Frases de Dana Gioia (80 citas)

"Being a California Poet" http://www.danagioia.net/essays/ecalifornia.htm (1999) , from My California: Journeys by Great Writers, ed. Donna Wares (2004)
Essays

“The schism between Christianity and the arts has had two profound consequences, two vast impoverishments--one for the arts world, the other for the Church. First, for the arts world, the loss of a transcendent religious vision, a refined and rigorous sense of the sacred, the breaking and discarding of the two thousand years of Christian mythos, symbolism, and tradition has left contemporary American art spiritually diminished. The shallow novelty, the low-cost nihilism, and the vague and sentimental spiritual pretensions of so much contemporary art—in every medium—are the legacy of this schism, as well as the cynicism that pervades the arts world”

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Dana Gioia

26
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“It is time to renovate and reoccupy our own tradition”

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Dana Gioia

35
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“I can’t think of better ways to learn than through pleasure and curiosity. I guess the reason these two qualities play so small a role in formal education is that they are so subjective and individual. Curiosity and delight can’t be institutionalized.Childhood and adolescence form our sensibilities. By the time I arrived in college, I had already developed a deep suspicion of all theories of art that did not originate in pleasure.”

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Dana Gioia

"Lonely Impulse of Delight: One Reader's Childhood," http://www.danagioia.net/essays/elonely.htm The Southern Review (Winter 2005)
Essays

“Catholic writers tend to see humanity struggling in a fallen world. They combine a longing for grace and redemption with a deep sense of human imperfection and sin. Evil exists, but the physical world is not evil. Nature is sacramental, shimmering with signs of sacred things…. Catholicism is also intrinsically communal, a notion that goes far beyond sitting at Mass with the local congregation, extending to a mystical sense of continuity between the living and the dead. Finally, there is a habit of spiritual self-scrutiny and moral examination of conscience”

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Dana Gioia

10
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“Tradition is not, as post-modernists maintain, a library or museum the artist plunders. It is the endless conversation between the living and the dead. Young artists enter into this conversation passionately — not merely intellectually, though study and analysis play a part. They live and breathe it. Tradition is not a public building. It is a love affair.”

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Dana Gioia

"Paradigms Lost," interview with Gloria Brame, ELF: Eclectic Literary Forum (Spring 1995)
Interviews

“America's first great surrealist artists were named Walt Disney, Max Fleischer, and Tex Avery. Their artistic medium was cartoon animation, though we must remember that cartoons of this era were seen not only by children but by a mixed audience, consisting mainly of adults. These men took — quite literally — the principles of surrealism and turned them into mass entertainment. As Fleischer's scantily clad Betty Boop ran through a phantasmagoric underground landscape to the driving beat of Cab Calloway's "Minnie the Moocher," moviegoers of the Thirties saw surrealist dream-logic unfold more powerfully than in any experimental poem created in Greenwich Village. To this day the greatest moment of North American surrealism is probably Dumbo's drunken nightmare choreographed to the demonic oom-pah-pah of "Pink Elephants on Parade" from Walt Disney's 1941 movie. When the surrealist style was so quickly assimilated into mass-media comedy, what avant-garde poet could consider it sufficiently chic?”

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Dana Gioia

"James Tate and American Surrealism," BBC Radio 3, published in Denver Quarterly (Fall 1998)
Essays

“Audiences and critics acknowledge that a play or concerto gains force in great rendition. A good play may overcome bad staging. A great concerto may survive a poor soloist. But it is naturally assumed that a more accomplished performance intensifies the impact of the work. The play's text or concerto's score does not change, but the right actors and musicians help realize its full potential. Among contemporary literary critics, however, one never encounters this notion in regard to books and printing. To recognize the sensual contributions of the physical elements of a book is somehow assumed to demean the spiritual purity of the text. To notice the book itself smacks of philistinism, and to make distinctions based on paper, binding, and typography brings accusations of elitism or decadence.”

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Dana Gioia

"Designing Literature: Creative Collaboration" http://www.danagioia.net/essays/ecreative.htm (1992)
Essays

“In social terms the identification of poet with teacher is now complete. The first question one poet now asks another upon being introduced is "Where do you teach?" The problem is not that poets teach. The campus is not a bad place for a poet to work. It's just a bad place for all poets to work. Society suffers by losing the imagination and vitality that poets brought to public culture. Poetry suffers when literary standards are forced to conform with institutional ones.”

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Dana Gioia

Essays, Can Poetry Matter? (1991)

“If Catholic literature has a central theme, it is the difficult journey of the sinner toward redemption”

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Dana Gioia

14
Essays, Can Poetry Matter? (1991), The Catholic Writer Today (2013)

“What does an instinctively popular poet do in contemporary America, where serious poetry is no longer a popular art? The public whose values and sensibility he celebrates is unaware of his existence. Indeed, even if they were aware of his poetry, they would feel no need to approach it. Cut off from his proper audience, this poet feels little sympathy with the specialized minority readership that now sustains poetry either as a highly sophisticated verbal game or secular religion. His sensibility shows little similarity to theirs except for the common interest in poetry. And so the popular poet usually leads a marginal existence in literary life. His fellow poets look on him as an anomaly or an anachronism. Reviewers find him eminently unnewsworthy. Publishers see little prestige attached to printing his work. Critics, who have been trained to celebrate complexity, consider him an amiable simpleton.”

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Dana Gioia

"The Anonymity of the Regional Poet: Ted Kooser" http://www.danagioia.net/essays/ekooser.htm, from Can Poetry Matter? Essays on Poetry and American Culture (1992)
Essays