Дмитрий Туляков "После модернизма: художник и его время в двух автобиографиях Уиндема Льюиса"

Дмитрий Сергеевич Туляковдепартамент иностранных языков

НИУ ВШЭ (Пермь)

Высшая школа экономики, Пермь, 2015

ПОСЛЕ МОДЕРНИЗМА:ХУДОЖНИК И ЕГО ВРЕМЯ

В ДВУХ АВТОБИОГРАФИЯХ УИНДЕМА ЛЬЮИСА


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Уиндем Льюис – модернист и критик модернизма

Модернизм и автобиография

Художник и время в автобиографиях Льюиса от 1937 к 1947 гг.

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Уиндем Льюис / Wyndham Lewis (1982–1957)

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ПИСАТЕЛЬ

12 романов2 драмы2 сборника рассказов2 автобиографии1 книга о путешествии1 книга поэзии

ХУДОЖНИК

10 персональных выставок31 групповая выставка

КРИТИК

20 книг критики и эссеистики3 журнала

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Уиндем Льюис и канон англо-американского модернизма

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ЛИТЕРАТУРА

Yeats The Tower (1928)

Joyce A Portrait of the Artist as a Young Man (1916), Ulysses (1922)

Lawrence The Rainbow (1915), Women in Love (1921)

Eliot The Waste Land (1922), Four Quartets (1936–42)

Lewis Tarr (1918), The Apes of God (1930)

Woolf Mrs Dalloway (1925), To the Lighthouse (1927)

Pound The Cantos (1922–72)from Rachel Potter’s Modernist Literature (2012)

Мастерские «Омега»;Центр бунтарского искусства(1913)

«Мане и постимпрессионисты» Р. Фрая (1910)

ВортицизмBLAST (1914)

ЖИВОПИСЬ

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Modernist Life Narratives:Bildungsroman, Biography, Autobiography(Ed. by John Paul Riquelme, 2013)

Modernism and Autobiography(Ed. by Maria DiBattista andEmily O. Wittman, 2014)



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Edmund GooseW.B. YeatsJoseph ConradHenry AdamsHenry JamesVirginia WoolfEvelyn WaughGertrud SteinElizabeth Bowen

Ralph EllisonKatherine MansfieldT.S. EliotErnest HemingwayHerbert WellsSamuel BeckettOscar Wilde

etc.



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“… modernist writers … however they differed in temperament, style, class, politics, and, of course, life experiences, cultivated a reputation for iconoclasm … in their assault on traditional notions of what a self, indeed what life, is. Modernist autobiography troubles both the “bios” – the life-matter – and the “auto” – the grammatical and existential first person – of the form.”

Introduction by Maria DiBattista and Emily O. Wittman in Modernism and Autobiography

Modernist life narratives “involve failure of integration, development as deformation, nonlinear temporality, the authenticity of an identity that is not at one with itself, and an opacity about the central figure characterized by masking, turning away, and an evocation of labyrinths rather than revelation, recognition, and certainty about direction and attitude.”

Modernist Transformations of Life Narrative: From Wilde and Woolf to Bechdel and Rushdie by John Paul Riquelme in Modern Fiction Studies



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“The Portrait of the Artist seemed to me like a rather cold and priggish book. It was well done, like the Dubliners … and that was all, that I could discover.”

“It would be difficult, I think, to find a more lifeless, irritating, principal figure than the deplorable hero of the Portrait of the Artist”

“Joyce is fundamentally autobiographical … not in the way that most writers to some extent are, but scrupulously and naturalistically so. The Portrait of the Artist as a Young Man was supposed to give you a neat, carefully-drawn picture of Joyce from babyhood upwards. … It is interesting, honest, even sometimes to naïveté … but it is not promising material for anything but the small, neat naturalism of Dubliners.”

Time and Western Man (1927)


Blasting and Bombardiering

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Подрывник и бомбардир (1937)

“This book is about myself. It’s the first autobiography to take only a section of a life and leave out the rest. Ten years is about the time covered. This is better than starting with the bib and bottle. How many novels are tolerable with the hero in his cradle? And a good biography is of course a sort of novel.”

“I am an artist … I am a novelist, painter, sculpture, philosopher, draughtsman, critic, politician, journalist, essayist, pamphleteer, all rolled into one, like one of those portmanteau-men of the Italian Renaissance.”

“I have been a soldier, a yachtsman, a baby, a massier, a hospital patient, a traveller, a total abstainer, a lecturer, an alcoholic, an editor, and a lot more.”



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Plan of War (1913–1914)

“It is somewhat depressing to consider how as an artist one is always holding the mirror up to the politics without knowing it.”

“With me war and art have been mixed up from the start. It is still. I wish I could get away from war. This book is perhaps an attempt to do so. Writing about war may be the best way to shake the accursed thing off, by putting it in its place, as an unseemly joke.”

“It is desirable to establish a principle of order as we go along in this chaos of instinct called ‘living,’ is it not? … That is the principle upon which this self-history is composed.”



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A Battery Shelled (1913–1914)

Chapter IIIHOW THE GUNNER “FIGHTS”

WARS OF POSITIONONLY INFANTRY FIGHTBLACKGUARDS ON HORSEBACKA BATTERY-OFFICERTO BE BLOODTHIRSTY IN ARTILLERYTHE “PERFECT SOLDIER”

“Need I say that there is nothing so romantic as war? … I am very sorry to have to say this. Only a care for truth compels me to avow it. I am not a romantic. And I don’t like war.”


“Men of 1914”

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“What … history will say about the “Men of 1914” is that they represent an attempt to get away from romantic art into classical art, away from political propaganda back into the detachment of true literature”

“We are not only the "last men of an epoch." . . . We are the first men of a Future that has not materialized. We belong to a "great age" that has not ‘come off’.”

Ezra Pound T. S. Eliot James Joyce

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Rude Assignment

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Грубое предназначение (1947; опубл. 1951)

“… there is nothing here that is simply my private affair and that of nobody else. Quite the contrary: throughout the matters are discussed which are, in the most tragic sense, everybody’s business.”

“… in any account of the work of the composer the circumstances under which the work came to be done play a determining part”

“purely autobiographical matter has no place here”


Rude Assignment

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“It was after all a new civilization that I – and a few other people – were making the blueprints for... A rough design for a way of seeing for men who were not there … It was more than just picture-making: one was making fresh eyes for people and fresh souls to go with those eyes.”

“From the start I have behaved myself as if I were free. It is only by forcibly abstracting myself that I can see it. Automatically I became an artist and an intellectual”

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Education

Дмитрий Туляков "После модернизма: художник и его время в двух автобиографиях Уиндема Льюиса"