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| | Penguin's choice to use Bruegel's painting for its Waste Land cover reveals that the editor perceives death and religion to be the most essential aspects of the poem. Bruegel's painting depicts a battle in which death, personified as a militia of skeletons, overwhelms a force of men. | | Penguin's choice to use Bruegel's painting for its Waste Land cover reveals that the editor perceives death and religion to be the most essential aspects of the poem. Bruegel's painting depicts a battle in which death, personified as a militia of skeletons, overwhelms a force of men. |
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| − | Delaunay himself remarked that St. Severin noted “a period of transition from Cézanne to Cubism.”http://www.guggenheim.org/new-york/collections/collection-online/show-full/piece/?search=Cubism&page=1&f=Movement&cr=7
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| − | Ezra Pound compared his editing of magazines as “a simple-hearted anthropologist putting specimens into different large boxes--merely for present convenience tumbling things apparently similar into the same large box until a more scientific and accurate and mature arrangement is feasible.”http://courses.utulsa.edu/modmag/files/userfiles/file/scholes-wulfman-rethinking.pdf
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| − | “Robert Delaunay chose the view into the ambulatory of the Parisian Gothic church Saint-Séverin as the subject of his first series of paintings, in which he charted the modulations of light streaming through the stained-glass windows and the resulting perceptual distortion of the architecture.” Link within
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| − | “Relatively few of them [visualizations] are there to offer the reader the open possibilities of interpretive insight”
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| − | http://courses.utulsa.edu/modmag/files/userfiles/file/ramsay-praise-pattern.pdf
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| − | “suggestive pattern”http://courses.utulsa.edu/modmag/files/userfiles/file/ramsay-praise-pattern.pdf
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| − | “This diagnosis of German ‘evil’--a policy of imperialism, ruthless force, and materialism orchestrated by a Prussian elite of little mean, aggressive statesmen and professors--is reiterated in one form or another in nearly every patriotic article, poem, and poster produced during the first year of war.”http://courses.utulsa.edu/modmag/files/userfiles/file/peppis-multitude-other-blasts.pdf
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| − | Eliot's poem similarly circles round its subject, seeing it from many angles which are then intercut without transitions, the fragments being welded into a new conceptual unity in a complicated system of echoes, contrasts, parallels, and allusions. (64)
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| − | "Our conceptual knowledge of an object in the external visible world, for instance, rests on the basis of a store of 'snapshots' of it which we have accumulated in our memory over the passage of time." (68)
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| − | "Instead of presenting an illusory perspective, the cubists depict a cognitive map of the object such as accumulates in the memory from a variety of experiences of it."
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| − | http://0-www.jstor.org.library.utulsa.edu/stable/441241?seq=1
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| − | "...the work of literary art exists in more than one place at the same time. That means that any particular version that we study of a text is always already a construction, one of many possible in a world of constructions." (5)
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| − | "...indeed, the literary work might be said to exist not in any one version, but in all the versions put together. In reading a particular page we would want to know of the other versions of that page and the first step in reading would then be to discover what page exist with claims on our attention." (6) http://courses.utulsa.edu/modmag/files/userfiles/file/bornstein-ch1-how-to-read.pdf
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| − | <html><a target="iframe" href="http://0-library.artstor.org.library.utulsa.edu/library/secure/ViewImages?id=8DdSZjUkITI%2BICo%2BdSUURXorXX4peFhzcQ%3D%3D&userId=hTRAcg%3D%3D&zoomparams="><img src="http://md2.artstor.net/thumb/imgstor/size0/gernsheim/d0001/gugg_perm_41.462_ph_as_8b_srgb.jpg" alt="Saint-Séverin No. 3" title="Saint-Séverin No. 3"></a><iframe name="iframe" width="1" height="1" src="" frameborder="0" scrolling="yes"></iframe></html>
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