The Contemporary Revolution of Montage (A Traductive Genealogy: Poetry - Film - Architecture - History)
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Abstract
In the horizon of the contemporary revolution in the dominant habits of representation imposed by montage, with its effects of interruptive signification by perspectivist fragmentation and revealing juxtaposition, this article inquires into its emergence starting from a series of traductive scenes between the arts throughout the 20th Century. After showing how the translation of the “dynamic image” of classical Chinese poetry impregnates imagist poetry and the subsequent ideogrammic method, it examines the way in which these poetics inspire the development of cinematographic montage (S. Eisenstein), which in turn is transposed into strategies for architectural projection (Le Corbusier, J. Nouvel, B. Tschumi) and for historic-philosophical conceptualization (W. Benjamin).
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