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Tome 1, — Hereafter referred to with page numbers in parentheses in the text. For a recent balanced assess- ment of these stories that are mainly considered as Allied propaganda , see John Horne and Alan Kramer, German Atrocities, Tzara is never really explicit in his war criti- cism here, but the references are nevertheless clear. Balayer, nettoyer. If Tzara was trying to voice harsh criticism of a bandit bourgeois culture that led Europe into the abyss of the war, he did so by using the same rhetorical tropes that intellectuals, artists and politicians kept re- peating in that fateful summer of when the conflict erupted.

Only destruc- tion and sacrifice could cleanse, purify and cure modern civilization. Wage a war in the name of peace. Eksteins, Rites of Spring as in note 2 , passim. But there is more to this pic- ture. With his pseudo-metal coating and aerodynamic body, Ball looks in fact like an absurd warhead, a reciting shell. But in that feverish hot summer of he seemed — when cheering and ranting — totally in tune with the loudest voices of his time. A sudden and drastic change of mood must have occurred.

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On 29 July he informed his sister in great detail about his artistic plans, including the staging of exhibitions with French and Russian artists like Kandinsky. The harsh realities of the war sobered him up and his tone changed rad- ically. He actually volunteered the day before, on August 6 cf. Hans Burkhard Schlichting, Frankfurt a. Put on the front-page of the Swiss radical left- wing newspaper Der Revoluzzer in January , it was neither a manifesto nor a pamphlet, but a poem.

There are no abstract strings of sound or hermetic neologisms here. Morgens noch in Schlaf und Traum Mittags schon dahin. Abends schon zuunterst in Grabe drin. Matei Calinescu, Five Faces of Modernity. A similar suggestion in: Pa- trick Bridgwater, The German poets as in note 27 , p.

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Von Blut ist unsere Sonne. Tod ist unser Zeichen und Losungswort. Weib und Kind verlassen wir — Was gehen sie uns an?

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Wenn man sich auf uns nur Verlassen kann. Schlafe nur, schlaf sanft und still, Bis dich auferweckt, Unser armer Leib, den der Rasen deckt. In Germany, the final stanza could have cost Ball his head, provided the censor detected the cruel irony of these lines or their clairvoyant revolutionary spirit. Indeed, the sacrifices of the war would haunt the Emperor until he stepped down.

In February he launched the Cabaret Voltaire in Zurich. In the official Cabaret Voltaire-era publications, the war itself is hardly mentioned at all39, due probably to the strict official Swiss policy of neutrality. Judged from this perspective his relatively short-lived Dada dealings seem like a small interval amidst his relentless critical and literary anti- war protests.

Hubert F. Dorleijn, Avantgarde! Vernieuwingsbewegingen in Noord en Zuid opnieuw beschouwd, Nijmegen: Vantilt, , p. This text also contains a clearly anachronistic reference. Peter Schifferli ed. See: Hirschfeld et al.

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In August he had volunteered for the army and served for a few months before being released because of neuralgia. In Huelsenbeck, along with Ball, staged a few demonstrations against the war effort, but this does not imply that he opposed the conflict as such. To a large extent Dada fed on the Futurist energy that had always been aggressive and warlike. Hans Richter, Dada. Art and anti-art, London: Thames and Hudson, , p.

Die Ideologie Dadas […] ist derjenigen des Futurismus diametral entgegen- gesetzt.

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Texte, Manifeste, Aktionen, Philipp Reclam jun. The war is not a central topic in his volume Phantastische Gebete, but ref- erences to its rhetoric are not hard to find. The war affected all aspects of daily life, including language, which was battered and maimed in the omnipresent propaganda. Huelsenbeck did not strive for a poetic redress, but for an imagi- native exploitation of the situation.

This violent undertone is present too in his performances of his wartime poetry. Not only did Huelsenbeck include onomatopoetic shrieks and bangs, his use of an army drum also alluded to the war, and its often piercing sound amidst incomprehensible cries must have disoriented the audience not unlike the war did the soldiers in the trenches.

The war was not deplored in solemn hymns, but evoked in a turmoil of sound that was both hilarious and discomforting.

Van Rees and Prampolini ibid. When Germany declared war on France Arp was in Cologne. To avoid conscription he took one of the last trains to Paris. Whereas his colleagues often took recourse to violence, Arp seems to have revelled in beauty and wit. The war was not play at all for him. Apparently torn be- tween two countries, it hurt him when his artistic friends criticised Germany. Besides, it was not his first stint there.

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