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- Author or Editor: Péter Egri x
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Abstract
In his later career, John Cage came to be increasingly interested in James Joyce’s Finnegans Wake. His admiration has resulted in setting parts of Joyce’s dream myth into music. The author of this paper argues that Cage’s The Wonderful Widow of Eighteen Springs, setting a passage from page 556 of Finnegans Wake, has, as it were, “elongated”, crystallized and condensed the inherent musicality of Joyce’s text, whereas Cage’s later recompositions ofthe Wake, adopting Postmodern procedures, have substituted chance for Joyce’s structure.
One man's ambiguity is another's ambivalence
The success and failure of rendering Shakespeare in painting and music
The genesis and resolution of absurdity
Samuel Beckett,Act Without Words I andCatastrophe
Abstract
This paper provides a comparative analysis of Marcel Duchamp's half-Cubist, half-Futurist painting Nude Descending a Staircase (1912) and Tom Stoppard's play Artist Descending a Staircase (1972). It examines the way in which Stoppard playfully temporalizes Duchamp's dynamic concept of space and confronts traditional and avant-garde positions of art. A continuation of After Magritte and an anticipation of Travesties, Stoppard's Artist Descending a Staircase is a brilliant series of contradictory caricatures voicing its author's often repeated and sometimes revised conviction: "In any community of a thousand souls there will be nine hundred doing the work, ninety doing well, nine doing good, and one lucky dog painting or writing about the other nine hundred and ninety-nine." (ADS, 144)
