#ESTRATEGIA PARA HADES AGE MYTHOLOGY PLUS#

Though the poem was created in Paris, we can locate it in terms of New YorkвЂ™s own symbolically resonant geography: while we live, we are all вЂњbeing held momentarilyвЂќ, as the subway conductors say, at Times Square. The apparition of these faces in the crowd ДЈWith its Kore-in-hell motif, PoundвЂ™s mini-icon of modernity situates the life and death drive of urban civilization at the underground intersection of thought and feeling, nature and culture, the stationary and the transitory. And in fact, the most powerful remnant of the short-lived Imagist movement is precisely that, a two-line poem recording an instantaneous visual, emotional, and intellectual perception of the world below: Ezra PoundвЂ™s famous definition of the poetic image seems ready-made for a subway encounter: вЂњAn вЂImageвЂ™ is that which presents an intellectual and emotional complex in an instant of timeвЂќ (Pound 4). But the impressions can also be psychological and artistic. This is no surprise in the physical sense, since the Latin root of вЂњinstantвЂќ is instare, to stand upon, and anyone who has experienced rush hour on the IRT will have been stood uponвЂ“or even sat uponвЂ“many times. People come together for a brief вЂњcity instantвЂќ, the time it takes to get from one stop to another, and then part, usually forever.ДўStill, they often leave lasting impressions. In classical mythology, the journey to the underworld is usually conceived as an epic adventure for a unique hero, but in New York it is a mundane and inescapably sociable activity. New York is indeed вЂњa helluva townвЂќ, and mass transit ferries people back and forth over the Stygian East River and into the metropolitan underworld with relentless efficiency.

The Elevated and the subway belong in a sense to the kingdom of Hades, a parallel urban world of pale spirits that either casts or dwells in an eternal gloom. A second city once surged through the sky, and still burrows underground. Haut de pageДЄnd the people ride around in a hole in the groundД«etty Comden and Adolph Green, On the Town (1944)ДЎNew YorkвЂ™s double life is not merely linguistic. In EvansвЂ™s photos, the visual short circuit that characterizes subway spectatorship (look but donвЂ™t get looked at) finds its most striking expression. I conclude with a more sustained look at the haunting subway photographs taken secretly by Walker Evans from 1938-1941. My examples are taken from poetry and prose, painting and photography, including works by Stephen Crane, Hart Crane, Charles Reznikoff, Allen Ginsberg, Elizabeth Bishop, Paul Blackburn, George Tooker, Edward Hopper, Everett Shinn, Thomas Hart Benton, John Sloan, Leroi Jones, and Ralph Ellison. In this essay I explore the visual and verbal representation of New YorkвЂ™s otherworldly transit system in terms of what may be its most striking motifs-theatricality and spectatorship. Passengers play a complex game of visual hide-and-seek with each other as they try to scrutinize the people around them without being caught in the act. While the descent into the subway station and the ride along endless miles of subterranean tracks are almost inevitably figured as a journey to the Underworld, the whole affair is an inescapably social event. Images of the New York subway and its precursors, the Elevated train and the horse-car, hold a special place in American culture.

#ESTRATEGIA PARA HADES AGE MYTHOLOGY PLUS#

Dans ces photographies dвЂ™Evans, le court-circuit visuel caractГ©risant le rГґle des spectateurs dans le mГ©tro (voir sans ГЄtre vu) trouve son expression la plus poignante. Je me consacre en dernier lieu Г une observation plus attentive des photographies de mГ©tro obsГ©dantes que Walker Evans prit entre 1938 et 1941.

JвЂ™emprunte des exemples Г la poГ©sie et Г la prose, Г la peinture et Г la photographie, et plus particuliГЁrement aux Е“uvres de Stephen Crane, Hart Crane, Charles Reznikoff, Allen Ginsberg, Elizabeth Bishop, Paul Blackburn, George Tooker, Edward Hopper, Everett Shinn, Thomas Hart Benton, John Sloan, Leroi Jones, et Ralph Ellison.

Dans cet article, jвЂ™explore la reprГ©sentation visuelle et verbale du systГЁme de transports de New York dans ses dimensions les plus frappantes - la thГ©ГўtralitГ© et lвЂ™observation des spectateurs. Les passagers sвЂ™adonnent Г un jeu complexe de cache-cache les uns avec les autres, en essayant de scruter les gens autour dвЂ™eux sans toutefois se faire prendre. Si la descente dans le mГ©tro et le dГ©placement sur des kilomГЁtres de voies souterraines sont presque inГ©vitablement envisagГ©s comme un voyage aux Enfers, cet Г©vГ©nement est aussi inГ©luctablement social. Les images du mГ©tro new-yorkais et de ses prГ©curseurs, le mГ©tro aГ©rien et la voiture Г chevaux occupent une place Г part dans la culture amГ©ricaine.

Estrategia para hades age mythology