Relevant bibliographies by topics / Avant-garde (aesthetics)

Academic literature on the topic 'Avant-garde (aesthetics)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Avant-garde (aesthetics).'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Avant-garde (aesthetics)"

1

Davis González, Ana. "La vanguardia de los Contemporáneos, una estética de la dilación." Literatura Mexicana 33, no. 1 (March 6, 2022): 149–77. http://dx.doi.org/10.19130/iifl.litmex.2022.33.1.7122x15.

Full text
Abstract:
This paper seeks to dialogue with the preceding critic about the possible classification of Contemporáneos texts as avant-garde. Our proposal is that some of their poems can be classified as avant-garde if we understand the avant-garde as a 20th century art paradigm and not only as a historical category during the beginning of the century. For this purpose, in the first place, the dichotomy “threshold aesthetics / dilation aesthetics” is proposed to explain two avant-garde poetic modalities, starting from the expression “threshold aesthetics,” coined by Luciana Del Gizzo (2017). Secondly, the “aesthetics of dilation” is applied in the poetic Contemporáneos texts in contrast to the threshold aesthetics of stridentism or muralism, in the Mexican context.
APA, Harvard, Vancouver, ISO, and other styles
2

Paškevica, Beata. "ANNA (ASJA) LĀCIS AT THE CROSSROADS OF CULTURES AND IDEOLOGIES." Culture Crossroads 8 (November 13, 2022): 63–69. http://dx.doi.org/10.55877/cc.vol8.161.

Full text
Abstract:
The article explores the course of formation of the positions of Asja Lācis’s theatre aesthetics in the early period of her activity, mainly in Riga during the 1920s. The article takes a chronological look at the first theatre impressions of German and Latvian theatres in Riga. Special attention is paid to Asja Lācis’s change of aesthetic views under the influence of the Russian avant-garde. In contrast to the exuberance of Hedda Gabler and the existential loneliness in Ibsen’s psychological theatre, the new Russian avant-garde theatrical search stressed the biomechanical conception and the role of the actor as a player in a theatre company. The key position in Asja Lācis’s personal work of directing in Riga amateur theatre of the leftist trade unions was the aesthetic requirements of the proletarian cult and the theatre of October. She tried to create a radical avant-garde theatre and expressed her aesthetic views in a number of articles in the Latvian leftist press. Anna Lācis’s experiments in Oryol and the Riga theatres, which were based on her acquired experience of the Russian avant-garde, served as a catalyst for her further cooperation with Walter Benjamin and Bertolt Brecht; it also influenced the development of different contemporary theatre trends.
APA, Harvard, Vancouver, ISO, and other styles
3

Imre Szemán. "Aesthetics and Politics After the Avant-Garde." Criticism 50, no. 2 (2009): 313–17. http://dx.doi.org/10.1353/crt.0.0061.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Manhas, Sumedha. "Nordau’s warning- Aesthetics under siege." International Journal of English Literature and Social Sciences 8, no. 5 (2023): 188–90. http://dx.doi.org/10.22161/ijels.85.30.

Full text
Abstract:
This research paper delves into the contrasting ideologies of Max Nordau, a prominent critic of the 19th century, and Oscar Wilde, a renowned aesthete and playwright, in the context of late Victorian society. Nordau's theory of degeneration, which condemned deviations from societal norms as signs of cultural decay, is analyzed alongside Wilde's deliberate embrace of excess, maximalism, and aestheticism. By juxtaposing Nordau's conservative views against Wilde's avant-garde approach, this paper explores how Wilde's subversion of Victorian beauty standards challenged prevailing notions of aesthetics, morality, and individuality. Through an in-depth examination of Wilde's works and Nordau's critiques, this research sheds light on the intellectual and artistic tension of the era, highlighting the clash between traditional values and emerging avant-garde movements.
APA, Harvard, Vancouver, ISO, and other styles
5

Ibrahim, Areeg. "Sonali Pahwa, Theaters of Citizenship: Aesthetics and Politics of Avant-Garde Performance in Egypt." Modern Drama 64, no. 2 (June 2021): 250–52. http://dx.doi.org/10.3138/md.64.2.br06.

Full text
Abstract:
Sonali Pahwa’s Theaters of Citizenship sheds light on the Egyptian avant-garde independent theatre movement from 2004 until 2014, with an eye on the aesthetics of citizenship. Although the writer’s fascination with ethnographic details of life in Cairo overshadows her analysis of the plays, the book is nevertheless a valuable resource on Egyptian avant-garde theatre.
APA, Harvard, Vancouver, ISO, and other styles
6

Nowicka, Daria. "Awangarda panoramicznie." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 305–17. http://dx.doi.org/10.14746/pss.2020.18.19.

Full text
Abstract:
The Seeing Avant-garde [Widzenie awangardy] volume edited by Agata Stankowska, MarcinTelicki and Agata Lewandowska is a collection of the articles about the avant-garde update.Written by many researchers, the articles show a wide scale of research on the contemporaryavant-garde manifested in literature, art, music, theatre and cybernetics. As an extremely valuablepublication, the book in question concentrates on the new and original methods of comparativeresearch, marks new reading directions, and presents contemporary problems of aesthetics.
APA, Harvard, Vancouver, ISO, and other styles
7

Burdman, Javier. "Lyotard and Democratic Aesthetics: The Sublime, the Avant-Garde, and the Unpresentable." Journal of Social and Political Philosophy 3, no. 1 (February 2024): 37–51. http://dx.doi.org/10.3366/jspp.2024.0071.

Full text
Abstract:
In recent years, democratic theorists have inquired into the aesthetic dimension of contemporary politics. Influenced by Hannah Arendt and Jacques Rancière, these scholars claim that there is an analogy between democratic politics and aesthetic experiences, since both involve the confrontation of an indeterminacy that cannot be overcome by means of rational argumentation. Contributing to this perspective, but challenging some of Rancière’s insights, this article shows the importance of Jean-François Lyotard’s writings on aesthetics for understanding what I call ‘democratic aesthetics’. This aesthetics, I argue, consists in works of art that bring representation to its limits, thus arousing an experience of the unpresentable. Influenced by Immanuel Kant’s analysis of the sublime, Lyotard claims that avant-garde art, by disrupting the rules of representational art, put representation as such into question. This experience of the unpresentable contributes to cultivating a readiness to listening to voices that are not yet heard, because they lack a discourse by which to express themselves. Given that politics in postmodernity, following Lyotard, consists in shifting the dividing line between the sayable and the unsayable, avant-garde art is conductive to a postmodern politics – which, I argue, is analogous to democratic politics.
APA, Harvard, Vancouver, ISO, and other styles
8

Coase, Hal. "Delimit / De-limit: Barbara Guest at Kandinsky’s Window." Text Matters: A Journal of Literature, Theory and Culture, no. 13 (November 27, 2023): 127–42. http://dx.doi.org/10.18778/2083-2931.13.07.

Full text
Abstract:
This essay reads Barbara Guest’s poem “The View from Kandinsky’s Window” from her 1989 collection Fair Realism alongside Wassily Kandinsky’s own theories of form and abstraction. It argues that Guest’s poetic reinvention of historic avant-garde aesthetics on the page can be taken as an exemplary case for new feminist theorizing of the avant-garde as a set of decentered, provisional, and heterogenous practices. Guest’s engagement with Kandinsky is initially situated in the context of Clement Greenberg’s criticisms of the painter throughout the 1940s. According to Greenberg’s formalism, Kandinsky is shown to have “failed” due to his provincialism, eclecticism, and disharmonizing of scale. Guest’s poem can be seen as valuing and accentuating each of these qualities and in so doing it presents a subtle defence of Kandinsky’s aesthetics and becomes an example of the kind of intermedia contamination which Greenberg’s theorizing on “pure” modernist painting had attempted to delimit. Guest’s counter interest in “de-limiting” the work of art—removing boundaries imposed by period, style, and media—is contextualized within debates on the “limit” within avant-garde aesthetics.
APA, Harvard, Vancouver, ISO, and other styles
9

Alekseyeva, Julia. "Vertov and the Avant-Garde Documentary: Dreaming Reality in the 1960s, from the USSR to Japan." Film History: An International Journal 35, no. 2 (June 2023): 1–25. http://dx.doi.org/10.2979/fih.00001.

Full text
Abstract:
ABSTRACT: This article argues that the work of 1920s Soviet filmmaker Dziga Vertov found especially fertile ground in 1960s Japan, where critics have long discussed ties between documentary and the avant-garde. Theorists interpreted Vertov's filmmaking as fundamentally avant-gardist. That is, it was both an "experiment in a dream" and an "experiment in reality," according to Nakahara Yusuke, rather than the work of a documentarian "catching life unawares." This transnational media ecology results in a strong tradition of experimental documentary that traces revolutionary politics to editing tricks and self-reflexivity. Soviet and Japanese avant-garde documentary emerge independently, and decades apart, yet result in a fascinating confluence of political avant-garde aesthetics that overlaps significantly.
APA, Harvard, Vancouver, ISO, and other styles
10

Hewitt (book author), Andrew, and Antonio Franceschetti (review author). "Fascist Modernism: Aesthetics, Politics, and the Avant-Garde." Quaderni d'italianistica 15, no. 1-2 (October 1, 1994): 315. http://dx.doi.org/10.33137/q.i..v15i1-2.10295.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Avant-garde (aesthetics)"

1

Pitkin, Carissa. "Against Expression?: Avant-garde Aesthetics in Satie's "Parade"." University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595499202615172.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Kleberg, Lars. "Theatre as action : Soviet Russian avant-garde aesthetics /." Houndsmills, Basingstoke, Hampshire : Macmillan Press, 1993. http://www.loc.gov/catdir/enhancements/fy0808/95184875-b.html.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Lee, Sze Wah Sarah. "Aesthetics of experiment : Imagism, Vorticism and the European avant-garde." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19690/.

Full text
Abstract:
This dissertation is a critical re-assessment of Imagism and Vorticism in relation to the European avant-garde, which both movements aspired towards in their reactions against the contemporary English arts and letters. I explore the implementation of such aspirations in the English arts by chronicling the complex relationship between the English movements and Cubism, the Parisian avant-garde, Italian Futurism and German Expressionism. The thesis argues that Imagism and Vorticism simultaneously modelled themselves on and reacted against their Continental counterparts, in terms of aesthetic concepts, artistic techniques and promotional tactics in creating a modern art. As movements with contributors of different nationalities and working in different artistic media, including poetry, painting and sculpture, there necessarily exists many aesthetic varieties within Imagism and Vorticism apart from foundational consensus shared by group members. In order to address the complexity of the groups’ make-up and the interdisciplinarity of their avant-garde aesthetics, the enquiry is made through a two-fold approach: firstly, by conducting contextual and comparative studies of significant individuals of the movements, including T. E. Hulme, Wyndham Lewis and Ezra Pound, to gauge their individual perspectives on literature, visual arts and aesthetic theories; secondly, by considering the heterogeneous nature of these movements and exploring the group dynamics, tensions and rivalries within the movements and with other contemporary groups. With this dual focus, my thesis reconstructs the cultural milieu through the artists’ works and correspondence, as well as the circulation network of little magazines, publicity and patronage, in order to reconcile the aesthetic and social contexts of Imagism and Vorticism, both in England and beyond. Ultimately, my thesis provides a more comprehensive analysis of the evolution of the English movements’ aesthetics, their relationship with the European avant-garde, and their impact on artistic and literary experimentation in modernist English literature and visual arts.
APA, Harvard, Vancouver, ISO, and other styles
4

Boezaart, Kim. "Contemporary avant-garde jewellery in South Africa." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51665.

Full text
Abstract:
Thesis (MA)--University of Stellenbosch, 2000.
ENGLISH ABSTRACT: This study considers the dynamics and nature of neo-avant-garde jewellery with specific reference to contemporary South African (neoavant- garde) jewellery. In Chapter One defensible working descriptions of the terms "avant-garde" and "neo-avant-garde" are established in order to establish some manageable conclusions regarding their application to jewellery design. These descriptions are derived from a consideration of the concepts in contemporary aesthetic discourse. Chapter Two considers the role, justifications and implications of adornment with a view to isolating the development, influences and nature of neo-avant-garde jewellery. A distinction is drawn between the aesthetics, ontology and art-relevant status of such jewellery and commercial or mainstream jewellery. Chapter Three analyses specific examples of contemporary South African avant-garde jewellery in the light of the above-mentioned distinctions. Works are considered in relation to the transgression of material, the transgression of taste, the transgression of integrity of form and the integration of narrative and parochial content and attempts to demonstrate that an appropriate critical posture in regard to such jewellery is art, rather than craft-relevant. In Chapter Four general influences regarding themes and concepts apparent in the author's body of practical work are discussed. An annotated catalogue supplements the general discussion.
AFRIKAANSE OPSOMMING: CONTEMPORARY AVANT-GARDE JEWELLERY IN SOUTH AFRICA Hierdie studie ondersoek die dinamika en karaktereienskappe van neoavant- garde juweliersware, met spesifieke verwysing na kontemporêre Suid-Afrikaanse neo-avant-garde juweliersware. In Hoofstuk Een word die terme "avant-garde" en "neo-avant-garde" beskryf. Die doel hiervan is om uiteindelik die omvattende gebruike en definisies van hierdie terme (met betrekking op kontemporêre estetika) vas te lê. Hoofstuk Twee gee 'n oorsig aangaande die redes vir- en implikasies van fisieke versiering. Die ontwikkeling, invloede en aard van neo-avant-garde juweliersware word bespreek en gekontrasteer met komersiêle jeweliersware. In lig van die bogenoemde onderskeidings verwys Hoofstuk Drie na spesifieke Suid-Afrikaanse voorbeelde van neo-avant-garde juweliersware. Hierdie voorbeelde word oorweeg in terme van hul oorskryding van tradisionele grense aangaande materiaalgebruik, smaak, integriteit van vorm en die integrasie van relaas. Die studie poog om die relevansie van neo-avant-garde juweliersware as kuns eerder as kunsvlyt te demonstreer. In Hoofstuk Vier word die outeur se praktiese werke bespreek deur middel van 'n geannoteerde katalogus. Die katalogus word voorafgegaan deur 'n bespreking van invloede, temas en konsepte van die deurlopende ooreenkomste in die outeur se werke verduidelik.
APA, Harvard, Vancouver, ISO, and other styles
5

Nicholls, Tracey. "It does too matter : aesthetic value(s), avant-garde art, and problems of theory choice." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100665.

Full text
Abstract:
My dissertation is concerned with two central issues: analysis of theory-practice gaps in aesthetic theories applied to avant-garde musics, and problems of visibility and respect in theorizing across cultures. In the first chapter, I examine a case study, John Coltrane's successive improvisations on "My Favorite Things," under two different theories in order to show how theories shape our view of the practices we are trying to explain. In the second chapter, I take up Coltrane's practices and their relations to theories once again but, in a reversal of the previous chapter's focus, I show how examining theories through practices can reveal these theory-practice gaps and problematic assumptions. I move, from there, to an analysis, informed by feminist standpoint epistemology, of the extent to which political values influence our theory choices and thus help construct our metaphysical views. Out of this discussion, my third chapter argues that attempts to universalize a culturally-situated notion of 'the musical work' (one drawn from Western classical music) do violence to works and artists situated in other cultural traditions. Thus I construct an alternative view of the musical work that I call 'contextualized nominalism' which has the merit of being sensitive to these issues of cultural situation. The fourth chapter explores connections between avant-garde jazz practices and oppositional politics which can be made visible when performances of works are accorded priority over composition. Here I construct a performative notion of community which, in addition to making the most sense of improvisational musical practices, can also be the ground of an 'ethos of improvisation' extendable into other social contexts. Finally I turn to the need for a pluralistic framework in aesthetic evaluation of polycultural artistic processes and products, through a critical examination of universal notions of aesthetic value. I argue, from this and all of the preceding chapters, that where we cross cultures, or mix them, in aesthetic evaluations, we must do so as respectful pluralists and within a pluralist framework.
APA, Harvard, Vancouver, ISO, and other styles
6

Cooper, Allison Ann. "Disanimate modernism literature, painting and aesthetics in wartime and post World War I Italy /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1693038441&sid=7&Fmt=2&clientId=1564&RQT=309&VName=PQD.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Gao, Minglu. "The '85 Movement Avant-garde art in the post-Mao era /." online access from Digital dissertation consortium, 1999. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?9960497.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Attwood, Adam Imbrogno. "Aesthetic literacy through the avant-garde| Establishing an aesthetically responsive curriculum." Thesis, Washington State University, 2015. http://pqdtopen.proquest.com/#viewpdf?dispub=3715154.

Full text
Abstract:

The purpose of this exploratory case study is to identify, develop, and posit an aesthetically responsive curriculum theory as a praxis approach for preparing K-8 pre-service teachers in aesthetic literacy throughout their teacher education program. I explore two approaches in the literature that have thus far consisted of the (1) practitioner and (2) theorist models of arts-integration. In this study, these two approaches are fused together as a praxis to posit a solution to the problem of the arts being removed from the curriculum in times of budget cuts. From my analysis of the survey data from pre-service K-8 teachers (n = 37 in 2012; n = 34 in 2014) and my analysis of a broad selection of the literature in curriculum theory, aesthetics, and teacher education, I developed what I call archeophisomorphic (ArchPM) theory for a praxis model of arts-integration for social studies in particular. I designed an ArchPM-based curriculum product in the form of an illustrated book as an example to begin implementing a new aesthetic literacy through the integration of the arts into social studies and language literacy. Through this theory-driven practice of aesthetic literacy development, teacher educators may foster exploration of aesthetics as an applied philosophical inquiry in which its application is in the form of curriculum products for teaching aesthetic literacy.

APA, Harvard, Vancouver, ISO, and other styles
9

Parrino, Francesco. "Between the avant-garde and fascist modernism : Alfredo Casella's aesthetics and politics." Thesis, Royal Holloway, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.544134.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Mao, Jianxiong. "A study about the "cultural orientation" in Chinese avant-garde art." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1346.

Full text
Abstract:
Thesis (M.A.)--West Virginia University, 2000.
Title from document title page. Document formatted into pages; contains iii, 50 p. : ill. (some col.). Includes abstract. Includes bibliographical references (p. 35-36).
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Avant-garde (aesthetics)"

1

Dietrich, Scheunemann, ed. Avant-garde/Neo-avant-garde. Amsterdam: Rodopi, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

1955-, Hopkins David, and Schaffner Anna Katharina, eds. Neo-avant-garde. Amsterdam: Rodopi, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

M, Bercot, ed. Avant-garde & modernité. Paris: Champion, 1988.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

van, Broekhuizen Dick, Teeuwisse Jan, and Museum Beelden aan Zee, eds. Xiānfēng!: Beeldhouwkunst van de Chinese avant-garde = Chinese avant-garde sculpture. Zwolle: Waanders, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Dugneanu, Paul, Nicolae Șarambei, and Valentin F. Mihăescu. Romanian avant-garde: Anthology. Bucharest: The Foreign Languages Press Group "Romania", 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Pindera, Agnieszka. The Avant-Garde Museum. Edited by Muzeum Sztuki w. Łodzi. Lodz: Muzeum Sztuki, 2020.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

1893-1952, Strzemiński Władysław, Centre Georges Pompidou, Muzeum Sztuki w. Łodzi, and Haags Gemeentemuseum, eds. Katarzyna Kobro, Wladyslaw Strzeminski: Une avant-garde polonaise = a Polish avant-garde. Paris: Centre Pompidou, 2018.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Oliva, Achille Bonito. Trans avant garde international. Milano: Giancarlo Politi, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

F, Kovtun E., and Gosudarstvennyĭ russkiĭ muzeĭ (Saint Petersburg, Russia), eds. Russian avant-garde: The uncompleted chapters. [Saint Petersburg]: Palace Editions, 1999.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Manalili, Fatima. The avant-garde collection. Edited by Orange County Museum of Art (Calif.). Newport Beach, California: Orange County Museum of Art, 2014.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Avant-garde (aesthetics)"

1

Hanna, Kifah. "Gender Dialectics: Hudā Barakāt’s Aesthetics of Androgyny." In Feminism and Avant-Garde Aesthetics in the Levantine Novel, 95–123. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137545916_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Fielding, James Matthew. "Ethics and Aesthetics Are One: Wittgenstein and the Avant-Garde." In The Movement of Thought: Wittgenstein on Time, Change and History, 253–73. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-29261-3_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Archambeau, Robert. "The Aesthetic Anxiety: Avant-Garde Poetics, Autonomous Aesthetics, and the Idea of Politics." In Art and Life in Aestheticism, 139–58. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230583498_9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Hanna, Kifah. "Introduction." In Feminism and Avant-Garde Aesthetics in the Levantine Novel, 1–13. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137545916_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Hanna, Kifah. "The Vicious Cycle: Contemporary Literary Feminisms in the Mashriq." In Feminism and Avant-Garde Aesthetics in the Levantine Novel, 15–37. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137545916_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Hanna, Kifah. "The Gendered Subject: Literary Existentialism in Ghādah al-Sammān’s “Beirut Tetralogy”." In Feminism and Avant-Garde Aesthetics in the Levantine Novel, 39–67. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137545916_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Hanna, Kifah. "Saḥar Khalīfeh’s Resistance Literature: Toward a Palestinian Critical Realism." In Feminism and Avant-Garde Aesthetics in the Levantine Novel, 69–94. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137545916_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Hanna, Kifah. "Afterword." In Feminism and Avant-Garde Aesthetics in the Levantine Novel, 125–33. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/9781137545916_6.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Colby, Georgina. "The Small Press, Avant-Garde Aesthetics and the Politics of Disidentification." In New Directions in Book History, 237–70. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-48784-3_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Heuvel, Mike Vanden. "Good Vibrations: Avant-Garde Theatre and Ethereal Aesthetics from Kandinsky to Futurism." In Vibratory Modernism, 198–214. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137027252_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Avant-garde (aesthetics)"

1

Menshikov, L. "AESTHETIC AND ART HISTORY APPROACHESIN THE METHODOLOGY OF GENRE-STYLE RESEARCH OF NEO-AVANT-GARDE ACTIONISM." In Aesthetics and Hermeneutics. LCC MAKS Press, 2022. http://dx.doi.org/10.29003/m2551.978-5-317-06726-7/80-85.

Full text
Abstract:
In the context of the postmodernist project completion the development of an art-historical methodology for the studying of the action art as one of the characteristic practices of the contemporary art becomes relevant. Combining genre-stylistic analysis with the principles of post-structuralist aesthetics is an important task in the study of the practices of neo-avangard art.
APA, Harvard, Vancouver, ISO, and other styles
2

Kolb, Fabian. "Tanztheater und filmische Ästhetik. Cineastische Einflüsse und Gestaltungsweisen in den Kompositionen für die Ballets Suédois 1920–1925." In Jahrestagung der Gesellschaft für Musikforschung 2019. Paderborn und Detmold. Musikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold, 2020. http://dx.doi.org/10.25366/2020.60.

Full text
Abstract:
The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music.
APA, Harvard, Vancouver, ISO, and other styles
3

Lus Arana, Luis M. "La Ligne Claire de Le Corbusier. Time, Space, and Sequential Narratives." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.814.

Full text
Abstract:
Abstract: In 1921, issue 11-12 of L’Esprit Nouveau featured an article entitled “Toepffer, précurseur du cinema” where Le Corbusier, signing as ‘De Fayet’, vindicated the figure of Rodolphe Töpffer (1799-1846), a Swiss a pioneer of comics, as a key element in the development of cinema. Marginal as it may seem, this reference unveils a deeper relationship between Jeanneret and Töpffer’s work which started in his childhood, and would have a key role in the development of some of Le Corbusier’s trademark obsessions: travel, drawing, and cinematic narratives. In this context, “La Ligne Claire de Le Corbusier” proposes a close examination of the presence of graphic narrative and its aesthetics in Le Corbusier's early work in relation to its evolution from a sequential promenade architecturale to multispatial enjambment. The paper explores themes such as narrative and the inclusion of time in le Corbusier's Purist paintings, or his evolution from a painterly approach to drawing to an idealized, linear and synthetic rendering style. Keywords: Sequence; Enjambment; Purism; Avant-Garde; Töpffer ; Bande Dessinée. DOI: http://dx.doi.org/10.4995/LC2015.2015.814
APA, Harvard, Vancouver, ISO, and other styles
4

Dieckmann, Clare. "Jet Crossings: Flying Hybrid Machines Over Rose Bay Seaplane Airport (1938)." In The 39th Annual Conference of the Society of Architectural Historians Australia and New Zealand. PLACE NAME: SAHANZ, 2023. http://dx.doi.org/10.55939/a5017p4oya.

Full text
Abstract:
The invention of flying boats in the early twentieth century prompted architects and urbanists to adapt to a new hybrid transport technology. Flying boats’ ability to take off and land on the water made the water an endless runway with airport terminals positioned on coastlines. The miracle of flying boats and, more broadly, aeroplanes in the air struck a chord in the popular imagination of ordinary tourists, avant-garde architects and urban designers. The Art Deco style expressed their excitement for the new modern transport technology, with smooth, streamlined aesthetics based on the curved, aerodynamic surface of aeroplane bodies. Design professionals internalised aerial themes when shaping places where the sea meets the sky. Taking full advantage of aircraft technology with the ability to take off from the water, Qantas built Australia’s first international airport and maintenance facilities at Rose Bay in 1938 for easy access to the waters of Sydney Harbour. To serve further increases in the popularity of international air travel, a second international airport was proposed for the waters at Newport in Sydney’s Pittwater. The airport buildings at Rose Bay and Newport are examples of airport architecture at a local level, their stories providing tangible and material insights into the broader history of Australian aviation heritage. This paper’s archaeology of Rose Bay’s and Newport’s terminal buildings as obsolescent objects will uncover glimpses into how architects networked innovative transport technologies into the modern cities of the past.
APA, Harvard, Vancouver, ISO, and other styles
5

Elias, Larissa, and Maria Luisa Garrido. "The conception of “fashion-sculpture” in Rei Kawakubo’s costumes for the choreography “Scenario”(1997)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.118.

Full text
Abstract:
“The Rei Kawakubo's fashion-sculpture” is an ongoing Master's project, developed at the Postgraduate Program in Visual Design at the Federal University of Rio de Janeiro. The research is centered on the study of the costumes (and its relationship with movements and spatiality) created by the japanese fashion designer Rei Kawakubo for the dance performance “Scenario” (1997), by the american dancer and choreographer Merce Cunningham (1919-2009). The costumes were adapted from the spring-summer Collection “Body meets dress, dress meets body”, designed by Rei and launched by her brand Comme des Garçons in 1997. Rei Kawakubo is appointed as one of the most important conceptualist fashion designers of contemporary. Visionary, avant-garde, timeless, are some of the adjectives attributed to her. Her work is also called anti-fashion. Through a series of visual deconstructions, her creations address – directly or indirectly – themes such as feminism and gender identity. The “Body meets dress, dress meets body” Collection and the costumes of “Scenario” invest in an aesthetic that explores unusual possibilities of relationships between body and dress; an aesthetic which aims to deform the forms. At play, ideas that problematize the conventional contours and movements of the body: disproportionate volumes, silhouette misalignments, inversions of perspective, asymmetries, automatism, blurring of boundaries between body and dress, dress as an object. In this arena the suggestion of the notion of “fashion-sculpture” is born. A notion that is intended to be formulated from the work and for the understanding of the work. The investigation is developed from case study methodologies combined with a process of practical experimentation, which takes place simultaneously in the fields of art and design. In the scope of theoretical reflections it is proposed an approximation with the understanding of sculpture as a compound of sensations according to the Deleuze and Guattari conception in the essay “Percept, affect and concept”. The research seeks to establish a connexion between the sculptural compositions produced by the body-costume ensemble in Cunningham's choreography and the symbolic image of a stone sculpture that is at the origin of the concept of Über-Marionette designed by Gordon Craig. Finally, we try to think about possible relationships between the shapes of the costumes and some characteristic aspects of the grotesque body, such as ambivalences, oppositions, irregularities, described by Mikhail Bakhtin in his concept of grotesque realism. The costumes of the “Scenario” dance performance – in which the highlighted aspects can be observed exemplarily – are a strong expression of the idea of “fashion-sculpture”. In this communication, fragments of the show will be presented. In them, it can be seen that the alignment of the dancers, in pairs or trios, reconfigures in the space the volume composed of body and dress. The clothes created by Kawakubo for the Collection proposed the redesign of the body. This proposal is radicalized in the choreography: with the movement of the body-dress set in space, distortions and ambiguities are intensified. Theatricality is introduced and dramatic sculptural compositions are formed. With the theatrical game, the object function of the garment is also evidenced.
APA, Harvard, Vancouver, ISO, and other styles
6

Cova Morillo, Miguel Angel De la. "Le Corbusier y Charles Lasnon: De las maquetas blancas de los Salones de Otoño a los plan-reliefs del nuevo urbanismo." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.729.

Full text
Abstract:
Resumen: El “mouleur” Charles Lasnon representa la convivencia que durante el primer tercio del siglo XX se dará entre las Artes y Oficios y las nuevas técnicas de representación vinculadas a la fotografía. Lasnon realizará para Le Corbusier una serie de maquetas que presentarán sus propuestas a escala doméstica y urbana, primera aproximación a una expresión tridimensional de sus teorías: los modelos 1:20 de los Salones de Otoño en 1922 y 1923, a camino entre el objet-type y la escultura de vanguardia, y las del “Urbanisme á trois dimensions” del Plan Obus y Nemours. Las maquetas de las Villas se establecerán como “manifiestos estéticos y arquitectónicos”. En ellas se ensayarán principios teóricos plásticos, previos incluso a una idea de construcción, indagaciones que abren la puerta a transferencias entre la representación a escala realizada en yeso y la arquitectura a realizar. Por otra parte, la vinculación de Lasnon con el Service Geographique de l’Armée le familiarizará con las nuevas técnicas de representación del territorio. Así, realizará los Carte-Relief de Argel coetáneamente a la ejecución de las maquetas de las propuestas urbanas argelinas de Le Corbusier, garantes no sólo del rigor geométrico de sus postulados: quedan en ellas registradas el paisaje original, cuya topografía se modela y manipula como si de un trabajo plástico se tratara. Utopías en busca de un lugar imaginado sobre un trozo de yeso. Abstract: Charles Lasnon, "mouleur",represents the coexistence between the Arts and Crafts and the new rendering techniques related to photography that took place in the first quarter of the twentieth century. Commissioned by Le Corbusier, Lasnon made in those years several models that represent his new proposals at a domestic and urban scale. That was the first approach to a three-dimensional expression of his theories –the scale models of 1:20 from "Salon d'Automne" in 1922 and 1923, which were halfway between objet-types and avant-garde sculptures, and the theories of "L'Urbanisme à trois dimensions" from Plan Obus and Nemours. The scale-models of "Villas" were established as “aesthetic and architectural manifestos”. They were used to test theoretical and plastic principles, formulated before the idea of construction. These tests resulted in "transfers" between plaster-craft scale models and the architecture to be built. Additionally, the links between Lasnon and the “Service Geographique de l’Armée” enabled him to be familiar with new techniques to represent landscape. Thus, Lasnon made the Carte-Reliefs d'Argel at the same time as Le Corbusier made the models for the urban proposals in Alger. These models not only guarantee the geometrical accuracy of his proposals, but also capture an original landscape whose topography is modeled as if it was a plastic craftwork. Utopias seeking an imaginary place on a plaster slice. Palabras clave: maqueta; moulage; Charles Lasnon; urbanismo; plan-relief; Salón de Otoño. Keywords: model; "moulage", Charles Lasnon; urbanism; plan-relief; Salon d'Automne. DOI: http://dx.doi.org/10.4995/LC2015.2015.729
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Avant-garde (aesthetics)"

1

Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, December 2020. http://dx.doi.org/10.46877/klengel.2020.30.

Full text
Abstract:
The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Avant-garde (aesthetics)' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography