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Carl Einstein and Cubism

  • Journal of Humanities
  • 2018, (68), pp.203-230
  • DOI : 10.31310/HUM.068.08
  • Publisher : Institute for Humanities
  • Research Area : Humanities > Other Humanities
  • Received : January 8, 2018
  • Accepted : February 8, 2018
  • Published : February 28, 2018

MiRi Park 1

1성균관대학교

Accredited

ABSTRACT

This article is aimed at analyzing the Cubism theory by Carl Einstein and examining a poem as an example that Cubism was adapted into literature. Unlike Euclid spatial concept, the space that Einstein considered to be the basis of Cubism paintings is discontinuum of the qualitative space. A symbol of volume is generated by the integration of visual, sensory, and motor senses that occur in the space of memory. Three-dimensional spatial experiences arising from integration is demonstrated to be simultaneously coexisting after spreading into different two-dimensional viewpoints on the same subject for analysis in the two-dimensional picture space. In alignment with this, fragmentation of the poetic subject, exchanges of viewpoints, and simultaneity of the different reality aspects are found in literary Cubism. As such, the poem “Tötlicher Baum” makes us recognize the organizational principle of Cubism such as the destruction of the subject surface, simultaneity of the different viewpoints on the subject, the development of spatial sense and so on.

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