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引用次数: 0
摘要
摘要:在20世纪50年代和60年代,除了他的作家和诗人圈子之外,William Demby经常光顾罗马艺术界:他与年轻艺术家如Toti Scialoja、Mimmo Rotella、Francesco Lo Savio和Mario Schifano交往。我对《地下墓穴》(1965)的分析探讨了他与视觉艺术世界的密切关系——在某种程度上,他本人实际上致力于文字和图像的创造性实验,以寻求文学和绘画之间可能的融合(或污染)。在界定德米比的创作个性方面,我主要关注罗马艺术语境的重建,特别强调了德米比与意大利艺术家之间的关系,并详细概述了对德米比创作产生不可否认影响的文化状况。
Ut pictura poësis: William Demby's Writings and the Roman Visual Neo-Avant-Garde
Abstract:In the 1950s and '60s, beyond his circle of writers and poets, William Demby frequented the Roman art community: He kept company with young artists such as Toti Scialoja, Mimmo Rotella, Francesco Lo Savio, and Mario Schifano. My analysis of The Catacombs (1965) explores his intense relationship with the world of visual arts—to the extent that he himself actually worked on creative experiments of words and images in search of a possible integration (or contamination) between literature and painting. Working toward the definition of Demby's creative personality, I focus mainly on the reconstruction of the Roman artistic context, especially emphasizing the relationship between Demby and Italian artists and giving a detailed overview of the cultural situation that had an undeniable impact on Demby's creativity.
期刊介绍:
As the official publication of the Division on Black American Literature and Culture of the Modern Language Association, the quarterly journal African American Review promotes a lively exchange among writers and scholars in the arts, humanities, and social sciences who hold diverse perspectives on African American literature and culture. Between 1967 and 1976, the journal appeared under the title Negro American Literature Forum and for the next fifteen years was titled Black American Literature Forum. In 1992, African American Review changed its name for a third time and expanded its mission to include the study of a broader array of cultural formations.