Mina Loy

2019

Despite protests from her scandalized mother, Mina continued to make, crafting worlds for herself from anything she could get her hands, finding pixies in wallpaper patterns to making meadows from landscape prints laid on the floor.

2015

Nabiela Naily is an Indonesian who studied at the Australian National University in 2006-2008. She studied on an Australian Agency for International Development (AusAID) Scholarship and completed a Masters in Asian Studies. The interview was conducted in English on 31 May 2014 by Dr. Jemma Purdey of Deakin University and Dr. Ahmad Suaedy of the Abdurrahman Wahid Centre for Inter-faith Dialogue and Peace at Universitas Indonesia. This set comprises: an interview recording and a timed summary.

Les réécritures du canon dans la littérature féminine de langue anglaise, 2011

The figure of the artist-poet Mina Loy (1882-1966) has been largely ignored until quite recently. One possible reason for this disregard may be the radical and experimental form of her poetry and her difficult negotiations between the concrete and the abstract. Loy has been labelled a Futurist, Dadaist, Surrealist, Feminist, Conceptualist, Modernist, and Post-modernist. Experimenting with media in her artwork, she moved from oil to ink in her early 1910s paintings and created sculptures with items and garbage cans collected from the streets in Manhattan in the 1950s. She allied herself with her visual art more than her writing, claiming at the end of her life that she never was a poet. One of the aims of this article is to establish the means Loy uses to avoid categorization, to remain ambiguously "suspended between free love and social purity, literature and science, sentimentalism and modernism" 1. Another aspect of my research will be the exploration of interdisciplinary canon-breaking crossings within Loy's poetry in order to see to what extent her work contributes to "forge new relations between these allegedly incompatible disciplines" 2. In this sense, Loy may be seen as a thief of patriarchal language, as recent feminist critical revisions have claimed, or perhaps she is rather persistently avoiding the definition of identity in

In the early twentieth century, traditional Europe fell apart. Out of the chaos and uncertainty fostered by World War I grew Modernism, a movement marked by drastic breaks from the traditions of Western art and culture (Abrams 202). Through this schism, Modernists found the freedom to forge their cultural future; for Modernist artist and poet Mina Loy, this freedom allowed her to forge a cultural purpose for her “mongrelized” ancestry. In Anglo-Mongrels and the Rose, Loy allegorizes her Hungarian-Jewish father, her English-Christian mother, and herself as Exodus, the English Rose, and Ova, respectively, to illustrate not only the chaos to be found in cross-cultural marriage, but also the artistic freedom and beauty to be found in its consummation and procreation. In my essay, I argue that Loy’s frequent use of discordant imagery, pauses and enjambment within her verse suggest the fragmentation of Exodus’s Hungarian-Jewish identity in his attempts to assimilate to English culture and identity through marriage to the English Rose. Out of the discord of their union grows Ova, an ungendered, dehumanized entity that represents the uniting of her parents’ cultures in “mongrelized” human form. Through my exploration of Anglo-Mongrels and the Rose, I demonstrate that Ova’s creation of a new poetry allegorizes Loy’s belief that the fragmentation of nationalism is a necessity for the birth of a new twentieth century culture.

Paideuma, 2017

Women: a Cultural Review, 2008

Hacettepe University Journal of Faculty of Letters, 2022

The British avant-garde poet, artist and feminist Mina Loy is an innovative female figure of the early twentieth century. Loy's poetry is noted for unusual typography, multiple and shifting narrative voices and themes such as motherhood, gender, investigations of female mind and body and sexuality. Her artworks maintain an eclectic attitude synthesizing the ideas of the canonical art movements of the era-Futurism, Surrealism and Cubism. Loy's "Parturition" (1914) gets the critical attention of the avant-garde community with its idiosyncratic subject, style and graphic description. The poem problematizes the complex relationships between Futurism and Feminism, and argues the act of parturition occurs in three embodiments of labour: physical childbirth, artistic creation and poetic production. So far, the literal interpretations of "Parturition" have generally focused on its physical aspect, treating labour as a parturient woman's giving birth; however, this semiotic and intertextual investigation brings out the complexity of the text's conceptions. This article, in terms of various concepts of "feminine writing" and evolution theories and with intertextual references to Loy's "Aphorisms on Futurism," aims to explore the poem's "fragmented narrative" structure and to argue that its Feminist persona multiplies into three different identities-a feminist-futurist mother who resists the social domestication and classification of women, an avant-garde artist who subverts the retrospective aesthetic forms and reforms the new ones, and a creative poet who overthrows conventional language forms and reconstructs a new form-Futurist language. These identities undergo various bodily and mental transformations eventually merging to construct new forms and achieve physical and psychological self-realization. Loy's iconography, Ansikten [ca. 1910s], which, through the visual, semiotic and intertextual analogy I have created, seems to represent the mental and physical space of the maternal-artistic-textual narrator.

European Journal of Media, Art & Photography, 2023

This study examines a brief period in the lives of four artists: František Foltýn and Gejza Schiller, two of the most renowned figures in the Košice Modernist movement, the author Béla Illés, and the main character, the photographer Rosie Ney. Several sources have suggested that the paths of these four individuals crossed in Košice in 1921. The study does not intend to present their lives or work in their full complexity but aims instead to clarify some ambiguities over their fates in the early 1920s. The primary focus of the article is to address the persisting uncertainty over the nature of the relationships between the four individuals and their movements between 1919 and 1923. The research collates and analyses a wide range of fragmented evidence of varying degrees of reliability in an effort to identify possible connections between the lives of the four artists and thereby raise the discussion of the issue to a new level. On the more settled question of the marriage of Rosie Ney and Béla Illés, the study also attempts to identify Rózsi Földy, alias Rosie Ney, within Illés's autobiographical novel Ég a Tisza and to clarify the timeframe of their marriage and various aspects which can shed light on subsequent events. The key topic is the unresolved question of the relationship between Rosie Ney and František Foltýn. By outlining the sequence of events in the lives of the two artists in the early 1920s, the study offers a new perspective and some interesting findings regarding the nature of their relationship.

European Legacy-toward New Paradigms, 2009

... destructeur des anarchistes, les belles idées qui tuent, e le mépris de la femme.” The complete “Fondation et manifeste du futurisme” was ... A more nuanced view may be found in Rachel BlauDuPlessis, Genders, Races, and Religious Cultures in Modern American Poetry, 1908 ...