By Michael Finkenthal
Benjamin Fondane: A Poet-Philosopher stuck among the Sunday of historical past and the Existential Monday examines the existence and paintings of Benjamin Fondane, a poet and a literary critic, a thinker and a playwright, who wrote movie scripts and labored as a director at the level in addition to in motion pictures. furthermore, Fondane was once energetic in cultures, the Romanian and the French. His existential philosophy is very proper to the area of latest Jewish concept, and his literary actions are associated with the twentieth-century ecu avant-garde. This publication discusses all of those issues and offers history for the Romanian and French cultural scene of the interval in addition to finding the author in the context of the dramatic occasions of the 20th century.
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Extra resources for Benjamin Fondane: A Poet-Philosopher Caught Between the Sunday of History and the Existential Monday
He pointed out that giving expression to one’s discontent, bringing forth one’s doubts, or manifesting a cynical denial of reality is not enough to make literature; art will always exist and the writer will have to create the “unreal” by delving into the surrounding reality. indd 24 9/24/12 10:56 AM Benjamin Fondane’s First Years in Paris 25 tionist program, and in 1924, he announced the tenets of the new movement in the first surrealist manifesto. The rising stars of poetry the NRF was publishing or writing about at the time of Fondane’s arrival in Paris were Philippe Soupault, Louis Aragon, and Paul Eluard.
The issue was essentially about how to find a direction for a movement that postulated the absolute value of the lack of any direction. indd 38 9/24/12 10:57 AM Between Avant-Garde and the New Art of Cinema 39 inner conflict: that between the poet he was and the one he wanted (or was led) to become. We began this chapter by quoting an observation about Fondane as identifying himself with the avant-garde in Romania but maintaining a safe distance from it in France. In post–WWI Romania, the avant-garde movement in both arts and literature represented a conglomerate of trends that found a common denominator in their opposition to a tradition anchored in archaism and nationalistic values.
14 Under the title page the author marked “Paris 1925” and two chapters added to the manuscript (“Faux concepts de l’art classique” and “Le concept du beau”) signed B. 15 It can, therefore, be safely assumed that these texts expressed the young author’s most recent thoughts on art and literature. The texts were written in French and their declared intent was to develop a “discourse against the idea of the art for the sake of art”; that is, the essays were meant to convey a new aesthetic that diverged from the ideas of purity of the artistic-literary act and the supremacy of art over the actual existence of the artist.