Word Association!!

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Mazes & Muses

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Likely the most famous of Theseus’ deeds was the slaying of the Minotaur (64.300; 47.11.5; 09.221.39). Athens was forced to pay an annual tribute of seven maidens and seven youths to King Minos of Crete to feed the Minotaur, half man, half bull, that inhabited the labyrinthine palace of Minos at Knossos. Theseus, determined to end Minoan dominance, volunteered to be one of the sacrificial youths. On Crete, Theseus seduced Minos’ daughter, Ariadne, who conspired to help him kill the Minotaur and escape by giving him a ball of yarn to unroll as he moved throughout the labyrinth (90.12a,b). Theseus managed to flee Crete with Ariadne, but then abandoned her on the island of Naxos during the voyage back to Athens.
https://www.metmuseum.org/toah/hd/thes/hd_thes.htm
 
Blue Muse

​

Beneath the crags of dream

the wild woman paints a sign

past and future undecided.

With nacre lips, she whispers

words of cool vermouth.



Below the dolorous crags of dream

itinerant shadows, petulant colors, viscous lies.

Flowers crane to watch her dance.

Shadows chase her feet.

She is the opposite of what I know.



Everything begins in her land

of insignias and charms.

Ghosts drift like clouds

in the star-touched night.

Shade and shape tremble in the trees.



She sheds her armor of limpid magic.

She sips from a river that has lost its way.

Quietly she calls a name.

The sun and moon align

like a perpetual trap.

I tangle in her hours.
 
Bagumbawalla said:
Maize Maze

Click to expand...
This triggered thoughts of Kubrick and the Steadycam.


In 1974, Stanley Kubrick received a print of the 35mm demonstration film shot with the original prototype of what would later be called the “Steadicam.”

To date, it cannot be said with complete conviction that the Steadicam has revolutionized the way films are shot. [Author’s Note: My present self would say that, amazingly, it has!] However, the Steadicam had a considerable effect on the way The Shining was shot. Many of Kubrick’s tremendously convoluted sets were designed with the Steadicam's possibilities in mind and were not, therefore, necessarily provided with either flyaway walls or dolly-smooth floors. One set in particular, the giant Hedge Maze, could not have been photographed as Kubrick intended by any other means.
https://theasc.com/articles/steadicam-shining-revisited
 
Bagumbawalla said:
Blue Muse

​

Beneath the crags of dream

the wild woman paints a sign

past and future undecided.

With nacre lips, she whispers

words of cool vermouth.



Below the dolorous crags of dream

itinerant shadows, petulant colors, viscous lies.

Flowers crane to watch her dance.

Shadows chase her feet.

She is the opposite of what I know.



Everything begins in her land

of insignias and charms.

Ghosts drift like clouds

in the star-touched night.

Shade and shape tremble in the trees.



She sheds her armor of limpid magic.

She sips from a river that has lost its way.

Quietly she calls a name.

The sun and moon align

like a perpetual trap.

I tangle in her hours.
Click to expand...

Pushkin
do-sharp.png
 
Kiki

Kiki de Montparnasse was a model, singer, painter, and memoirist who served as a muse to many famous artists in the 1920s:

  • Man Ray: An American avant-garde artist who was Kiki's lover and companion for most of the 1920s. Ray's most famous works of Kiki include Le Violon d'Ingres and Noire et Blanche.

  • Tsuguharu Foujita: One of the first painters in Paris to gain fame for his portrait of Kiki.

  • Alexander Calder: An artist who painted Kiki.

  • Per Krohg: An artist who painted Kiki.

  • Pablo Gargallo: Painted Kiki de Montparnasse, which is in the Musee du Louvre in Paris.

  • Kees van Dongen: Painted Portrait of a Woman with a Cigarette (Kiki de Montparnasse), which is in the Museo Thyssen-Bornemisza in Madrid.
Kiki was born Alice Prin in Burgundy in 1901. She was raised by her grandmother after her parents abandoned her. She moved to Paris at age 12 to live with her mother, who disowned her after she modeled nude for a sculptor.


Kiki was a defining figure of the liberated culture of Paris in the 1920s, also known as the Années folles ("crazy years" in French). She was known as the "Queen of Montparnasse".


 
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Lee Miller

How Lee Miller Out-Surrealed the Surrealists​

An artist, muse, fearless war correspondent, and professional chef, Miller looked at the world with a flair for drama—and an eye for the unexpected.​

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​

Miller was surrounded by Surrealist men in both her personal and professional lives. Her mentor turned lover, Man Ray, introduced her to Surrealist art and artistic circles in late 1920s Paris; she starred in Jean Cocteau’s The Blood of a Poet (1930); her second husband, Roland Penrose, was an established practitioner of Surrealism in Britain and later a cofounder of the Institute of Contemporary Arts in London. But while these influences were important to her, Miller had her own decided view of the world. “I think she’s a Surrealist from the beginning to the end,” says Patricia Allmer, author of Lee Miller: Photography, Surrealism, and Beyond (2016).
https://aperture.org/editorial/how-lee-miller-out-surrealed-the-surrealists/

 
"Intuition is the key to everything, in painting, filmmaking, business – everything. I think you could have an intellectual ability, but if you can sharpen your intuition . . . then a knowingness occurs."
-- David Lynch

“Ideas are like fish. If you want to catch little fish, you can stay in the shallow water. But if you want to catch the big fish, you’ve got to go deeper. Down deep, the fish are more powerful and more pure. They’re huge and abstract. And they’re very beautiful.”
-- David Lynch

 
I find it [science] analytical, pretentious and superficial-largely because it does not address itself to dreams,
chance, laughter, feelings, or paradox-in other words,-all the things I love the most.
-Luis Bunuel

 
Stream of Consciousness

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How James Joyce Developed Stream-of-Consciousness Novels​

Andrew Spacey
Nov 2, 2023

In 1922, Irish novelist and writer James Joyce published one of the most influential and difficult novels of modern times, Ulysses. He used a relatively new narrative technique known as stream of consciousness: going inside the characters' minds to reveal their innermost thoughts, feelings, and sensations.

Joyce acknowledged that the idea for his controversial technique came from a French novelist, Edouard Dujardin, in particular from a short novel he'd written that appeared in serial form in a Paris magazine, La Revue Wagnerienne, in 1887. These chapters were collected into a book and published in 1888.

One day, Joyce reportedly bought the book at a French railway bookstall, and Dujardin's book, Les lauriers sont coupés (the laurels have been cut), sparked Joyce's interest.

Who First Coined the Phrase "Stream of Consciousness"?​

It was the brother of writer Henry James, psychologist William James, who first wrote about stream of consciousness in his The Principles of Psychology, published in several volumes between1878 and 1890 and collected in one book in 1890, the culmination of his work on the theory of mind. His was one of the first attempts to acknowledge the inner life of the mental processes.

In the first recorded mention of the term, William James wrote: "A river or stream is the metaphor by which it (consciousness) is most naturally described. In talking of it hereafter, let us call it the stream of thought, of consciousness, or of subjective life."

Fiction Writers and the Novel​

Fiction writers and novelists before Dujardin and Joyce had used conventional techniques to help the reader get into the minds, hearts, and souls of their characters. This shift allowed readers to enter the river of the mind and follow the flow of the character's feelings, thoughts, ideas, associations, and subconscious perceptions.

Which Novelists Were the First to Use Stream of Consciousness?​

  • Edouard Dujardin (1861–1949) pioneered the technique of opening up and displaying mental processes directly to the reader.
  • Dorothy Richardson (1873–1959) used the technique in Pilgrimage, 1915.
  • James Joyce (1882–1941) used it in A Portrait of an Artist as a Young Man (1916) and took the technique to the extreme in his later novels.
  • Virginia Woolf (1882–1941) used it in Mrs Dalloway, 1925.
  • William Faulkner (1897–1962) in As I Lay Dying, 1930.
  • Samuel Beckett (1906–1989) in his trilogy Molloy (1951), Malone Dies, and The Unnameable.
  • Jack Kerouac (1922–1969) in On the Road in 1957.
https://owlcation.com/humanities/Edouard-Dujardin-James-Joyce-and-Stream-of-Consciousness-Writing
 
Nouveau Roman

A group of writers dubbed Nouveaux Romanciers, "new novelists", appeared in the mid-1950s: Alain Robbe-Grillet, Claude Simon, Nathalie Sarraute, Michel Butor and Robert Pinget. The style had different approaches but generally rejected the traditional use of chronology, plot and character in fiction, as well as the omniscient narrator. The Nouveau Roman authors were open to influences from writers such as William Faulkner and the cinema. Both Robbe-Grillet and Marguerite Duras, whose 1958 novel Moderato cantabile was in the style of the Nouveau roman, also contributed to the French New Wave style of filmmaking.
 
Tropisms
Tropisms
Nathalie Sarraute
New Directions Publishing - 10.00€ - out of stock
Nathalie Sarraute's Tropisms is considered one of the defining texts of the nouveau roman movement. Tropisms was championed as a masterpiece by Jean Genet, Marguerite Duras, and Jean-Paul Sartre, who hailed Sarraute as his favorite "anti-novelist." Sarraute defined her Tropisms as the "movements that are hidden under the commonplace, seemingly harmless instances of our everyday lives." Like figures in a grainy and shadowy photo, the characters in Tropisms are barely defined, the narrative never developed beyond a stressed moment. Instead, Sarraute brilliantly highlights the shift in tone through remarks or subtle details when a relationship changes, when we fall slightly deeper into or begin to emerge out of love or trust, or when something innocent tilts by the smallest degree toward suspicion.
Tropisms--something like 'prose poems'--as Sarraute calls them that-- this is her form! Her texture is anti-novelistic, though she's decided to write 'novels' and launched an important critique of the novel on the basis of her method.--Susan Sontag

“She went from room to room, nosed about in the kitchen, banged furiously on the door of the bathroom which someone was occupying, and she wanted to break in, to manage, to give them a shaking, to ask them if they were going to stay in there for an hour, or remind them that it was late, that they were going to miss the car or the train, it was too late, that they had already missed something because of their carelessness, their negligence, or that their breakfast was ready, that it was cold, that it had been waiting for two hours, that it was stone-cold . . . And it seemed that from her viewpoint there was nothing uglier, more contemptible, more stupid, more hateful, that there was no more obvious sign of inferiority, of weakness, than to let one’s breakfast grow cold, than to come late for breakfast.”
― Nathalie Sarraute, Tropismes
 
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