Manifesto: A Century of Isms

Front Cover
Mary Ann Caws
U of Nebraska Press - History - 713 pages
1 Review
The first anthology of its kind, Manifesto features over two hundred artistic and cultural manifestos from a wide range of countries. The manifesto, a public statement that sets forth the tenets of a forthcoming, existing, or potential movement or "ism"?or that plays on the idea of one?became in various modernisms a°crucial and forceful vehicle for artists, writers, and other intellectuals to express their ideas about the direction of aesthetics and society.

Included in this collection are texts ranging from Kurt Schwitters's Cow Manifesto to those written in the name of well-known movements?imagism, cubism, surrealism, symbolism, vorticism, projectivism?and less well-known ones?lettrism, acmeism, concretism, rayonism. Also covered are expressionist, Dada, and futurist movements from French, Italian, Russian, Spanish, and Latin American perspectives, as well as local movements, such as Brazilian hallucinism.

Influential, startling, unsettling, amusing, and continually engaging, these modernist manifestos give voice to a fascinating array of ideas and opinions that will prove invaluable to scholars and students of nineteenth and twentieth-century art, literature, and culture.

 

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Manifesto: a century of isms

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Caws (English, French, and comparative literature, CUNY; The Surrealist Look: An Erotics of Encounter, The Surrealist Painters and Poets) performs an important service here with this anthology of ... Read full review

Contents

I
xix
II
xxxiii
III
1
IV
3
V
15
VI
17
VII
18
VIII
21
LXVIII
221
LXIX
224
LXX
226
LXXI
230
LXXII
231
LXXIV
233
LXXVI
235
LXXVIII
236

IX
24
X
27
XI
50
XII
52
XIII
54
XIV
56
XV
63
XVI
71
XVII
86
XVIII
97
XIX
99
XX
100
XXI
102
XXII
113
XXIII
115
XXIV
120
XXV
123
XXVI
126
XXVIII
127
XXIX
128
XXX
129
XXXI
131
XXXII
132
XXXIII
133
XXXIV
136
XXXV
138
XXXVI
141
XXXVII
143
XXXVIII
144
XXXIX
146
XL
148
XLI
149
XLII
150
XLIII
152
XLIV
155
XLV
156
XLVI
159
XLVII
160
XLVIII
163
XLIX
164
L
165
LI
167
LII
170
LIII
172
LIV
178
LV
182
LVI
185
LVII
190
LVIII
191
LIX
196
LX
197
LXI
201
LXII
205
LXIII
212
LXIV
213
LXVI
217
LXXIX
237
LXXX
238
LXXXI
240
LXXXII
244
LXXXIII
247
LXXXIV
248
LXXXV
249
LXXXVI
251
LXXXVIII
252
LXXXIX
255
XC
259
XCI
260
XCII
261
XCIII
262
XCIV
264
XCV
269
XCVI
271
XCVII
272
XCVIII
273
XCIX
275
C
277
CI
279
CII
280
CIII
282
CIV
287
CV
290
CVI
292
CVII
293
CVIII
294
CIX
296
CX
297
CXI
304
CXII
305
CXIII
308
CXIV
310
CXV
311
CXVI
312
CXVII
314
CXIX
316
CXX
317
CXXI
319
CXXII
320
CXXIII
322
CXXIV
324
CXXV
327
CXXVI
330
CXXVII
331
CXXVIII
333
CXXIX
334
CXXX
335
CXXXI
667
CXXXII
669
CXXXIII
671
CXXXIV
680
CXXXV
683
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Page 15 - Nature contains the elements, in colour and form, of all pictures, as the keyboard contains the notes of all music. But the artist is born to pick, and choose, and group with science, these elements, that the result may be beautiful — as the musician gathers his notes, and forms hia chords, until he bring forth from chaos glorious harmony.

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About the author

\Mary Ann Caws is Distinguished Professor of English, French, and Comparative Literature at the Graduate School of the City University of New York. She is the°author, editor, or translator of over forty books, including The Surrealist Look: An Erotics of Encounter and The Surrealist Painters and Poets.

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