It occurs to me that artists go forward by going backward, something which I have nothing against intrinsically when it is a reproduced retreat — as is the case with the better artists. But it does not seem right that they stop with the historical themes already given and, so to speak, think that only these are suitable for poetic treatment, because these particular themes, which intrinsically are no more poetic than others, are now again animated and inspirited by a great poetic nature. In this case the artists advance by marching on the spot. — Why are modern heroes and the like not just as poetic? Is it because there is so much emphasis on clothing the content in order that the formal aspect can be all the more finished?
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Kierkegaard Journals and papers 1A 86 September 29, 1835Soren Aabye Kierkegaard
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For Novalis the poetic in the world was the only genuine reality, even as the poetic spirit in man was the proof of man’s divine origin. All of his poetry is concerned ultimately with revealing and celebrating the poetic spirit.
Novalis
Those who present directly and immediately the new forms and symbols are the artists — the dramatists, the musicians, the painters, the dancers, the poets, and those poets of the religious sphere we call saints. They portray the new symbols in the form of images — poetic, aural, plastic, or dramatic, as the case may be. They live out their imaginations.
Rollo May
The "poetic avant-garde" relies on fantasy and dream reality as much as the Theatre of the Absurd does; it also disregards such traditional axioms as that of the basic unity and consistency of each character or the need for a plot. Yet basically the "poetic avant-garde" represents a different mood; it is more lyrical, and far less violent and grotesque. Even more important is its different attitude toward language: the "poetic avant-garde" relies to a far greater extent on consciously "poetic" speech; it aspires to plays that are in effect poems, images composed of a rich web of verbal associations.
The Theatre of the Absurd, on the other hand, tends toward a radical devaluation of language, toward a poetry that is to emerge from the concrete and objectified images of the stage itself. The element of language still plays an important part in this conception, but what happens on the stage transcends, and often contradicts, the words spoken by the characters. In Ionesco's The Chairs, for example, the poetic content of a powerfully poetic play does not lie in the banal words that are uttered but in the fact that they are spoken to an ever-growing number of empty chairs.Martin Esslin
To purify the 'dialect of the tribe' and to open the doors of perception by discovering a host of new poetic themes and rhythms was the especial achievement of T. S. Eliot. He gave us back our language enlivened and refreshed by new contacts with many other tongues.
Thomas Stearns (T. S.) Eliot
..In 1936, when the last issue of 'Abstraction-Création' appeared, Europe was in a deep slump. Hitlerism was rampant in Germany and many artists had already fled there.. ..There were evil portents on the horizon; night was about to descend over Europe. It was at that moment that America took up the case of abstract art. The association of 'American Abstract Artists' was founded that year, and it was also in 1936 that the exhibition '‘Cubism and Abstract Art' was held at the Museum of Modern Art in New York.. ..At about this time a flood of refugees – artists, intellectuals, and men of science – began to pour into the United States.
Michel Seuphor
Kierkegaard, Soren Aabye
Kiernan, Caitlin R.
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