Thursday, 22 January 2015

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Very romantic poems biography

Suzanne Doppelt is a renowned Paris-based contemporary writer and photographer, and currently professor of photography at the European Graduate School EGS. Suzanne Doppelt studied philosophy and became a teacher of literature and philosophy in Paris. It was during her time as a philosophy and literature teacher that she became interested in photography and decided to pursue a second career as a photographer. This decision led to a new picto-literary style in her work, which can be seen in her books Totem (2002), Quelque chose cloche (2004), La 4e des plaies vole (2004), and Le pré est vénéneux (2007). Suzanne Doppelt also works on ghosts and what the fantastic logic of their appearances and disappearances might imply for an economy of the living.
In the publication OXO, she published her photographic collaboration with Pierre Alféri’s poems, Kub Or. An artisan of the detail, Suzanne Doppelt also co-published with Pierre Alféri the highly visible cultural journal Détail. In addition to producing and showing her own work, she is the house photographer for Vacarme, a journal in which some of Europe's most engaging thinking takes place. Suzanne Doppelt has exhibited her work at many different venues, including Centre Georges Pompidou, Paris; Centre Culturel Français, Damas; Pavillon des arts, Paris; Institut Francais, Naples; Ecole des Beaux Arts de Nîmes; Galerie Pennings in Holland; and NYU, New York.
In her book Rin Rang Wrong (2004), Suzanne Doppelt deals with a variety of topics, from a multiplicity of voices that remain unfixable amongst the text. The work is contrasted with starkly precise and abstract photographs along with philosophical musings. The text enters dialogue with the sophists. To go along with the book, Suzanne made had an art exhibit at New York University from December 2006 - January 2007. Professors Avital Ronell, Ulrich Baer and Eduardo Cadava from Princeton University will opened the show with introductory remarks. Doppelt read from her book in French accompanied in English by American poet and translator Cole Swensen. William Rausche has said the following about the book:
"What is at stake here is a discursive perversion, a gesture of transvaluation that tells us that there is something like a children’s story in every naturalist discourse, that there is something like a fairy tale in every scientific fragment…. Ring Rang Wrong tells us that the poetic task is one of connecting distant fragments of the world and making them produce new sounds. Or of putting them together, as if it were a matter of one of the many photographic diptychs that traverse the book, interrupting it, making a new diptych, a new Doppelt, in each instance, in every moment, and with language itself."
Suzanne Doppelt has been called the Man Ray of contemporary photography by the Parisian magazine Les Inrockuptibles. The magazine also said that her work has the 'supple movement of Moholy-Nagy’. She has produced a body of work that disregards no longer necessary subjectivities. Her oeuvre ranges from alluring juxtapositions of food particles to jointures of architectural detail. Her lens captures the flash of the unconscious, offering a momentary glimpse of what might otherwise be given over to immediate repression. Suzanne Doppelt's work can be thought of as existentialist in the way it closely examines the layers below the obvious surface phenomena of perception. Suzanne Doppelt is not satisfied to use her camera to describe, represent, or even reveal what could be assumed to lie hidden beneath the appearance of things. In keeping the emphasis on the detail, her camera establishes the articulation of things with the aim of discovering their improbable conjunction and ineluctable complicities.
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Romantic period poems biography

The romantic period is a term applied to the literature of approximately the first third of the nineteenth century. During this time, literature began to move in channels that were not entirely new but were in strong contrast to the standard literary practice of the eighteenth century.How the word romantic came to be applied to this period is something of a puzzle. Originally the word was applied to the Latin or Roman dialects used in the Roman provinces, especially France, and to the stories written in these dialects. Romantic is a derivative of romant, which was borrowed from the French romaunt in the sixteenth century. At first it meant only "like the old romances" but gradually it began to carry a certain taint. Romantic, according to L. P. Smith in his Words and Idioms, connoted "false and fictitious beings and feelings, without real existence in fact or in human nature"; it also suggested "old castles, mountains and forests, pastoral plains, waste and solitary places" and a "love for wild nature, for mountains and moors."The word passed from England to France and Germany late in the seventeenth century and became a critical term for certain poets who scorned and rejected the models of the past; they prided themselves on their freedom from eighteenth-century poetic codes. In Germany, especially, the word was used in strong opposition to the term classical.
The grouping together of the so-called Lake poets (Wordsworth, Coleridge, and Southey) with Scott, Byron, Keats, and Shelley as the romantic poets is late Victorian, apparently as late as the middle 1880s. And it should be noted that these poets did not recognize themselves as "romantic," although they were familiar with the word and recognized that their practice differed from that of the eighteenth century.
According to René Wellek in his essay "The Concept of Romanticism" (Comparative Literature, Volume I), the widespread application of the word romantic to these writers was probably owing to Alois Brandl's Coleridge und die romantische Schule in England (Coleridge and the Romantic School in England, translated into English in 1887) and to Walter Pater's essay "Romanticism" in his Appreciations in 1889.The reaction to the standard literary practice and critical norms of the eighteenth century occurred in many areas and in varying degrees. Reason no longer held the high place it had held in the eighteenth century; its place was taken by imagination, emotion, and individual sensibility. The eccentric and the singular took the place of the accepted conventions of the age. A concentration on the individual and the minute replaced the eighteenth-century insistence on the universal and the general. Individualism replaced objective subject matter; probably at no other time has the writer used himself as the subject of his literary works to such an extent as during the romantic period. Writers tended to regard themselves as the most interesting subject for literary creation; interest in urban life was replaced by an interest in nature, particularly in untamed nature and in solitude. Classical literature quickly lost the esteem which poets like Pope had given it. The romantic writers turned back to their own native traditions. The Medieval and Renaissance periods were ransacked for new subject matter and for literary genres that had fallen into disuse. The standard eighteenth-century heroic couplet was replaced by a variety of forms such as the ballad, the metrical romance, the sonnet, ottava nina, blank verse, and the Spenserian stanza, all of which were forms that had been neglected since Renaissance times. The romantic writers responded strongly to the impact of new forces, particularly the French Revolution and its promise of liberty, equality, and fraternity. The humanitarianism that had been developing during the eighteenth century was taken up enthusiastically by the romantic writers.
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Wednesday, 21 January 2015

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Poetry romantic biography

Hélène Cixous was born on June 5, 1937, in Oran, Algeria. Her father was a French-colonialist, and died while Cixous was young. Her mother was Austro-German, and German was Cixous' first language. Members of her family were Jewish, including her father, and the atrocities of World War II had an early influence on her. Hélène Cixous studied English literature, especially Shakespeare, and read mythology and the German romantics including Heinrich von Kleist. From early in her life she has studied literature in many languages, reading authors like Franz Kafka, Marina Tsvetaeva, and Clarice Lispector.Hélène Cixous went to school in France, and in 1959 passed the agrégation in English. She married the same year and gave birth to her first child, and her second was born in 1962. In 1962 she became assistante at the Université de Bordeaux. In 1965 Hélène Cixous moved from Bordeaux to Paris when she and her husband were divorced. In 1965 she became maître assistante at the Sorbonne, and was then appointed maître de conférences at Nanterre in 1967. Also in 1967 she published her first text, Le Prénom de Dieu (God's First Name). In 1968 she became docteur ès letters, but did not publish her thesis, L'Exil de James Joyce ou l' art du remplacement (translated as The Exile of James Joyce, 1972) until she was a professor in 1969. Shortly after the student riots of 1968, she was appointed chargé de mission to found the experimental Université de Paris VIII at Vincennes. Paris VIII was designed as a place of learning where there was an alternative structure to the usual hierarchies of institutional education, and was formed in response to the critique of the traditional French academic environment. The university gained a strong reputation, especially for its distinguished faculty, including such thinkers as Gérard Genette, Michel Foucault, Tzvetan Todorov, Félix Guattari, and Gilles Deleuze. In 1969, Hélène Cixous, along with Todorov and Genette, founded Poétique, a review for experiments in reading and text. In 1974, while still at Paris VIII, she founded the Centre de Recherches en Etudes Féminines, where she still sits as chair today. The Centre is the first of its kind in Europe.The years from 1969 to 1972 were an exciting period for French intellectuals, working with the possibilities released in the aftermath of May 1968. It was during these years that Hélène Cixous published her first fictional texts: Dedans (1969), for which she was awarded the Prix Médicis, and the trilogy, Le Troisième Corps, Les Commencements, and Neutre (The Third Body, Beginnings, and Neuter, 1970-72). Hélène Cixous questions traditional power structures, examining political and libidinal economies as inspired by the work of Karl Marx and Sigmund Freud. She is an advocate for the freeing of writing, and the freeing of the self through writing.In 1974 Hélène Cixous published Prénoms de personne (Nobody's Name), which is a collection of essays on Sigmund Freud, E. T. A. Hoffmann, Heinrich von Kleist, Edgar Allan Poe and James Joyce. In these texts she explores the associations between the unified or phallic subject, narcissism and death. She reveals how the dialectical structure in writing, specifically in these authors, traps women in a limited exchange or economy, dominated by a desire for death. Inspired by the work of Georges Bataille, she offers a general economy of the gift, related to expenditure and loss. Exchange is a dominant theme in her writing, as she questions its relationship to alterity. If the subject only exists in a differential relationship with others, then to think through new modes of exchange is a method toward social change. Hélène Cixous felt that there must be linguistic change to effect social change, so she studied the effects of exchange on language and writing.Hélène Cixous is known for her experimental writing style, which crosses the traditional limits of academic discourse into poetic language. Her practice crosses many discourses, and she is admired for her role as an influential theorist, as well as a novelist and playwright. Hélène Cixous is also noted for her role in initiating and developing new models of education.
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