rime Stevens wrote his poem. It also analyses importance of Picasso with whom Stevens identified himself in poem, and Cezanne, who enabled Stevens to come to terms with modern developments in art. ********** Both and were essential for Stevens who throughout his poetic career was determined to his to contemporary (Letters, 340). (1) aim of this paper is to examine analogy between Cubist perception of reality and Stevens' The Man with Blue Guitar. It also claims that Stevens used Cubist aesthetics as a means of defence against Surrealism. Before a proper analysis of Cubist aesthetics and Stevens' use of it, it is important to point out essence of ekphrasis in his poetry. Stevens does not imitate means of painting, but conceptualizes effects of it by means of an allusion. According to MacLeod (1993), inspiration for Stevens to write ekphrastic poetry came chiefly from what he referred to as the literature of painting. By literature of painting he meant art magazines, periodicals, and museum catalogues which he read eagerly as a great lover of art and frequent gallery visitor (1993: xxiv). Stevens had chance to live and write during time when art was in its heyday: movements such as Dada, and were revolutionizing conventional approach to life and culture, which obviously was hot insignificant with respect to his verse. He did not write his poems in isolation from contemporary life, but always participated enthusiastically in what was taking place in art world of his day. Around time when 'The Man with Blue Guitar was written (1937), Wadsworth Atheneum in Hartford held first retrospective of Picasso (1934), New York MOMA displayed works of Hans Arp, Joan Miro, and Alberto Giacometti in an exhibition Cubism and Abstract Art in 1935, and in 1936 it exhibited Fantastic Art, Dada, Surrealism with paintings by Picasso and Dali. 1930s, Surrealism, a movement that developed from Dadaism, was challenging America. One of major events that contributed to Surrealist venture into unconscious was expansion of Freudian ideas which spread so rapidly that by 1938 it appeared widely accepted that America had become centre of psychoanalysis. art world did not remain indifferent towards these ideas, and artists started to indulge in processes of unconscious mind unconstrained by logic and reason. This direction was basis of Surrealism, which was then one of most important of all contemporary movements. Wallace Stevens was as usual determined to establish his relation to contemporary (What is there in life except one's ideas / Is it ideas that I believe? CP, 175) which is well seen in Sombre Figuration, a poetic surmise of Freudian psychoanalysis. poet was well aware of Surrealist impact on his poetry: In camera of subconscious, things are not (may not be) what they are in consciousness. locust may titter. turtle may sob. (...) (L, 375). Owl's Clover, a series of which Sombre Figuration is last poem, is an important but poetically failed experiment, a judgment Stevens himself confirmed by excluding it from his Collected Poems. Before having finished Owl's Clover, in December of 1936 Stevens started writing his new long poem The Man with Blue Guitar. poem, which soon turned out to be one of his most successful, was completed by spring of 1936. …" @default.
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• W14897613 date "2004-01-01" @default.
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• W14897613 title "Cubist Aesthetics in Stevens' The Man with the Blue Guitar: Defence against Surrealism" @default.
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