I shall be, perhaps, more lucid if I give, briefly, the history of the vorticist art with which I am most intimately connected, that is to say, vorticist poetry. Imagisme, in so far as it has been known at all, has been known chiefly as a stylistic movement, as a movement of criticism rather than of creation. So much for the general category.
At whatever level we study it--relationships Rhythm essay individuals, new names for sports clubs, the human admixture at cocktail parties, in the police, on the directing boards of national or private banks--decolonization is quite simply the replacing of a certain "species" of men by another "species" of men.
Without any period of transition, there is a total, complete, and absolute substitution. It is true that we could equally well stress the rise of a new nation, the setting up of a new state, its diplomatic relations, and its economic and political trends.
But we have precisely chosen to speak of that kind of tabula rasa which characterizes at the outset all decolonization. Its unusual importance is that it constitutes, from the very first day, the minimum Rhythm essay of the colonized.
To tell the truth, the proof of success lies in a whole social structure being changed from the bottom up. The extraordinary importance of this change is that it is willed, called for, demanded.
The need for this change exists in its crude state, impetuous and compelling, in the consciousness and in the lives of the men and women who are colonized. But the possibility of this change is equally experienced in the form of a terrifying future in the consciousness of another "species" of men and women: Decolonization, which sets out to change the order of the world, is, obviously, a program of complete disorder.
But it cannot Rhythm essay as a result of magical practices, nor of a natural shock, nor of a friendly understanding.
Decolonization, as we know, is a historical process: Decolonization is the meeting of two forces, opposed to each other by their very nature, which in fact owe their originality to that sort of substantification which results from and is nourished by the situation in the colonies.
Their first encounter was marked by violence and their existence together--that is to say the exploitation of the native by the settler--was carried on by dint of a great array of bayonets and cannons.
The settler and the native are old acquaintances. In fact, the settler is right when he speaks of knowing "them" well. For it is the settler who has brought the native into existence and who perpetuates his existence.
The settler owes the fact of his very existence, that is to say, his property, to the colonial system. Decolonization never takes place unnoticed, for it influences individuals and modifies them fundamentally.
It transforms spectators crushed with their inessentiality into privileged actors, with the grandiose glare of history's floodlights upon them. It brings a natural rhythm into existence, introduced by new men, and with it a new language and a new humanity. Decolonization is the veritable creation of new men.
But this creation owes nothing of its legitimacy to any supernatural power; the "thing" which has been colonized becomes man during the same process by which it frees itself.
In decolonization, there is therefore the need of a complete calling in question of the colonial situation. If we wish to describe it precisely, we might find it in the wellknown words: That is why, if we try to describe it, all decolonization is successful. The naked truth of decolonization evokes for us the searing bullets and bloodstained knives which emanate from it.
For if the last shall be first, this will only come to pass after a murderous and decisive struggle between the two protagonists. That affirmed intention to place the last at the head of things, and to make them climb at a pace too quickly, some say the well-known steps which characterize an organized society, can only triumph if we use all means to turn the scale, including, of course, that of violence.
You do not turn any society, however primitive it may be, upside down with such a program if you have not decided from the very beginning, that is to say from the actual formulation of that program, to overcome all the obstacles that you will come across in so doing.
The native who decides to put the program into practice, and to become its moving force, is ready for violence at all times. From birth it is clear to him that this narrow world, strewn with prohibitions, can only be called in question by absolute violence. The colonial world is a world divided into compartments.
It is probably unnecessary to recall the existence of native quarters and European quarters, of schools for natives and schools for Europeans; in the same way we need not recall apartheid in South Africa. Yet, if we examine closely this system of compartments, we will at least be able to reveal the lines of force it implies.
This approach to the colonial world, its ordering and its geographical layout will allow us to mark out the lines on which a decolonized society will be reorganized.
The colonial world is a world cut in two. The dividing line, the frontiers are shown by barracks and police stations. In the colonies it is the policeman and the soldier who are the official, instituted go-betweens, the spokesmen of the settler and his rule of oppression.Pound's influential essay framing one of the modern era's most overlooked movements.
'Vorticism is art before it has spread itself into flaccidity..'.
Amid failing UN peacekeeping efforts, South Sudan's long and difficult rainy season is the only reprieve from ongoing civil war. This report by Joshua Craze, with photographs by Jérôme Tubiana, offers a rare glimpse into the everyday struggles facing the ravaged country. Marina Abramović (Serbian Cyrillic: Марина Абрамовић, pronounced [marǐːna abrǎːmoʋitɕ]; born November 30, ) is a Serbian performance artist.
Her work explores the relationship between performer and audience, the limits of the body, and the possibilities of the mind. This is Greenberg's breakthrough essay from , written for the Partisan Review when he was twenty-nine years of age and at the time more involved with literature than with painting.
He came, later, to reject much of the essay -- notably the definition of kitsch which he later believed to .
Ranadivé’s basketball team played in the National Junior Basketball seventh-and-eighth-grade division, representing Redwood City. The girls practiced at Paye’s Place, a gym in nearby San Carlos.
What is rhythm in writing and how does rhythm help you improve your writing? Check this tutorial with examples of rhythm in writing.