By Jean-Michael Rabaté
This leading edge booklet places modernist literature in its cultural, highbrow, and worldwide context, in the framework of the 12 months 1913.Broadens the research of canonical texts and inventive occasions through displaying their cultural and worldwide parallels Examines a couple of simultaneous creative, literary, and political endeavours together with these of Yeats, Pound, Joyce, Du Bois and Stravinsky Explores Pound's Personae subsequent to Apollinaire's Alcools and Rilke's Spanish Trilogy, Edith Wharton's The customized of the rustic subsequent to Proust's Swann's manner
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He began as an itinerant actor in 1895, acting in various locales for 12 years under pseudonyms. In 1907 he found work as an actor and scenarist for films in New York. He was soon hired by the Biograph Company’s studio in New York, where he directed his first film in 1908. These were mostly one-reel nickelodeon comedies. Griffith also shot a number of historical films that were not very successful, and in 1912 shot The Sunbeam, a comedy that prefigures Chaplin’s work. ) The 1912 Female of the Species, a Darwinian tale of survival and jealousy in the desert, was shot on location by Griffith with Claire MacDowell, Mary Pickford, and Dorothy Bernard.
Other 1913 shorts include The Battle of Elderbush Gulch, The Primitive Man, and The House of Darkness, but Griffith was starting to move toward full-length feature films. A two-reel film from 1913, The Mothering Heart, is cloyingly sentimental, featuring Lillian Gish in her first major role (her husband betrays her with another woman while their baby becomes mortally ill). Her inspired acting transcended sentimentality, creating a deeply moving portrait of a woman and mother. In 1908 Griffith had “discovered” a pleasant, cheap suburb of Los Angeles, where he shot one film: Hollywood.
Stravinsky on the other hand, unable to found a new system, relies on nationalistic folklore and a Jungian concept of a collective unconscious (it was not an accident that the idea came to him in a dream). ”14 Adorno realized after the publication of his first essay that he had over-systematized the opposition between the two composers: Schoenberg was not even flattered, but rather angry at the negative evaluation of his old friend Stravinsky; the latter remained Olympian and silent. 15 Adorno is not so sure whether Stravinsky is to be called Freudian or Jungian, which, as will see, as early as 1913 was a real alternative.
1913: The Cradle of Modernism by Jean-Michael Rabaté