Shit
From Wikipedia, the free encyclopedia
Jump to: navigation, search
This article is about the word "shit". For the waste product, see feces. For the egestion of bodily wastes, see defecation.
This article is semi-protected due to vandalism.
This article needs additional citations for verification.
Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (February 2009)
Shit in its literal meaning is usually considered a vulgarity and profanity in Modern English. As a noun it refers to fecal matter (excrement) and as a verb it means to defecate or defecate in; in the plural ("the shits") it means diarrhea. Shite is also a common variant in parts of the British Isles.
As a slang term, it has many meanings, including: nonsense, foolishness, something of little value or quality, trivial and usually boastful or inaccurate talk, or a contemptible person. To shit, in slang, is to talk nonsense, or to attempt to deceive[citation needed].
Contents
[hide]
* 1 Etymology
o 1.1 False etymology
* 2 Usage
o 2.1 Vague noun
o 2.2 Surprise
o 2.3 Trouble
o 2.4 Displeasure
o 2.5 Dominance
o 2.6 Positive attitude
o 2.7 Shortening of bullshit
o 2.8 Emphasis
o 2.9 Drug usage
o 2.10 The verb “to shit”
o 2.11 Backronyms
* 3 Usage in English media
o 3.1 Television
+ 3.1.1 United Kingdom
+ 3.1.2 United States
* 4 See also
* 5 References
* 6 External links
Etymology
The word is likely derived from Old English, having the nouns scite (dung, attested only in place names) and scitte (diarrhoea), and the verb scītan (to defecate, attested only in bescītan, to cover with excrement); eventually it morphed into Middle English schītte (excrement), schyt (diarrhoea) and shiten (to defecate), and it is virtually certain that it was used in some form by preliterate Germanic tribes at the time of the Roman Empire. The word may be further traced to Proto-Germanic *skit-, and ultimately to Proto-Indo-European *skheid-. The word has several cognates in modern Germanic languages, such as German Scheisse, Dutch schijt, Swedish skit, Icelandic skítur, Norwegian skitt etc. Ancient Greek had 'skor' (gen. 'skatos' hence 'scato-'), from Proto-Indo-European *sker-, which is likely unrelated.[1]
False etymology
A popular belief is that the word shit originated as an acronym for "Ship High In Transit", referring to the apparent need to stow manure well above the water line when transporting it by ship. This has been shown to be a myth.[2][3]
Usage
The word shit (or sometimes shite in Scotland, Ireland, Northern England and Wales) is used by English speakers, but it is usually avoided in formal speech. Substitutes for the word shit in English include sugar and shoot.
In the word's literal sense, it has a rather small range of common usages. An unspecified or collective occurrence of feces is generally shit or some shit; a single deposit of feces is sometimes a shit or a piece of shit, and to defecate is to shit, or to take a shit. While it is common to speak of shit as existing in a pile, a load, a hunk and other quantities and configurations, such expressions flourish most strongly in the figurative. For practical purposes, when actual defecation and excreta are spoken of in English, it is either through creative euphemism or with a vague and fairly rigid literalism.
"Shit" can also be combined with other words to denote the type of feces one has. For instance, "Snake shit" describes feces that are long and slender in shape, thus reminiscent of a snake's appearance. "Shapeepee" or "Shit pee pee" is another word for diarrhea, or can be used to describe feces that are almost entirely of liquid composition.
Shit carries an encompassing variety of figurative meanings, explained in the following sections.
Vague noun
Shit can be used as a generic mass noun similar to stuff; for instance, This show is funny shit or This test is hard shit, or That was stupid shit. These three usages (with funny, hard, and stupid or another synonym of stupid) are heard most commonly in the United States. Note that shit is both a positive and negative thing in these examples, shit being apparently very funny (a positive thing) and in the second and third examples very hard (as in, difficult - a negative thing to be) or very stupid. Note also that in a phrase like this, the speaker doesn't include the term as; saying that something is as funny as shit would be taken as a negative statement (shit not being a very funny thing to be). A similar usage is the shit, which indicates great praise or approval; for example, the phrase This show was the shit indicates major approval from the speaker of a show.
In Get your shit together! the word shit may refer to some set of personal belongings or tools, or to one's wits, composure, or attention to the task at hand. He doesn't have his shit together suggests he is failing rather broadly, with the onus laid to multiple personal shortcomings, rather than bad luck or outside forces.
To shoot the shit is to have a friendly but pointless conversation, as in "Come by my place some time and we'll shoot the shit."
Surprise
To shit oneself, or to shit bricks can be used to refer to surprise or fear. The latter form can be commonly seen in a form of internet meme which goes by the phrase when you see it, you will shit bricks, used in connection with an image of a busy scene with an often unnoticed laughing face or disturbing object which is hard to see until you study the picture.[citation needed]
The word can also be used to represent anger, as in Jim is totally going to flip his shit when he sees that we wrecked his marriage.[citation needed]
You could use it in the following way, "i thought someone was following me, i was shitting myself"
Trouble
Shit can be used to denote trouble, by saying one is in a lot of shit or deep shit. It's common for someone to refer to an unpleasant thing as hard shit (You got a speeding ticket? Man, that's some hard shit), but the phrase tough shit is used as an unsympathetic way of saying too bad to whomever is having problems (You got arrested? Tough shit, man!) or as a way of expressing to someone that they need to stop complaining about something and just deal with it (Billy: I got arrested because of you! Tommy: Tough shit, dude, you knew you might get arrested when you chose to come with me.) Note that in this case, as in many cases with the term, tough shit is often said as a way of pointing out someone's fault in his/her own current problem.
When the shit hits the fan is usually used to refer to a specific time of confrontation or trouble, which requires decisive action. This is often used in reference to combat situations and the action scenes in movies, but can also be used for everyday instances that one might be apprehensive about. I don't want to be here when the shit hits the fan! indicates that the speaker is dreading this moment (which can be anything from an enemy attack to confronting an angry parent or friend). He's the one to turn to when the shit hits the fan is an indication that the person being talked about is dependable and will not run from trouble or abandon their allies in tough situations. The concept of this phrase is simple enough, as the actual substance striking the rotating blades of a fan would cause a messy and unpleasant situation (much like being in the presence of a manure spreader). Whether or not this has actually happened, or if the concept is simply feasible enough for most people to imagine the result without needing it to be demonstrated, is unknown. Another example might be the saying shit rolls down hill which is particularly illustrating, the consequences of putting your superiors in a bad position at work. There are a number of anecdotes and jokes about such situations, as the imagery of these situations is considered to be funny. This is generally tied-in with the concept that disgusting and messy substances spilled onto someone else are humorous.
Displeasure
Shit can comfortably stand in for the terms bad and anything in many instances (Dinner was good, but the movie was shit. You're all mad at me, but I didn't do shit!). A comparison can also be used, as in Those pants look like shit, or This stuff tastes like shit. Many usages are idiomatic. The phrase, I don't give a shit denotes indifference. I'm shit out of luck usually refers to someone who is at the end of their wits or who has no remaining viable options. That little shit shot me in the ass, suggests a mischievous or contemptuous person. Euphemisms such as crap are not used in this context.
The term piece of shit is generally used to classify a product or service as being sufficiently below the writer's understanding of generally accepted quality standards to be of negligible and perhaps even negative value.The term piece of shit has greater precision than shit or shitty in that piece of shit identifies the low quality of a specific component or output of a process without applying a derogatory slant to the entire process. For example, if one said "The inner city youth orchestra has been a remarkably successful initiative in that it has kept young people off the streets after school and exposed them to culture and discipline, thereby improving their self esteem and future prospects. The fact that the orchestra's recent rendition of Tchaikovsky's Manfred Symphony in B minor was pretty much a piece of shit should not in any way detract from this." The substitution of shit or shitty for pretty much a piece of shit would imply irony and would therefore undermine the strength of the statement.
Dominance
Shit can also be used to establish superiority over another being. The most common phrase is eat shit! symbolizing the hatred toward the recipient. Some other personal word may be added such as eat my shit implying truly personal connotations. As an aside, the above is actually a contraction of the phrase eat shit and die!. It is often said without commas as a curse; they with the other party to perform exactly those actions in that order. However, the term was originally Eat, Shit, and Die naming the three most basic things humans have to do, and it is common among soldiers.[citation needed]
Positive attitude
Interestingly, in slang, prefixing the article the to shit gives it a completely opposite definition, meaning the best, as in Altered Beast is the shit, or The Medic Droid is the shit. Again, other slang words of the same meaning, crap for example, are not used in such locutions.
Shortening of bullshit
The expression no shit? (a contraction of no bullshit?) is used in response to a statement that is extraordinary or hard to believe. Alternatively the maker of the hard-to-believe statement may add no shit to reinforce the sincerity or truthfulness of their statement, particularly in response to someone expressing disbelief at their statement. No shit is also used sarcastically in response to a statement of the obvious, as in no shit, Sherlock.
In this form the word can also be used in phrases such as don't give me that shit or you're full of shit. The term full of shit is often used as an exclamation to charge someone who is believed to be prone to dishonesty, exaggeration or is thought to be "phoney" with an accusation. For example:
1. "Oh, I'm sorry I forgot to invite you to the party, it was a complete accident... But you really didn't miss anything anyway.
2. "You're full of shit! You had dozens of opportunities to invite me. If you have a problem with me, why not say it!"
The word bullshit also denotes false or insincere discourse. (Horseshit is roughly equivalent, while chickenshit means cowardly, batshit indicates a person is crazy, and going apeshit indicates a person is entering a state of high excitement or unbridled rage.). Are you shitting me!? is a question sometimes given in response to an incredible assertion. An answer that reasserts the veracity of the claim is, I shit you not.
Emphasis
Perhaps the only constant connotation that shit reliably carries is that its referent holds some degree of emotional intensity for the speaker. Whether offense is taken at hearing the word varies greatly according to listener and situation, and is related to age and social class: elderly speakers and those of (or aspiring to) higher socioeconomic strata tend to use it more privately and selectively than younger and more blue-collar speakers.
Like the word fuck, shit is often used to add emphasis more than to add meaning, for example, shit! I was so shit-scared of that shithead that I shit-talked him into dropping out of the karate match! The term to shit-talk connotes bragging or exaggeration (whereas to talk shit primarily means to gossip [about someone in a damaging way] or to talk in a boastful way about things which are erroneous in nature), but in such constructions as the above, the word shit often functions as an interjection.
Unlike the word fuck, shit is not used emphatically with -ing or as an infix. For example; I lost the shitting karate match would be replaced with ...the fucking karate match. Similarly, while in-fucking-credible is generally acceptable, in-shitting-credible is not.
Drug usage
Shit itself can be a dysphemism or quasi-euphemism, with many intoxicating or narcotic drugs (notably hashish and heroin) being referred to as shit. A particularly excellent drug may be described as This is some good shit. To be shitfaced is to be extremely drunk. A shitshow denotes a party or gathering during which multiple people become intoxicated to the point of incapacitation.
The verb “to shit”
The preterite and past participle of shit are attested as shat, shit, or shitted, depending on dialect and, sometimes, the rhythm of the sentence. In the prologue of The Canterbury Tales, shitten is used as the past participle; however this form is very rare in modern English. In American English shit as a past participle is often correct, while shat is generally acceptable and shitted is uncommon and missing from the Random House and American Heritage dictionaries.[4]
Backronyms
The backronym form "S.H.I.T." often figures into jokes, like Special High Intensity Training (a well-known joke used in job applications), Special Hot Interdiction Team (a mockery on SWAT), Super Hackers Invitational Tournament, and any college name that begins with an S-H (like Sam Houston Institute of Technology or South Harmon Institute of Technology in the 2006 film Accepted or Store High In Transit in the 2006 film Kenny). South Hudson Institute of Technology has sometimes been used to describe the United States Military Academy at West Point.[1] It is an urban myth[citation needed] that Grampian Television was almost called Scottish Highlands and Islands Television until they realised what their acronym would be. The Simpsons' Apu was a graduate student at Springfield Heights Institute of Technology.
In polite company, sometimes the backronym Sugar Honey in Tea or Sugar Honey Iced Tea is used.
Usage in English media
Television
Recently the word has become increasingly acceptable on American cable television and satellite radio, which are not subject to FCC regulation. In other English-speaking countries, such as Canada, the United Kingdom, the Republic of Ireland, and Australia, the word is allowed to be used in broadcast television by the regulative councils of each area, as long as it is used in late hours when young people are not expected to be watching.
United Kingdom
It is believed that the first person on British TV to say "shit" was John Cleese of the Monty Python comedy troupe in the late 1960s, as he, himself, mentions in a eulogy to Graham Chapman.
United States
"Shit" was one of the original "Seven Words You Can Never Say On TV", a comedy routine by American Comedian George Carlin. In the United States, although the use of the word is censored on broadcast network television (while its synonym crap is not usually subject to censorship), the FCC permitted some exceptions. The October 14, 1999 episode of Chicago Hope is believed to be the first show (excluding documentaries) on U.S. network television to contain the word shit in uncensored form. The word also is used in a later ER episode "On the Beach" by Dr. Mark Greene, experiencing the final stages of a deadly brain tumor. Although the episode was originally aired uncensored, the "shit" utterance has since been edited out in syndicated reruns.
An episode of South Park, "It Hits the Fan," originally aired on June 20, 2001, was a parody of the hype over the Chicago Hope episode. "Shit" is used 162 times, and a counter in the corner of the screen tallies the repetitions. The moral of this episode is that swearing is okay occasionally, but if it is done over and over and over, it takes away from a word's impact and the word gets very, very boring. South Park airs on American cable networks, outside the regulatory jurisdiction of the FCC, where censorship of vulgar dialogue is at the discretion of the cable operators. [5].
American terrestrial radio stations must abide by FCC guidelines on obscenity to avoid punitive fines, unlike satellite radio. These guidelines do not define exactly what constitutes obscenity, but it has been interpreted by some commissioners as including any form of words like shit and fuck, for whatever use.
Despite this, the word has been featured in popular songs that have appeared on broadcast radio in cases where the usage of the word is not audibly clear to the casual listener, or on live television. In the song "Man in the Box" by Alice in Chains, the line "Buried in my shit" was played unedited over most rock radio stations. The 1980 hit album Hi Infidelity by REO Speedwagon contained the song "Tough Guys" which had the line "she thinks they're full of shit," which was played on broadcast radio. On December 3, 1994, Green Day performed "Geek Stink Breath," on Saturday Night Live, shit was not edited from tape delay live broadcast. The band did not appear on the show again until April 9, 2005.
Some notable instances of censorship of the word from broadcast television and radio include Steve Miller's "Jet Airliner." Although radio stations have sometimes played an unedited version containing the line "funky shit going down in the city." The songs was also released with a "radio edit" version, replacing the "funky shit" with "funky kicks". Another version of "Jet Airliner" exists in which the word "shit" is faded out. Likewise, the Bob Dylan song "Hurricane" has a line about having no idea "what kind of shit was about to go down," and has a radio edit version without the word. Gwen Stefani's "Hollaback Girl" video had the original album's use of the word censored in its video. The music video title "...On the Radio (Remember the Days)" by Nelly Furtado replaced by the original title "Shit on the Radio (Remember the Days)." This also happened to "That's That Shit" by Snoop Dogg featuring R. Kelly, which became "That's That." In Avril Lavigne's song "My Happy Ending," the Radio Disney edit of the song replaces "all the shit that you do" with "all the stuff that you do." Likewise, in the recent song "London Bridge" by the Black Eyed Peas member Fergie, the phrase "Oh Shit" is repeatedly used as a background line. A radio edit of this song replaced "Oh Shit" with "Oh Snap."
See also
* Bullshit
* Feces
* Profanity
* Seven dirty words
* Shit happens
References
1. ^ Harper, Douglas. "shit". Online Etymology Dictionary.
http://www.etymonline.com/index.php?term=shit. Retrieved 2008-09-06.
2. ^ ""shit" is not an acronym". Online Etymology Dictionary.
http://www.etymonline.com/baloney.php. Retrieved 31 May 2009.
3. ^ Mikkelson, Barbara (8 July 2007). "Etymology of Shit". Snopes.
http://www.snopes.com/language/acronyms/shit.asp. Retrieved 31 May 2009.
4. ^
http://dictionary.reference.com/browse/shit
5. ^ "South Park Libertarians", Reason Magazine
External links
Search Wiktionary Look up shit in Wiktionary, the free dictionary.
* Indo-European Roots: skei-
Retrieved from "
http://en.wikipedia.org/wiki/Shit"
Categories: Profanity | Feces | Interjections
Hidden categories: Wikipedia pages semi-protected against vandalism | Wikipedia protected pages without expiry | Articles needing additional references from February 2009 | All articles with unsourced statements | Articles with unsourced statements from May 2009 | Articles with unsourced statements from February 2009 | Articles with unsourced statements from July 2007
Views
* Article
* Discussion
* View source
* History
Personal tools
* Try Beta
* Log in / create account
Navigation
* Main page
* Contents
* Featured content
* Current events
* Random article
Search
Interaction
* About Wikipedia
* Community portal
* Recent changes
* Contact Wikipedia
* Donate to Wikipedia
* Help
Toolbox
* What links here
* Related changes
* Upload file
* Special pages
* Printable version
* Permanent link
* Cite this page
Languages
* العربية
* Deutsch
* Ελληνικά
* Español
* Français
* Italiano
* Lumbaart
* Bahasa Melayu
* Nederlands
* 日本語
* Norsk (nynorsk)
* Polski
* Português
* Ripoarisch
* Sicilianu
* Simple English
* 粵語
Powered by MediaWiki
Wikimedia Foundation
* This page was last modified on 26 August 2009 at 20:56.
* Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. See Terms of Use for details.
Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
* Privacy policy
* About Wikipedia
* Disclaimers
Nonsense
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Nonsense (disambiguation).
For the usage of "nonsense" in Wikipedia, see Wikipedia:Patent nonsense.
This article or section has multiple issues. Please help improve the article or discuss these issues on the talk page.
* It needs additional references or sources for verification. Tagged since September 2008.
* It reads like a personal reflection or essay. Tagged since April 2008.
* Its lead section requires expansion. Tagged since November 2007.
Nonsense (pronounced \ˈnän-ˌsen(t)s, ˈnän(t)-sən(t)s\) is a verbal communication or written text which resembles a human language or other symbolic system, but which lacks any coherent meaning.
In philosophy, nonsense refers to a group of statements which cannot carry sense in the context of sense and reference. Logical truths such as "it's either raining or not raining" and mathematical propositions such as "1+1=2" are regarded as "nonsense".
Contents
[hide]
* 1 Technical Meaning in Analytic Philosophy
* 2 Distinguishing sense from nonsense
* 3 Teaching machines to talk nonsense
* 4 Literary nonsense
o 4.1 Nonsense verse
* 5 Examples
* 6 See also
* 7 References
[edit] Technical Meaning in Analytic Philosophy
In analytic philosophy word "Nonsense" carries special technical meaning which differs significantly from the normal use of the word.
In the context analytic philosophy "nonsense" does not refer to meaningless gibberish, "nonsense" simply refers to the lack of sense in the context of sense and reference.
In this context, logical tautologies, and purely mathematical propositions may be regarded as "nonsense". For example, "1+1=2" is a nonsensical proposition. [1]
It is important to note that here "nonsense" does not necessarily carry negative connotations. Indeed, Wittgenstein wrote in Tractatus Logico Philosophicus that the propositions contained in his own book should be regarded as nonsense.
Possible copyright infringement
If you have just labeled this page as a possible copyright infringement, please add the following to the bottom of Wikipedia:Copyright_problems/2009_September_8
* {{subst:article-cv|:Nonsense}} from . ~~~~
Place this notice on the talk page of the contributor of the copyrighted material:
{{subst:Nothanks-web|pg=Nonsense|url=}} ~~~~
By default, this template blanks all other content on the page. To limit blanking of the text, as for a copyright violation in a single section, place </div> at the end of the suspected copyvio area.
The previous content of this page appears to infringe on the copyright of the text from the source(s) below and is now listed on Wikipedia:Copyright problems:
Do not edit this page until an administrator has resolved this issue.
* To write a new article without infringing material, follow this link to create a temporary subpage.
State that you have done so on this article's discussion page.
Note that simply modifying copyrighted text is not sufficient to avoid copyright infringement—if the original copyright violation cannot be clearly identified and the article reverted to a prior version, it is best to write the article from scratch. For license compliance, the new article cannot incorporate phrases and sentences that were placed in the original article by other contributors unless credit is given as set out at the copyright policy. You may, however, duplicate non-infringing text that you had contributed yourself. An administrator will move the new article into place once the issue is resolved.
* If you hold the copyright to this text and permit its use under the terms of the Creative Commons Attribution-Sharealike 3.0 Unported License (CC-BY-SA) and the GNU Free Documentation License (GFDL) (unversioned, with no invariant sections, front-cover texts, or back-cover texts):
Explain this on this article's discussion page, then either display a notice to this effect at the site of original publication or send an e-mail from an address associated with the original publication to permissions-en at wikimedia dot org or a postal letter to the Wikimedia Foundation. These messages must explicitly permit use under CC-BY-SA and the GFDL.
Note: Articles on Wikipedia must be written from a neutral point of view and must be verifiable in published third-party sources; copyright issues aside, your text may not be appropriate for inclusion in Wikipedia.
* If this text is in the public domain, or is already under a license suitable for Wikipedia:
Explain this on this article's discussion page, with reference to evidence.
Unless the copyright status of the text on this page is clarified, it may be deleted one week after the time of its listing.
* Posting copyrighted material without the express permission of the copyright holder is a violation of applicable law and of Wikipedia policy.
* If you have questions about copyright, see Copyright FAQ.
* Those who repeatedly post copyrighted material will be blocked from further editing.
* Temporarily, the original posting is still accessible for viewing in the page history.
* You are welcome to submit original contributions.
"Nonsense, as opposed to senselessness, is encountered when a proposition is even more radically devoid of meaning, when it transcends the bounds of sense. Under the label of unsinnig can be found various propositions: "Socrates is identical", but also "1 is a number". While some nonsensical propositions are blatantly so, others seem to be meaningful — and only analysis carried out in accordance with the picture theory can expose their nonsensicality. Since only what is "in" the world can be described, anything that is "higher" is excluded, including the notion of limit and the limit points themselves. Traditional metaphysics, and the propositions of ethics and aesthetics, which try to capture the world as a whole, are also excluded, as is the truth in solipsism, the very notion of a subject, for it is also not "in" the world but at its limit."[2]
[edit] Distinguishing sense from nonsense
While Emily Dickinson wrote that:
Much madness is divinest Sense
To the discerning Eye…
...the problem lies in the discernment. Distinguishing meaningful utterances from nonsense is not a trivial task. Confronted with a lengthy text in an unknown script, how does one determine whether those characters in fact contained a meaningful text, or were simply set using the equivalent of printer's pi or a lorem ipsum-style text?
The problem is important in cryptography and other intelligence fields, where it is important to distinguish signal from noise. Cryptanalysts have devised algorithms for this purpose, to determine whether a given text is in fact nonsense or not. These algorithms typically analyze the presence of repetitions and redundancy in a text; in meaningful texts, certain frequently used words — for example, the, is and and in a text in the English language — will frequently recur. A random scattering of letters, punctuation marks and spaces will not exhibit these regularities. Zipf's law attempts to state this analysis in the language of mathematics. By contrast, cryptographers typically seek to make their cipher texts resemble random distributions, to avoid telltale repetitions and patterns which may give an opening for cryptanalysis.
[edit] Teaching machines to talk nonsense
It is harder for cryptographers to deal with the presence or absence of meaning in a text in which the level of redundancy and repetition is higher than found in natural languages (for example, in the mysterious text of the Voynich manuscript). Some have attempted to create text which carries no meaning, but still complies with the regularities predicted by Zipf's law[citation needed]. The Markov chain technique is one such method, and it has occasionally been used in surrealistic jokes[citation needed].
The Markov chain technique is one method which has been used to generate texts by algorithm and randomizing techniques that seem meaningful. Another could be called the Mad Libs method: it involves the creation of templates for various sentence structures, and filling in the blanks with noun phrases or verb phrases; these phrase-generation procedures can be looped to add recursion, giving the output the appearance of greater complexity and sophistication. Racter was a computer program which generated nonsense texts by this method; however, Racter’s book, The Policeman’s Beard is Half Constructed, proved to have been the product of heavy human editing of the program's output.
[edit] Literary nonsense
Main article: Literary nonsense
The phrase "Colorless green ideas sleep furiously" was coined by Noam Chomsky as an example of nonsense. The individual words make sense and are arranged according to proper grammatical rules, yet the result is nonsense. The inspiration for this attempt at creating verbal nonsense came from the idea of contradiction (for a start, how can a green idea be colorless?) and seemingly irrelevant and/or incompatible characteristics, which conspire to make the phrase meaningless. The phrase "the square root of Tuesday" operates on the latter principle. This principle is behind the inscrutability of the kōan "What is the sound of one hand clapping?", where one hand would presumably be insufficient for clapping without the intervention of another.
Still, the human will to find meaning is strong; green ideas might be ideas associated with a green political party, and colorless green ideas could describe them as lacking in color, or defeated and uninspiring. For some, the human impulse to find meaning in what is actually random or nonsensical is what makes people find luck in coincidence, believe in omens and divination or engage in conversation with a computer (see ELIZA effect).
The dreamlike language of James Joyce’s final novel Finnegans Wake sheds light on nonsense in a similar way: full of portmanteau words, it appears to be pregnant with multiple layers of meaning, but in many passages it is difficult to say whether any one person’s interpretation of a text could be the intended or correct one.
Jabberwocky, a poem (of nonsense verse) found in Through the Looking-Glass, and What Alice Found There by Lewis Carroll (1871), is generally considered to be one of the greatest nonsense poems written in the English language. The word jabberwocky is also occasionally used as a synonym of nonsense.
[edit] Nonsense verse
Nonsense verse is the verse form of literary nonsense, a genre that can manifest in many other ways. Nonsense verse represents a long tradition; its best-known exponent is Edward Lear, author of The Owl and the Pussycat and hundreds of limericks.
Nonsense verse comes from a tradition older than Lear: the nursery rhyme Hey Diddle Diddle is also a sort of nonsense verse. There are also some things which appear to be nonsense verse, but actually are not, such as the popular 1940s song Mairzy Doats.
Lines of nonsense frequently figure in the refrains of folksongs, where nonsense riddles and knock-knock jokes are often encountered. Lewis Carroll, seeking a nonsense riddle, once posed the question How is a raven like a writing desk?. Someone answered him, Because Poe wrote on both. However, there are other possible answers (e.g. both have inky quills).
[edit] Examples
The first verse of Jabberwocky by Lewis Carroll;
'Twas brillig, and the slithy toves
Did gyre and gimble in the wabe;
All mimsy were the borogoves,
And the mome raths outgrabe.
The first four lines of On the Ning Nang Nong by Spike Milligan;[3]
On the Ning Nang Nong
Where the cows go Bong!
and the monkeys all say BOO!
There's a Nong Nang Ning
The first verse of Spirk Troll-Derisive by James Whitcomb Riley;[4]
The Crankadox leaned o'er the edge of the moon,
And wistfully gazed on the sea
Where the Gryxabodill madly whistled a tune
To the air of "Ti-fol-de-ding-dee."
The first four lines of The Mayor of Scuttleton by Mary Mapes Dodge;[4]
The Mayor of Scuttleton burned his nose
Trying to warm his copper toes;
He lost his money and spoiled his will
By signing his name with an icicle quill;
[edit] See also
* Asemic writing
* Bollocks
* Bullshit
* Dada, nonsense as art
* Discordianism
* Fiction
* Gibberish
* Gobbledygook
* Humor
* Language game
* Logorrhoea, an excessively wordy style of abstract prose lacking concrete meaning, i.e. nonsense
* Mojibake, random nonsense characters generated by foreign text
* Nonce word
* Schizophasia
* Sokal affair
* Tall tale
* Vacuous truth
* Wit
[edit] References
* Kahn, David, The Codebreakers (Scribner, 1996) ISBN 0-684-83130-9
1. ^
http://books.google.com/books?id=md-KV6 ... t&resnum=3
2. ^ Biletzki, Anat and Anat Matar, "Ludwig Wittgenstein", The Stanford Encyclopedia of Philosophy (Winter 2008 Edition) "The Stanford Encyclopedia of Philosophy"
3. ^ Top poetry is complete nonsense
4. ^ a b A Nonsense Anthology collected by Carolyn Wells from Project Gutenberg
Retrieved from "
http://en.wikipedia.org/wiki/Nonsense"
Categories: Riddles | Gibberish language | Word play | Philosophy of language
Hidden categories: Articles lacking reliable references from September 2008 | Wikipedia articles needing style editing from April 2008 | All articles needing style editing | Cleanup from November 2007 | Wikipedia introduction cleanup | Articles tagged for copyright problems | All articles with unsourced statements | Articles with unsourced statements from June 2008
Views
* Article
* Discussion
* Edit this page
* History
Personal tools
* Try Beta
* Log in / create account
Navigation
* Main page
* Contents
* Featured content
* Current events
* Random article
Search
Interaction
* About Wikipedia
* Community portal
* Recent changes
* Contact Wikipedia
* Donate to Wikipedia
* Help
Toolbox
* What links here
* Related changes
* Upload file
* Special pages
* Printable version
* Permanent link
* Cite this page
Languages
* Беларуская (тарашкевіца)
* Български
* Dansk
* Deutsch
* Français
* Italiano
* עברית
* Nederlands
* Norsk (bokmål)
* Polski
* Português
* Русский
* Slovenčina
* Türkçe
* 中文
Powered by MediaWiki
Wikimedia Foundation
* This page was last modified on 5 September 2009 at 19:59.
* Text is available under the Creative Commons Attribution-ShareAlike License; additional terms may apply. See Terms of Use for details.
Wikipedia® is a registered trademark of the Wikimedia Foundation, Inc., a non-profit organization.
* Privacy policy
* About Wikipedia
* Disclaimers
da
From Wikipedia, the free encyclopedia
Jump to: navigation, search
For other uses, see Dada (disambiguation).
Cover of the first edition of the publication Dada by Tristan Tzara; Zürich, 1917.
Dada or Dadaism is a cultural movement that began in Zürich, Switzerland, during World War I and peaked from 1916 to 1922.[1] The movement primarily involved visual arts, literature—poetry, art manifestoes, art theory—theatre, and graphic design, and concentrated its anti-war politics through a rejection of the prevailing standards in art through anti-art cultural works.
Dada activities included public gatherings, demonstrations, and publication of art/literary journals; passionate coverage of art, politics, and culture were topics often discussed in a variety of media. The movement influenced later styles like the avant-garde and downtown music movements, and groups including surrealism, Nouveau réalisme, pop art, Fluxus and punk rock.
Dada is the groundwork to abstract art and sound poetry, a starting point for performance art, a prelude to postmodernism, an influence on pop art, a celebration of antiart to be later embraced for anarcho-political uses in the 1960s and the movement that lay the foundation for Surrealism.
—Marc Lowenthal, translator's introduction to Francis Picabia's I Am a Beautiful Monster: Poetry, Prose, And Provocation
Contents
[hide]
* 1 Overview
* 2 History
o 2.1 Origin of the word Dada
o 2.2 Zürich
o 2.3 Berlin
o 2.4 Cologne
o 2.5 New York
o 2.6 Paris
o 2.7 Netherlands
o 2.8 Georgia
o 2.9 Tokyo
o 2.10 Yugoslavia
* 3 Poetry; music and sound
* 4 Legacy
* 5 Art techniques developed
o 5.1 Collage
o 5.2 Photomontage
o 5.3 Assemblage
o 5.4 Readymades
* 6 Early practitioners
* 7 See also
* 8 References
* 9 External links
* 10 Footnotes
[edit] Overview
It's too idiotic to be schizophrenic.
— Carl Jung on the Dada productions.[2]
Dada was an informal international movement, with participants in Europe and North America. The beginnings of Dada correspond to the outbreak of World War I. For many participants, the movement was a protest against the bourgeois nationalist and colonialist interests which many Dadaists believed were the root cause of the war, and against the cultural and intellectual conformity — in art and more broadly in society — that corresponded to the war. [3]
Hannah Höch, Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919, collage of pasted papers, 90x144 cm, Staatliche Museum, Berlin.
Many Dadaists believed that the 'reason' and 'logic' of bourgeois capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace chaos and irrationality. For example, George Grosz later recalled that his Dadaist art was intended as a protest "against this world of mutual destruction".[4]
According to its proponents, Dada was not art, it was "anti-art." For everything that art stood for, Dada was to represent the opposite. Where art was concerned with traditional aesthetics, Dada ignored aesthetics. If art was to appeal to sensibilities, Dada was intended to offend. Through their rejection of traditional culture and aesthetics the Dadaists hoped to destroy traditional culture and aesthetics.
As dadaist Hugo Ball expressed it, "For us, art is not an end in itself ... but it is an opportunity for the true perception and criticism of the times we live in."[5]
A reviewer from the American Art News stated at the time that "The Dada philosophy is the sickest, most paralyzing and most destructive thing that has ever originated from the brain of man." Art historians have described Dada as being, in large part, "in reaction to what many of these artists saw as nothing more than an insane spectacle of collective homicide."[6]
Years later, Dada artists described the movement as "a phenomenon bursting forth in the midst of the postwar economic and moral crisis, a savior, a monster, which would lay waste to everything in its path. [It was] a systematic work of destruction and demoralization...In the end it became nothing but an act of sacrilege."[6]
[edit] History
[edit] Origin of the word Dada
One explanation maintains that it originates from the Romanian artists Tristan Tzara [7] and Marcel Janco's frequent use of the words da, da, which, translated into English is equivalent to yeah, yeah, as in a sarcastic or facetious yeah, right. (Da in Romanian strictly translates as yes.)
Some believe that it is simply a nonsensical word.
Another theory is a group of artists assembled in Zürich in 1916, wanting a name for their new movement, chose it at random by stabbing a French-German dictionary with a paper knife, and picking the name that the point landed upon. Dada in French is a child's word for hobby-horse. In French the colloquialism, c'est mon dada, means it's my hobby.[8]
According to the Dada ideal, the movement would not be called "Dadaism", much less designated an art-movement.[9]
[edit] Zürich
In 1916, Hugo Ball, Emmy Hennings, Tristan Tzara, Jean Arp, Marcel Janco, Richard Huelsenbeck, Sophie Täuber, along with others, discussed art and put on performances in the Cabaret Voltaire expressing their disgust with the war and the interests that inspired it. By some accounts Dada coalesced on October 6 at the cabaret. By other accounts Dada did not spring full-grown from a Zürich literary salon but grew out of an already vibrant artistic tradition in Eastern Europe, particularly Romania, that transposed to Switzerland when a group of Romanian modernist artists Tzara, Marcel & Iuliu Iancu, Arthur Segal, and others, settled in Zürich. Because Bucharest and other cities had already been the scene of Dada-like poetry, prose and spectacle in the years before WW1., this suggests Dada came from the East. [10]
The artists were in "neutral" Zürich, Switzerland, having left Germany and Romania during the happenings of WWI. It was here that they decided to use abstraction to fight against the social, political, and cultural ideas of that time that they believed had caused the war. Abstraction was viewed as the result of a lack of planning and logical thought processes. [11]
"[A]bstract art signified absolute honesty for us." - Richard Huelsenbeck
At the first public soiree at the cabaret on July 14, 1916, Ball recited the first manifesto (see text). Tzara, in 1918, wrote a Dada manifesto considered one of the most important of the Dada writings. Other manifestos followed.
Marcel Janco recalled,
We had lost confidence in our culture. Everything had to be demolished. We would begin again after the "tabula rasa". At the Cabaret Voltaire we began by shocking common sense, public opinion, education, institutions, museums, good taste, in short, the whole prevailing order.
A single issue of Cabaret Voltaire was the first publication to come out of the movement.
After the cabaret closed down, activities moved to a new gallery, and Ball left Europe. Tzara began a relentless campaign to spread Dada ideas. He bombarded French and Italian artists and writers with letters, and soon emerged as the Dada leader and master strategist. The Cabaret Voltaire has by now re-opened, and is still in the same place at the Spiegelgasse 1 in the Niederdorf.
Zürich Dada, with Tzara at the helm, published the art and literature review Dada beginning in July 1917, with five editions from Zürich and the final two from Paris.
When World War I ended in 1918, most of the Zürich Dadaists returned to their home countries, and some began Dada activities in other cities.
[edit] Berlin
Cover of Anna Blume, Dichtungen, 1919
The groups in Germany were not as strongly anti-art as other groups. Their activity and art was more political and social, with corrosive manifestos and propaganda, satire, public demonstrations and overt political activities. It has been suggested that this is at least partially due to Berlin's proximity to the front, and that for an opposite effect, New York's geographic distance from the war spawned its more theoretically-driven, less political nature.
In February 1918, Huelsenbeck gave his first Dada speech in Berlin, and produced a Dada manifesto later in the year. Hannah Höch and George Grosz used Dada to express post-World War I communist sympathies. Grosz, together with John Heartfield, developed the technique of photomontage during this period. The artists published a series of short-lived political journals, and held the First International Dada Fair, 'the greatest project yet conceived by the Berlin Dadaists', in the summer of 1920.[12] As well as the main members of Berlin Dada, Grosz, Raoul Hausmann, Höch, Johannes Baader, Huelsenbeck and Heartfield, the exhibition also included work by Otto Dix, Francis Picabia, Jean Arp, Max Ernst, Rudolf Schlichter, Johannes Baargeld and others.[12] In all, over 200 works were exhibited, surrounded by incendiary slogans, some of which also ended up written on the walls of the Nazi's Entartete Kunst exhibition in 1937. Despite high ticket prices, the exhibition made a loss, with only one recorded sale.[13]
The Berlin group published periodicals such as Club Dada, Der Dada, Everyman His Own Football , and Dada Almanach.
[edit] Cologne
In Cologne, Ernst, Baargeld, and Arp launched a controversial Dada exhibition in 1920 which focused on nonsense and anti-bourgeois sentiments. Cologne's Early Spring Exhibition was set up in a pub, and required that participants walk past urinals while being read lewd poetry by a woman in a communion dress. The police closed the exhibition on grounds of obscenity, but it was re-opened when the charges were dropped.[14]
[edit] New York
Rrose Sélavy, the alter ego of famed Dadaist Marcel Duchamp.
Fountain (1917) by Marcel Duchamp; photograph by Alfred Stieglitz.
Like Zürich, New York City was a refuge for writers and artists from World War I. Soon after arriving from France in 1915, Marcel Duchamp and Francis Picabia met American artist Man Ray. By 1916 the three of them became the center of radical anti-art activities in the United States. American Beatrice Wood, who had been studying in France, soon joined them. Much of their activity centered in Alfred Stieglitz's gallery, 291, and the home of Walter and Louise Arensberg.
The New Yorkers, though not particularly organized, called their activities Dada, but they did not issue manifestos. They issued challenges to art and culture through publications such as The Blind Man, Rongwrong, and New York Dada in which they criticized the traditionalist basis for museum art. New York Dada lacked the disillusionment of European Dada and was instead driven by a sense of irony and humor. In his book Adventures in the arts: informal chapters on painters, vaudeville and poets Marsden Hartley included an essay on "The Importance of Being 'Dada'".
During this time Duchamp began exhibiting "readymades" (found objects) such as a bottle rack, and got involved with the Society of Independent Artists. In 1917 he submitted the now famous Fountain, a urinal signed R. Mutt, to the Society of Independent Artists show only to have the piece rejected. First an object of scorn within the arts community, the Fountain has since become almost canonized by some. The committee presiding over Britain's prestigious Turner Prize in 2004, for example, called it "the most influential work of modern art."[15] In an attempt to "pay homage to the spirit of Dada" a performance artist named Pierre Pinoncelli made a crack in The Fountain with a hammer in January 2006; he also urinated on it in 1993.
Picabia's travels tied New York, Zürich and Paris groups together during the Dadaist period. For seven years he also published the Dada periodical 391 in Barcelona, New York City, Zürich, and Paris from 1917 through 1924.
By 1921, most of the original players moved to Paris where Dada experienced its last major incarnation (see Neo-Dada for later activity).
[edit] Paris
The French avant-garde kept abreast of Dada activities in Zürich with regular communications from Tristan Tzara (whose pseudonym means "sad in country," a name chosen to protest the treatment of Jews in his native Romania), who exchanged letters, poems, and magazines with Guillaume Apollinaire, André Breton, Max Jacob, and other French writers, critics and artists.
Paris had arguably been the classical music capital of the world since the advent of musical Impressionism in the late 19th century. One of its practitioners, Erik Satie, collaborated with Picasso and Cocteau in a mad, scandalous ballet called Parade. First performed by the Ballet Russes in 1917, it succeeded in creating a scandal but in a different way than Stravinsky's Le Sacre du Printemps had done almost 5 years earlier. This was a ballet that was clearly parodying itself, something traditional ballet patrons would obviously have serious issues with.
Dada in Paris surged in 1920 when many of the originators converged there. Inspired by Tzara, Paris Dada soon issued manifestos, organized demonstrations, staged performances and produced a number of journals (the final two editions of Dada, Le Cannibale, and Littérature featured Dada in several editions.)[16]
The first introduction of Dada artwork to the Parisian public was at the Salon des Indépendants in 1921. Jean Crotti exhibited works associated with Dada including a work entitled, Explicatif bearing the word Tabu. In the same year Tzara staged his Dadaist play The Gas Heart to howls of derision from the audience. When it was re-staged in 1923 in a more professional production, the play provoked a theatre riot (initiated by André Breton) that heralded the split within the movement that was to produce Surrealism. Tzara's last attempt at a Dadaist drama was his "ironic tragedy" Handkerchief of Clouds in 1924.
[edit] Netherlands
In the Netherlands the Dada movement centered mainly around Theo van Doesburg, most well known for establishing the De Stijl movement and magazine of the same name. Van Doesburg mainly focused on poetry, and included poems from many well-known Dada writers in De Stijl such as Hugo Ball, Hans Arp and Kurt Schwitters. Van Doesburg became a friend of Schwitters, and together they organized the so-called Dutch Dada campaign in 1923, where Van Doesburg promoted a leaflet about Dada (entitled What is Dada?), Schwitters read his poems, Vilmos Huszàr demonstrated a mechanical dancing doll and Nelly Van Doesburg (Theo's wife), played avant-garde compositions on piano.
Van Doesburg wrote Dada poetry himself in De Stijl, although under a pseudonym, I.K. Bonset, which was only revealed after his death in 1931. 'Together' with I.K. Bonset, he also published a short-lived Dutch Dada magazine called Mécano.
[edit] Georgia
Although Dada itself was unknown in Georgia until at least 1920, from 1917-1921 a group of poets called themselves "41st Degree" (referring both to the latitude of Tbilisi, Georgia and to the temperature of a high fever) organized along Dadaist lines. The most important figure in this group was Iliazd, whose radical typographical designs visually echo the publications of the Dadaists. After his flight to Paris in 1921, he collaborated with Dadaists on publications and events.
[edit] Tokyo
In Japan there were some Dada movement. One group is MAVO, founded by Tomoyoshi Murayama and Yanase Masamu. Others are Jun Tsuji, Eisuke Yoshiyuki, Shinkichi Takahashi and Katsue Kitasono.
[edit] Yugoslavia
In Yugoslavia there was heavy Dada activity between 1920 and 1922 run mainly by Dragan Aleksic and including Mihailo S. Petrov, Zenitists & brothers Ljubomir Micic and Branko Ve Poljanski. Aleksic used the term "Yugo-Dada" and is known to have been in contact with Raoul Hausmann, Kurt Schwitters, and Tristan Tzara.[17]
[edit] Poetry; music and sound
Dada was not confined to the visual and literary arts; its influence reached into sound and music. Kurt Schwitters developed what he called sound poems and composers such as Erwin Schulhoff, Hans Heusser and Albert Savinio wrote Dada music, while members of Les Six collaborated with members of the Dada movement and had their works performed at Dada gatherings. The above mentioned Erik Satie dabbled with Dadaist ideas throughout his career although he is primarily associated with musical Impressionism.
In the very first Dada publication, Hugo Ball describes a "balalaika orchestra playing delightful folk-songs." African music and jazz was common at Dada gatherings, signaling a return to nature and naive primitivism.
[edit] Legacy
See also: Postmodernism#Notable philosophical and literary contributors
The Janco Dada Museum, named after Marcel Janco, in Ein Hod, Israel
While broad, the movement was unstable. By 1924 in Paris, Dada was melding into surrealism, and artists had gone on to other ideas and movements, including surrealism, social realism and other forms of modernism. Some theorists argue that Dada was actually the beginning of postmodern art.[18]
By the dawn of World War II, many of the European Dadaists had fled or emigrated to the United States. Some died in death camps under Hitler, who persecuted the kind of "Degenerate art" that Dada represented. The movement became less active as post-World War II optimism led to new movements in art and literature.
Dada is a named influence and reference of various anti-art and political and cultural movements including the Situationists and culture jamming groups like the Cacophony Society.
At the same time that the Zürich Dadaists made noise and spectacle at the Cabaret Voltaire, Vladimir Lenin wrote his revolutionary plans for Russia in a nearby apartment. Tom Stoppard used this coincidence as a premise for his play Travesties (1974), which includes Tzara, Lenin, and James Joyce as characters. French writer Dominique Noguez imagined Lenin as a member of the Dada group in his tongue-in-cheek Lénine Dada (1989).
The Cabaret Voltaire fell into disrepair until it was occupied from January to March, 2002, by a group proclaiming themselves neo-Dadaists, led by Mark Divo.[19] The group included Jan Thieler, Ingo Giezendanner, Aiana Calugar, Lennie Lee and Dan Jones. After their eviction the space became a museum dedicated to the history of Dada. The work of Lennie Lee and Dan Jones remained on the walls of the museum.
Several notable retrospectives have examined the influence of Dada upon art and society. In 1967, a large Dada retrospective was held in Paris, France. In 2006, the Museum of Modern Art in New York City held a Dada exhibition in conjunction with the National Gallery of Art in Washington D.C. and the Centre Pompidou in Paris.
[edit] Art techniques developed
[edit] Collage
The dadaists imitated the techniques developed during the cubist movement through the pasting of cut pieces of paper items, but extended their art to encompass items such as transportation tickets, maps, plastic wrappers, etc. to portray aspects of life, rather than representing objects viewed as still life.
[edit] Photomontage
The Berlin Dadaists - the "monteurs" (mechanics) - would use scissors and glue rather than paintbrushes and paints to express their views of modern life through images presented by the media. A variation on the collage technique, photomontage utilized actual or reproductions of real photographs printed in the press.
[edit] Assemblage
The assemblages were three-dimensional variations of the collage - the assembly of everyday objects to produce meaningful or meaningless (relative to the war) pieces of work.
[edit] Readymades
Marcel Duchamp began to view the manufactured objects of his collection as objects of art, which he called "readymades". He would add signatures and titles to some, converting them into artwork that he called "readymade aided" or "rectified readymades". One such example of Duchamp's readymade works is the urinal that was turned onto its back, signed "R. Mutt", titled "Fountain", and submitted to the Society of Independent Artists exhibition that year.[11]
[edit] Early practitioners
For a more complete list of Dadaists, see List of Dadaists.
* Guillaume Apollinaire — France
* Hans Arp — Switzerland, France and Germany
* Hugo Ball — Switzerland
* Johannes Baader — Germany
* John Heartfield — Germany
* Arthur Cravan — United States
* Jean Crotti — France
* Theo van Doesburg — The Netherlands
* Marcel Duchamp — France and United States
* Max Ernst — Germany
* Elsa von Freytag-Loringhoven — United States, Germany
* George Grosz — Germany
* Marsden Hartley — United States
* Raoul Hausmann — Germany
* Emmy Hennings — Switzerland
* Hannah Höch — Germany
* Richard Huelsenbeck — Switzerland and Germany
* Marcel Janco — Switzerland (born in Romania)
* Clément Pansaers — Belgium
* Francis Picabia — Switzerland, United States and France
* Man Ray — United States and France
* Meg Gröss — United States and Germany
* Hans Richter — Germany, Switzerland and United States
* Kurt Schwitters — Germany
* Sophie Taeuber-Arp — Switzerland
* Tristan Tzara — Switzerland and France (born in Romania)
* Beatrice Wood — United States and France
* Ilia Zdanevich (Iliazd) — Georgia and France
[edit] See also
* Anti-art and Anti-anti-art
* Bonzo Dog Doo-Dah Band
* The Central Council of Dada for the World Revolution
* Épater la bourgeoisie
* Expressionism in film
* Futurism
* Modernism
* Surrealism
* Sudac Collection
[edit] References
* The Dada Almanac, ed Richard Huelsenbeck [1920], re-edited and translated by Malcolm Green et al., Atlas Press, with texts by Hans Arp, Johannes Baader, Hugo Ball, Paul Citröen, Paul Dermée, Daimonides, Max Goth, John Heartfield, Raoul Hausmann, Richard Huelsenbeck, Vincente Huidobro, Mario D’Arezzo, Adon Lacroix, Walter Mehring, Francis Picabia, Georges Ribemont-Dessaignes, Alexander Sesqui, Philippe Soupault, Tristan Tzara. ISBN 0 947757 62 7
* Blago Bung, Blago Bung, Hugo Ball's Tenderenda, Richard Huelsenbeck's Fantastic Prayers, & Walter Serner's Last Loosening - three key texts of Zurich ur-Dada. Translated and introduced by Malcolm Green. Atlas Press, ISBN 0 947757 86 4
* National Gallery of Art, Dada
* Michel Sanouillet, Dada à Paris, Paris, Jean-Jacques Pauvert, 1965 /Flammarion, 1993 / CNRS, 2005
* Marc Dachy, Journal du mouvement Dada 1915-1923, Genève, Albert Skira, 1989 (Grand Prix du Livre d'Art, 1990)
* Marc Dachy, Dada & les dadaïsmes, Paris, Gallimard, "Folio Essais", n° 257, 1994.
* Marc Dachy, Dada, la révolte de l'art, Paris, Gallimard / Centre Pompidou, "Découvertes" n° 476 , 2005.
* Marc Dachy, Archives Dada / Chronique, Paris, Hazan, 2005.
* Gérard Durozoi, Dada et les arts rebelles, Paris, Hazan, "Guide des Arts", 2005
* Dada, catalogue d'exposition, Centre Pompidou, 2005.
* Serge Lemoine, Dada, Paris, Hazan, coll. L'Essentiel.
* Aurélie Verdier, L'ABCdaire de Dada, Paris, Flammarion, 2005.
* Giovanni Lista, Dada libertin & libertaire, Paris, L'insolite, 2005.
* Richard Huelsenbeck, Memoirs of a Dada Drummer, (University of California Press: Berkeley and Los Angeles, 1991) (paperback)
* Irene Hoffman, Documents of Dada and Surrealism: Dada and Surrealist Journals in the Mary Reynolds Collection, Ryerson and Burnham Libraries, The Art Institute of Chicago.
* Richard Ball, Flight Out Of Time (University of California Press: Berkeley and Los Angeles, 1996)
* Hans Richter, Dada: Art and Anti-Art (London: Thames and Hudson, 1965)
* Uwe M. Schneede, George Grosz, His life and work (New York: Universe Books, 1979)
* Melzer, Annabelle. 1976. Dada and Surrealist Performance. PAJ Books ser. Baltimore and London: The Johns Hopkins UP, 1994. ISBN 0801848458.
[edit] External links
* Dada at the Open Directory Project
* Dada art (Dada Online) includes images showing the characteristics of Dada.
* The International Dada Archive includes scans of many Dada publications.
* The Essential DADA
Manifestos
* Over 30 Dada and Futurist manifestos from 1912 to present day
* Text of Hugo Ball's 1916 Dada Manifesto
* Text of Tristan Tzara's 1918 Dada Manifesto
* Excerpts of Tristan Tzara's Dada Manifesto (1918) and Lecture on Dada (1922)
* Dada Manifesto (1921)
[edit] Footnotes
1. ^ de Micheli, Mario(2006). Las vanguardias artísticas del siglo XX. Alianza Forma. p.135-137
2. ^ Melzer (1976, 55).
3. ^ Richter, Hans (1965), Dada: Art and Anti-art, Oxford Univ Press
4. ^ Schneede, Uwe M. (1979), George Grosz, His life and work, Universe Books
5. ^ "DADA: Cities". National Gallery of Art.
http://www.nga.gov/exhibitions/2006/dad ... index.shtm. Retrieved 2008-10-19.
6. ^ a b Fred S. Kleiner; Christin J. Mamiya (2006). Gardner's Art Through the Ages (12th ed.). Wadsworth Publishing. pp. 754.
7. ^ [1] Dada biographies NGA, Washington DC. Retrieved July 15, 2009
8. ^ Marc Dachy, Dada & les dadaïsmes, Paris, Gallimard, "Folio Essais", n° 257, 1994.
9. ^ Aurélie Verdier, L'ABCdaire de Dada, Paris, Flammarion, 2005.
10. ^ Tom Sandqvist, DADA EAST: The Romanians of Cabaret Voltaire, London MIT Press, 2006.
11. ^ a b ,
http://www.nga.gov/exhibitions/2006/dad ... index.shtm
12. ^ a b Dada, Dickermann, National Gallery of Art, Washington, 2006 p443
13. ^ Dada, Dickermann, National Gallery of Art, Washington, 2006 p99
14. ^ Schaefer, Robert A. (September 7, 2006), "Das Ist Dada–An Exhibition at the Museum of Modern Art in NYC", Double Exposure,
http://www.doubleexposure.com/DadaExhibit.shtml
15. ^ "Duchamp's urinal tops art survey", BBC News December 1