Friday, December 29, 2000
[minstrels] There Was an Old Man with a Beard -- Edward Lear
Lear's limericks are defined, arrgh, '*boring*': an heresy in an otherwise wonderful site.
posted by Marco Graziosi 4:29 PM
[minstrels] The Akond of Swat -- Edward Lear
posted by Marco Graziosi 4:27 PM
[minstrels] The Great Panjandrum -- Samuel Foote
Another classic of Nonsense literature.
posted by Marco Graziosi 6:57 AM
[minstrels] The Owl and the Pussy-Cat -- Edward Lear
See the previous item.
posted by Marco Graziosi 6:52 AM
[minstrels] The Pobble Who Has No Toes -- Edward Lear
The Lear poem with a short, but funny, commentary.
posted by Marco Graziosi 6:49 AM
Thursday, December 28, 2000
Die Unart des Artig-Seins
Hans Magnus Enzensberger richtete für Kinder im Residenzhof einen "Kompletten Nonsens" ein und sprach selbst sogar mit der Stimme der Fische.
[In German, about a show held in Saltzburg in August 1999 which included sung translations of Lear poems.]
Salzburger Nachrichten
posted by Marco Graziosi 6:50 AM
PUNCH'S PROGRESS: A CENTURY OF AMERICAN PUPPETRY
November 19-December 31
Special Exhibition Galleries
The Detroit Institute of Arts
The character of Punch first appeared in America prior to the Revolutionary War when his destruction by a dog at a local fair was reported in the Virginia Gazette. Since that time, the art of puppetry has become a significant part of American popular culture, repeatedly adapting to shifting audience interests as well as the introduction of motion pictures and television. Punch's Progress: A Century of American Puppetry traces the changing face of American Puppetry from 1850 to 1950, with examples from The Detroit Institute of Arts' Paul McPharlin Collection of Puppetry and Theatre Arts.
posted by Marco Graziosi 6:36 AM
Destiny of a great decadent
Roussel’s main literary output comprised the two novels Locus Solus and Impressions d’Afrique, adaptions of his fiction for theatre, the long poem Nouvelles Impressions d’Afrique, and a posthumously published work in which he set out to elucidate his abstruse compositional methods. Like Proust, Roussel paid for the publication of his books, and while his work invited either ridicule or neglect from the mainstream, it attracted serious attention from the surrealists, and in particular Breton, Dali and Duchamp.
The Times
posted by Marco Graziosi 1:01 AM
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