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| 資料彙整
/ 概念 / [美]二十世紀前半：1. 重要文獻 The Twentieth Century, First Half: Major Text |
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 Tristan Tzara |
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Dada Manifesto, 1918
". . . I write this manifesto to show that people can perform contrary actions together while taking one fresh gulp of air; I am against action; for continuous contradiction, for a ffirmation, too, I am neither for nor against and I do not explain because I hate common sense.
. . . A work of art should not be beauty in itself, for beauty is dead; it should be neither gay nor sad, neither light nor dark. . . . A work of art bis never beautiful by decree, objectively and for all. Hence criticism is useless, it exixts only subject ively, for each man separately, without the slightest universality. . . . How can one expect to put order into the chaos that constitutes that infinite and shape less variation: man? The principle: 'love thy neighbor' is a hypocrisy. 'Know thyself' is utopian but more acceptable, for it embraces wickedness. No pity."
Dada Manifesto By Tristan Tzara full text http://www.english.upenn.edu/~jenglish/English104/tzara.html
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| Ernest Hemingway |
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Death in the Afternoon (1928)
I was trying to write then [after WW I] and I found the greatest difficulty, aside from knowing truly what you felt, rather than what you were supposed to feel, and had been taught to feel, was to put down what really happened in action; what the act ual things were which produced the emotions you experienced. . . . In writing for the newspaper you told what happened and, with one trick and another, you communicated the emotion aided by the element of of timeliness which gives a certain emotion to any account of something that has happened on that day; but the real thing, the sequence of motion and fact which made the emotion and which would be as valid in a year or ten years or, with luck and if you stated it purely enough, always, was beyond me and I was working very hard to try to get it. . . .
. . . The only place where you could see life and death, i.e., violent death now the wars were over, was in the bullring and I wanted very much to go to Spain where I could study it. I was trying to learn to write, commencing with the simplest things, and one of the simplest things of all and the most fundamental was violent death. . . .
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| Archibald MacLeish |
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"Ars Poetica" [the art of poetry]
A poem should be palpable and mute
As globed fruit
Dumb
As old medallions to the thumb
Silent as the sleeve-worn stone
Of casement ledges where the moss has grown--
A poem should be wordless
As the flight of birds
A poem should be motionless in time
As the moon climbs
Leaving, as the moon releases
Twig by twig the night-entangled trees,
Leaving, as the moon behind the winter leaves,
Memory by memory the mind--
A poem should be motionless in time
As the moon climbs
A poem should be equal to:
Not true
For all the history of grief
An empty doorway and a maple leaf
or love
The leaning grasses and two lights above the sea--
A poem should not mean
But be.
Archibald MacLeish "Ars Poetica" full text http://www.kirjasto.sci.fi/calendar.htm
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| Archibald MacLeish |
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from "The End of the World" by Archibald MacLeish:
". . .And there, there overhead, there, there hung over
Those thousands of white faces, those dazed eyes,
There in the starless dark the poise, the hover,
There with vast wings across the cancelled skies,
There in the sudden blackness the black pall
Of nothing, nothing, nothing--nothing at all."
Archibald MacLieish "The End of the World," full text "http://www.kirjasto.sci.fi/calendar.htm
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T. S. Eliot
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from "The Hollow Men" by T.S. Eliot:
". . .This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper."
T.S. Eliot "The Hollow Men" full text, http://www.kirjasto.sci.fi/calendar.htm
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| Piet Mondrian |
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"Unconsciously every true artist has always been moved by beauty of line, colour, and relationship for their own sake and not by what they may represent." |
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| Cesar Domela |
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"Lines, surfaces, and colours are units with which the artist creates forces that enable him to organize the picture. For these forces to achieve their maximum intensity, it is necessary to simplify terms. The composition forms a whole and nothing can be added or taken away from it. Colour is used for its dynamic effect and not for its prettiness." |
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