Dissertations / Theses on the topic 'Avant-garde (aesthetics)'
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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.
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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.
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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/.
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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.
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Boezaart, Kim. "Contemporary avant-garde jewellery in South Africa." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51665.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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).
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Nakayama, Tomoko. "The post-war Japanese avant-garde movements : the distinct phase of anti-art 1954-1970 : Gutai, Neo-Dada, Hi Red Centre and Mono-Ha /." Title page, table of contents and abstract only, 2004. http://web4.library.adelaide.edu.au/theses/09ARAHM/09arahmn1637.pdf.
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Thesis (M.A.(St.Art.Hist.)) -- University of Adelaide, Master of Arts (Studies in Art History), School of History and Politics, Discipline of History, 2005.Coursework. "November 2004" Bibliography: leaves 118-128.
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Callwood, Chaneel Marie. "Architectural nights : an articulation of the structure of "The Garden of Forking Paths" by Jorge Luis Borges and "One Hundred Years of Solitude" by Gabriel Garcia Marquez." Thesis, Georgia Institute of Technology, 1993. http://hdl.handle.net/1853/23932.
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Harutyunyan, Anzhela. "On the ruins of Utopia : the political aesthetics of the Armenian avant-garde." Thesis, University of Manchester, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.501990.
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This project aims to examine contemporary art production in Armenia since the late 1980s within the turbulent transformations from state socialism to market economy in post- Soviet Armenia. I argue that it is precisely those contexts and artistic initiatives that have failed to be incorporated into the valuation system of the international art market that harbor potential for radical art and emancipatory forms of subjectivisation. This study aims to shed a light upon the context of artistic production in Armenia which largely emerged between the ruins of the utopia of the socialist project and the failure to realize the romanticized consumerism of the capitalist West. This project is an attempt to recapture, retrieve and reinterpret the historical moment of inbetweeness which was subsequently either co-opted by the logic of the art market or simply forgotten and left out from the world map of art history. I argue that in order to reestablish art's political relevance in the age of global disillusionment from art's capacity to have an impact upon other spheres of social activity, it is essential to articulate those spaces which challenge the established notions of political art in the context of Euro-American academic and artistic discourses. This historical project provides a means to unsettle prevailing dominant (Western European and North American) accounts of the avant-garde, histories of modernism and. postmodernism, and the definitions and assumptions attached to these discourses. As well, Armenian contemporary art history points in another direction towards the history of the late Soviet years, from Gorbachev's programs of perestroika and glasnost' (1986) to the collapse of the USSR (1991). In the introductory chapter I introduce the context as well as the goals and relevance of the project both within the academic field of art history and larger political debates related to post-socialist culture. The chapter which follows the introductory chapter examines the artistic context of Armenian contemporary art since the late 1980s within the framework of late Soviet perestroika politics. It focuses on the late Soviet artists' movement in Armenia, the 3rd Floor (1987-1994). In chapter three, entitled "ACT/ivism: Political Aesthetics of Affirmation", I attempt to write as well as critically examine the history of the conceptual artists' group ACT. I want to argue that ACT's radical utopian ideal of constructing the new state as a work of pure autonomous creation harbored a potentiality for the formation of participatory politics/aesthetics in post-Soviet Armenia. In the three chapters that follow the historical contextualization of ACT, I analyze the practices of ACT's individual members David Kareyan, Narek Avetissian and Diana Hakobian after the breakdown of the group in 1996. I suggest that the group's collapse signaled the shift from a belief in socially committed art to a return to the enclosed and isolated space for creation.
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Papalas, Mary Laura. "A Changing of the Guard: The Evolution of the French Avant-Garde from Italian Futurism, to Surrealism, to Situationism, to the Writers of the Literary Journal Tel Quel." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211977685.
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Otty, Lisa. "Signals and noise : art, literature and the avant-garde." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3454.
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One of the most consistent features of the diverse artistic movements that have flourished throughout the twentieth century has been their willingness to experiment in diverse genres and across alternative art forms. Avant-gardes such as Expressionism, Dada, Surrealism, Futurism, Fluxus and Pop were composed not only of painters but also dramatists, musicians, actors, singers, dancers, sculptors, poets and architects. Their works represent a dramatic process of crossfertilization between the arts, resulting in an array of hybrid forms that defy conventional categorisation. This thesis investigates implications of this cross-disciplinary impulse and aims by doing so to open out a site in which to reassess both the manner in which the avant-gardes have been theorised and the impact their theorisation has had on contemporary aesthetics. In the first part of this study, I revisit the work of the most influential theorists of the avant-garde in order to ask what the term “avant-garde” has come to signify. I look at how different theories of the avant-garde and of modernism relate to one another as well as asking what effect these theories have had on attempts to evaluate the legacies of the avant-gardes. The work of Theodor Adorno provides a connective tissue throughout the thesis. In Chapter One, I use it to complicate Peter Bürger’s notion of the avant-garde as “anti-art” and to argue that the most pressing challenge that the avant-gardes announce is to think through the cross-disciplinarity that marks their work. In Chapter Two, I trace how painting has come to be considered as the paradigmatic modernist art form and how, as a result, the avant-garde has been read as a secondary, “literary” phenomenon to be grasped through its relation to painting. I argue that this constitutes a systematic devaluation of literature and has resulted in an “art historical” model of the avant-gardes which represses both their real radicality and implications of their work for these kinds of disciplinary structures. In the second part of this thesis, I explore works which examine and question the aesthetic hierarchies and notions of aesthetic autonomy that the theories of modernism and the avant-garde explored in the first part set up. In Chapter Three, I approach by way of two cross-disciplinary works which employ literature and visual art: Marcel Duchamp’s Green Box (1934) and Andy Warhol’s a; a novel (1968). Works such as these, which slip through the gaps between literary and art history, have, I argue, important implications for literary and visual aesthetics but are often overlooked in disciplinary histories. In my final chapter, I return to the theory of the avant-garde as it emerges in the work of Jean-Francois Lyotard. I examine how his work reconfigures Adorno’s aesthetics by performing the cross-disciplinary movement that it argues is characteristic of avant-garde art works. Tracing his “post-aesthetic” response to Duchamp and Warhol, I explore how Lyotard articulates a mode of practice that moves beyond the dichotomy of “art” and “antiart” and opens out a site in which the importance of the twentieth century avant-gardes is made visible. I conclude by briefly considering the implications of the avant-garde, as I have presented it in this thesis, for contemporary debates on the twenty-first century “digital avant-gardes” and recent writing on aesthetics.
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Harris, Mark. "Revolutionary intoxications : theory of the Avant-Garde in the aesthetics of Nietzsche and Benjamin." Thesis, Goldsmiths College (University of London), 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.436109.
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Silvio, Carl. "The institutional production of literary value studies of African-American popular music lyrics and the avant-garde /." Morgantown, W. Va. : [West Virginia University Libraries], 2001. http://etd.wvu.edu/templates/showETD.cfm?recnum=2061.
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Thesis (Ph. D.)--West Virginia University, 2001.Title from document title page. Document formatted into pages; contains iii, 310 p. Includes abstract. Includes bibliographical references (p. 301-310).
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Mirza, Adam. "Action Aesthetics| Arendtian Inversions on Politics and Art in the Music of the Avant-Garde." Thesis, New York University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10261772.
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This dissertation examines the aesthetics of the mid-20th century musical avant-garde from an Arendtian perspective. I focus on three musical figures: Glenn Gould, Karlheinz Stockhausen, and Helmut Lachenmann. Each of these figures worked through the legacy of musical structuralism by staging various encounters with aspects of musical performance. My reevaluation of these musical figures is oriented by a reading of the contemporaneous political theories of Hannah Arendt, as found in The Human Condition, On Revolution, and Between Past and Future, in particular. In these Cold War era texts, Arendt argues that human cultures are constituted through the exemplary actions of individuals, who risk their lives for the sake of communal principles, thereby imprinting these contestable societal norms upon public consciousness.
Arendt’s account of action, revolution and political judgment have much in common with a broader performative turn that was taking place in avant-garde artistic practices of the same time (c. 1950 – 1970). This turn resituated the ontology of the musical work from the notated page to the physical acts and technologies of sound production. Of deeper provenance, however, is the fact that Arendt’s political theories have an important basis in her appropriation of Kantian aesthetics. I argue that the Kantian inspired elisions of politics and art in her theory justifies re-mapping her political concepts onto art. I refer to these re-mappings as inversions to draw attention to the pivotal role that performance plays in Arendt’s theories, operating as a hinge between political and aesthetic categories. I do so also to ground a material history of the encounters with musical formalism that took place in the creative practices of my musical subjects. Thus my title, Action Aesthetics, refers to this attempt to re-infuse Arendt’s political theory of exemplary action into the modernist musical legacy of Kantian aesthetics.
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Savage, R. W. H. "Structure and sorcery : The aesthetics of post-war serial composition and indeterminacy." Thesis, University of Sussex, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.377937.
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Archer-Straw, Petrine. "Negrophilia Paris in the 1920's : a study of the artistic interest in and appropriation of, Negro cultural forms in Paris during that period." Online version, 1994. http://bibpurl.oclc.org/web/34427.
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Scott, Emily. "Avant-garde across a Century: Erik Satie and Sonic Youth." Honors in the Major Thesis, University of Central Florida, 2006. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/996.
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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.Bachelors
Arts and Humanities
Music
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Smucker, Samuel Jay. "The Baadasssss and The Avant-Garde: The Radical Aesthetics and Politics of Melvin Van Peebles." OpenSIUC, 2019. https://opensiuc.lib.siu.edu/theses/2530.
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Melvin Van Peebles is best known for Sweet Sweetback’s Baadasssss Song (1971) and that film’s role in inspiring the Blaxploitation cycle of films of the early 1970s. However, it was in France, where he had emigrated like other black creatives in the 1960s, that Van Peebles became a filmmaker. Drawing on biographical research and a close reading of his films, I connect Van Peebles to the institutions and aesthetics of the French New Wave. Van Peebles radicalizes New Wave techniques by employing them to illuminate issues of racism. I generate a new reading of Sweetback which connects the experimental aesthetics and the political stance of the film to cinematic innovations of the French New Wave and the militant politics of the black power movement. By categorizing Sweetback as Blaxploitation film, critics often misread the Sweetback character’s class position. By using the framework of the lumpenproletarian folk hero, I reframe Sweetback’s differences with Blaxploitation protagonists. Finally, I read the film within the traditions of Brechtian theatrical theory by introducing the concept of popular realism and the language of black power, imperfection, absurdity, and militancy. Enormously popular with a younger black audience, Sweetback’s release coincided with a new black power movement and a shift in a self-consciousness political and aesthetic awareness for African-Americans. Sweetback played a role in dispersing and invigorating representations of black independence and new aesthetic norms through a connection with a mass political organization, the Black Panther Party - a singular achievement in U.S. film history.
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Lemos, Rafael Silva 1989. "O som assoma o signo : a música de vanguarda no paideuma da poesia concreta /." São Paulo, 2017. http://hdl.handle.net/11449/151015.
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Orientador: Omar KhouriBanca: José Leonardo do Nascimento
Banca: Julio Mendonça
Resumo: Este trabalho traça, a partir de consulta da bibliografia sobre a poesia concreta e de pesquisa de materiais inéditos em acervos de bibliotecas, a trajetória da poesia concreta em sua relação com a música de vanguarda. Procurando dar ênfase ao viés histórico desta relação, esta dissertação assume a discussão acerca do verso - que posteriormente se converteria na proclamação do fim verso na poesia - entendida como uma discussão sobre ritmo e musicalidade, como ponto fundador da relação poesia concreta-música. Num segundo momento, esta dissertação passa pela fase heróica da poesia concreta, onde ocorrem os primeiros recitais de oralização com poemas concretos. Por fim, chegamos à década de 1960, onde é criado o Música Nova, grupo de compositores que porá em música poemas concretos através de uma operação de transposição intersemiótica.
Abstract: This work presents, based on the bibliography about the concrete poetry and in researches on libraries looking for unreleased documents, the trajectory of concrete poetry and it relationship with avant-garde music. Trying to give emphasis on a historic-based view of this dialogue, this dissertation assumes the discussion on verse - the later would become the end of the verse postulate - understood as a discussion about rhythm and musicality as the foundation of the relation concrete poetry-music. On a second moment, this dissertation deals with the heroic period of concrete poetry, when the first recitals and oralizations of concrete poems occur. At last, this work makes an approach at the 60's, when the Música Novais created, a group of composers that will set concrete poems on music, through an intersemiotic transposition operation.
Mestre
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Schrank, Brian. "Play beyond flow: a theory of avant-garde videogames." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/42865.
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Videogame tinkerers, players, and activists of the 21st century are continuing, yet redefining, the avant-garde art and literary movements of the 20th century. Videogames are diverging as a social, cultural, and digital medium. They are used as political instruments, artistic experiments, social catalysts, and personal means of expression. A diverse field of games and technocultural play, such as alternate reality games, griefer attacks, arcade sculptures, and so on, can be compared and contrasted to the avant-garde, such as contemporary tactical media, net art, video art, Fluxus, the Situationists, the work of Pollock or Brecht, Dada, or the Russian Formalists. For example, historical avant-garde painters played with perspectival space (and its traditions), rather than only within those grid-like spaces. This is similar in some ways to how game artists play with flow (and player expectations of it), rather than advancing flow as the popular and academic ideal. Videogames are not only an advanced product of technoculture, but are the space in which technoculture conventionalizes play. This makes them a fascinating site to unwork and rethink the protocols and rituals that rule technoculture. It is the audacity of imagining certain videogames as avant-garde (from the perspective of mainstream consumers and art academics alike) that makes them a good candidate for this critical experiment.
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Strugnell, James Paul. "Paintings by numbers : applications of bivariate correlation and descriptive statistics to Russian avant-garde artwork." Thesis, University of St Andrews, 2017. http://hdl.handle.net/10023/10722.
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In this thesis artwork is defined, through analogy with quantum mechanics, as the conjoining of the nonsimultaneously measurable momentum (waves) of artwork-text (words within the primary sources and exhibition catalogues) with the position (particles) of artwork-objects (artist- productivity/exhibition-quantities). Such a proposition allows for the changes within the artwork of the Russian avant-garde to be charted, as such artwork-objects are juxtaposed with different artwork-texts from 1902 to 2009. The artwork of an initial period from 1902 to 1934 is examined using primary-source artwork-text produced by Russian artists and critics in relation to the contemporaneous production-levels of various types of Russian-avant-garde artwork-objects. The primary sources in this dataset are those reproduced in the artwork-text produced by the 62 exhibitions described below, and those published in John E. Bowlt's 1991 edition of Russian Art of the Avant-Garde: Theory and Criticism. The production of artwork in the latter period from 1935 to 2009 is examined through consecutive exhibitions, and the relationship between the artwork-text produced by these exhibitions and the artwork-objects exhibited at them. The exhibitions examined within this thesis are 62 containing Russian avant-garde artwork, held in Britain from 1935 to 2009. Content analysis, using an indices-and-symptom analytical construct, functions to convert the textual, unstructured data of the artwork-text words to numerical, structured data of recording-unit weighted percentages. Whilst artist-productivity and exhibition-quantities of types of artwork-object convert the individual artwork-objects to structured data. Bivariate correlation, descriptive statistics, graphs and charts are used to define and compare relationships between: The recording units of the artwork-texts; the artist-productivity/ exhibition-quantities of types of artwork-objects; the structured artwork-text data and structured artwork-object data. These various correlations between structured artwork-text data and structured artwork-object data are calculated in relationship to time (Years) to chart the changes within these relationships. The changes within these relationships are synonymous with changes within Russian avant-garde artwork as presented from 1902 to 1934 and within the 62 British exhibitions from 1935 to 2009. Bivariate correlations between structured artwork-texts data and structured artwork-objects data express numerically (quantitatively) the ineffable relationships formed over time by large sets of unstructured data in the continued (re)creation of artwork.
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Insell, Maria Katherine. "Avant-garde film theory and praxis : an historical analysis of the narrative/anti-narrative debate." Thesis, University of British Columbia, 1988. http://hdl.handle.net/2429/28074.
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This analysis of the narrative/anti-narrative debate in avant-garde film theory and praxis is contextualized in terms of the developments in Modernism in the visual and plastic arts. The problems raised by the aesthetic strategies formal autonomy versus narrative appropriation are explored by examining several discrete historical paradigms rather than following a strict linear historical chronology of the development of Modernism and avant-garde practices. Therefore the late 1930's East/West debates between the four writers associated with the Frankfurt school were discussed because their discourses reveal a spectrum of possibilities which span each end of this polarized autonomy/efficacy argument. The discourses look at the issues of production aesthetics and reception aesthetics also. Within the parameters of East/West debates, the positioning of the subject in terms of "distracted habit" or "praxis" are critical considerations to a reception aesthetic. Another historical paradigm for this debate was the writing and film practice which emerged from the nexus of the events of May 1968. The East/West debates informed this writing and the development of the aesthetic questions raised by Peter Wollen in the "Two Avant-Gardes." Here the important issues of materialism, ontology, and the development of human perception are raised. The return to narrative is represented by the "second" avant-garde's film practice (Godard, Straub etc.) and informs the issues of new narrative in feminist film practices. This is narrative with a difference however. Here questions of language and the production of culture are critically examined and naturally the narrative/anti-narrative debate continues. Finally, these issues are brought foreword to the contemporary context and related specifically to the production of avant-garde film in Canada. One can see this contemporary debate in light of the past, however, the conclusions drawn by the thesis do not presume to resolve the narrative/anti-narrative debate or prescribe one particular approach, since this will arise from actual practice. The intention of the study is to introduce the central issues raised by social commitment/artistic autonomy and contribute to a better understanding of theoretical and practical implications of the debate over the use of narrative.Arts, Faculty of
Theatre and Film, Department of
Graduate
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DeFina, Carol Ann. "Belgian avant-gardism, 1887-1889 : Les Vingt, L’Art Moderne and the utopian vision." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25378.
Full textAbstract:
In 1883 a group of Belgian artists wishing to challenge the hegemony of the Brussels Academy founded the organization,
Les Vingt, on the principles of egalitarianism and artistic freedom and elected Octave Maus, editor of the self-proclaimed avant-garde journal, L'Art Moderne, as its secretary. Henceforth, Les Vingt assumed the identity of Belgium's leading visual exponent of modernité and L'Art Moderne became its foremost champion. In actuality, the alliance the Vingtistes formed with L'Art Moderne allowed Octave Maus and his co-editor Edmund Picard to gain control of the group's operations. The journal's editors, through their association with the Belgian social reform movement, had formulated an artistic concept they called l'art social and Les Vingt was to become the incarnation of this new doctrine of social art.
During the period of 1887 to 1889, however, while the Belgian workers' movement erupted in a succession of strikes and demonstrations, Maus and Picard radically changed their strategy in marketing Les Vingt to its viewing public. They campaigned for a revised, "depoliticized" avant-garde identity
for the group, and the model they chose to represent this new identity was French divisionism. The group's appropriation of divisionism, however, signified a forfeiture of many of the group's original ideals. Furthermore, it became a point of conflict for those Vingtistes who chose to remain loyal to their own styles.
This conflict is evident in the case of James Ensor, one of the group's important founding members. During this period, he developed his own personal imagery that was a synthesis of Flemish and modern themes and motifs. This imagery made a bold, critical attack upon Les Vingt's capitulation to French divisionism, which signified an acqui-esence to the ardently Francophile tastes of the Brussels bourgeoisie.
The focus of this thesis is an analysis of Les Vingt's avant-garde identity as it evolved out of its relationship with L'Art Moderne, and how that relationship led to the importation of divisionism. Ensor's conflict with Les Vingt and his provocative Flemish imagery is also examined as a means of assessing the significance of Les Vingt's adoption of the French art style.Arts, Faculty of
Art History, Visual Art and Theory, Department of
Graduate
28
Maslowiec, Anna. "Sonorism and the Polish Avant-Garde 1958-1966." Phd thesis, Sydney Conservatorium of Music, 2008. http://hdl.handle.net/2123/8205.
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Bridge, Sonia. "Robert Breer : single-frame aesthetics and inherited modernisms in relation to the neo-avant-garde and debates on film animation." Thesis, University College London (University of London), 2017. http://discovery.ucl.ac.uk/10024629/.
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Breer’s cross-disciplinary process and self-reflexive exploration of the single-frame within film presents an intensive questioning of representation, movement, and the hierarchies of form that taps into the debates of mid twentieth-century art. Having an approach that is unparalleled within the discipline of animation, Breer’s work constellates the renewed interest in the avant-garde from absolute abstraction to collage, along with abstract expressionism. Involving the use of non-art materials and technology in an endeavor to refigure the status of the everyday, Breer’s work also participates in the wide-ranging transformation of art, beyond traditional mediums and more fundamentally raises questions about the technical mediation of experience. The refusal in Breer’s practice of the imaginary of conventional cinema and commercial studio animation is underscored by the recourse in his work to the ‘low arts’ of early popular animation and precinematic devices which lay bare the underlying mechanics of film in a manner that nevertheless celebrates the appeal of its pleasures. Despite shared engagements with the neo-avant-garde, Breer’s cinematic assemblages presented a challenge to postwar plurality, and its recognizability was hindered by the marked novelty and art-institutional marginalization of animation-film then prevalent. The conceptual valence of Breer’s work, which questions its status as art, reflects upon its complex and contradictory historicity, and mediates between the principles of form and the so-called failure of craft, gains a renewed relevance today beyond the revival of retro-modernism, and in an era in which the technique of animation has become ubiquitous. This thesis sets out to recover the witty deflationary tactics and criticality of the aesthetic questions raised by Breer’s animated films. The practice component revolves around the materiality and analogue confluence of the digital moving-image; three short animated-sketches present inscriptions of everydayness and ephemerality as part of a recursively obsolescent gaze upon its single-frame image-objects.
30
Barthélemy, Clarisse. "La poésie, clef de la critique de Jean Paulhan." Thesis, Paris 4, 2016. http://www.theses.fr/2016PA040108.
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Jean Paulhan a consacré son œuvre à la recherche des lois de l’expression et à la mise au point d’une méthode critique qui en tienne compte. Cette quête s’enracine dans l’étude et l’expérience poétiques : elle commence avec les Hain-teny, poésies populaires malgaches, trouve sa formule critique dans Clef de la poésie et s’achève dans Le Don des langues, tandis que dans Les Fleurs de Tarbes sont posés les termes d’un renouvellement de la critique. Quel rapport à la poésie Jean Paulhan entretenait-il pour en faire le lieu de sa maturation critique ? C’est à cette question que tente de répondre cette thèse, en étudiant la place et la fonction de la poésie dans la vie et dans l’œuvre de Jean Paulhan. Une première partie présente une approche chronologique et sociologique du lien qu’entretient Jean Paulhan à la poésie, à travers ses découvertes propres, la formation complexe de ses réseaux de relations et son positionnement au sein du champ de la littérature, enfin son action en faveur de la poésie en tant que lecteur et éditeur. Une seconde partie analyse les enjeux de la poésie, à l’intérieur de l’œuvre de Jean Paulhan, dans la définition d’une méthode critique et la découverte de soi en sujet critique. Il s’agit ainsi de montrer comment, en cherchant la « clef de la poésie », Jean Paulhan trouve dans la poésie la clef de la critique et comment cette intimité intellectuelle entre l’expérience poétique et la méthode critique irradie non seulement au sein d’une majeure partie de la communauté poétique, mais aussi au sein de toute son œuvre et jusqu’à sa personnalité d’écrivainJean Paulhan devoted his work to the research of the laws of expression and to the development of a criticism method, which would take them into account. That quest takes root in his studying and experiencing of poetry: it starts with the Hain-teny, poésies populaires malgaches, achieves its critical formula in Clef de la poésie and ends up with Le Don des langues, while the basis of the renewal of criticism is set down in Les Fleurs de Tarbes. What kind of a relationship with poetry did Jean Paulhan maintain that would stand for the starting point of his own idea of criticism? In order to answer this question, this dissertation sets out to define the place and role of poetry in Jean Paulhan’s life and work. In its first part, the dissertation shows a chronological and sociological study of the link between Jean Paulhan and poetry, through his own finds, through the building of a complex network and his positioning in the literary field, lastly through his action for poetry as a reader and as a publisher. In its second part, the dissertation analyses how poetry is at stake, throughout Jean Paulhan’s work, in the invention of a criticism method, and in the discovery of his own self as a critique. This study means to show how Jean Paulhan, by looking for “the key to poetry”, finally finds in poetry the key to criticism, and how such an intellectual intimacy between the experiencing of poetry and the criticism method spreads through a large part of the poet community and enlightens both his whole work and his personality as a writer
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Kaya, Devrim. "A Research On The Possibility Of Distinguishing Kitsch And Art Using Philosophical Hermeneutics." Master's thesis, METU, 2004. http://etd.lib.metu.edu.tr/upload/12605433/index.pdf.
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This thesis tries to distinguish kitsch and art with the help of philosophical hermeneutics by reading it in the light of Derrida&rsquos interpretation of Hamlet in Specters of Marx. It defines kitsch as experience in order to go beyond both of the two main approaches, namely, the one that sees kitsch as an object and the one that reduces it to the behaviour of the subject. It tries to show that kitsch is not just an aesthetic problem, but also, a political one.
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Reisman, David. "The social imagination : the education of didactic contemporary artists : public expression : didactic contemporary artists as educators /." Access Digital Full Text version, 1991. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11039917.
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Thesis (Ed.D)--Teachers College, Columbia University, 1991.Typescript; issued also on microfilm. Sponsor: Ellen Condliffe Lagemann. Dissertation Committee: Rene Arcilla. Includes bibliographical references (p. 201-204).
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Schor, Ruth. "Eine alltägliche Tätigkeit : performing the everyday in the avant-garde theatre scene of late nineteenth-century Berlin." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:f182a548-e450-4efa-a3a0-478461d44ab6.
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This dissertation situates late nineteenth-century Berlin's reception of naturalist drama in contemporary discourse about European modernism, which to date has disregarded the significant impact of this cultural environment. Examining the Berlin avant-garde's demand for "truth" and "authenticity," this study highlights its legacy of promoting more honest and dynamic forms of human interaction. Sketching the historical background, Chapter 1 demonstrates how the reception of Henrik Ibsen in Berlin fuelled creative strategies for a more honest approach to theatre. From literary matinees to more egalitarian ways of directing theatre, this moment in cultural history significantly shaped people's understanding of theatre as a tool for social criticism and as a means of creating a sense of intimacy. Two important figures are highlighted here: literary critic and theatre director Otto Brahm, central to the promotion of naturalism, and his more prominent protégé Max Reinhardt, who developed Brahm's legacy. Situating these developments in a theoretical framework, Chapter 2 draws on the concept of "the everyday" as set out by Toril Moi, Stanley Cavell, and Ludwig Wittgenstein to link the role of the ordinary on stage to the avant-garde's search for authenticity and truthfulness. Through this framework, Ibsen's social dramas from A Doll's House to Hedda Gabler (Chapter 3) can be seen perfectly to exemplify this shift in perspective from the 1880s through the 1890s, revealing the complexity of truthfulness in communications. Tracing these themes in other dramatic works, innovative readings of Arthur Schnitzler's Liebelei (Chapter 4) and Rainer Maria Rilke's Das tägliche Leben (Chapter 5) shed new light on these two fin-de-siècle authors. By highlighting these authors' previously unrecognised connections with Berlin's avant-garde theatre scene and their dramatic exploration of interpersonal connection, this study shows both how theatre functioned as a tool to examine human relationships and to what extent twentieth-century literature was grounded in this way of thinking.
34
Katsouraki, Evanthia. "Theatre director's philosophical entanglements : aesthetics and politics of the modernist theatre." Thesis, University of Edinburgh, 2018. http://hdl.handle.net/1842/33250.
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This thesis presents a conceptual examination of the modernist director read through Gillian Rose's speculative lenses of the 'broken middle'. Highlighting the significance of speculative philosophy, I explore the meaning of the director as a mediating subjectivity. I demonstrate how a speculative reading of the director can act as a corrective to the received totalitarian, despotic image of the director. I urge for the rehabilitation of the director as a history and as a practice and I propose the emergence of this figure as being the outcome of a complex theatrical articulation entangled with the discipline of philosophy. Combining close readings of philosophical texts by Rose, Plato, Castoriadis, Badiou, Rancière, Laclau and Mouffe, among several other intellectual references in this study, I explore the director as a mode or trope of embodied philosophy. My argument also proposes the director as an Event, in Badiou's definition, and I trace this configuration as already taking place with the 'tragic' paradigm of the Athenian theatre. This Event of the director, I then argue, gets fully inaugurated in modernism as the Event of thought in theatre. I explore how the director acting as a mediator transforms theatre to what Puchner calls 'a theatre of ideas' while simultaneously philosophy becomes itself transformed to a theatre of thought. Chapter 1 outlines the key strands of Rose's thought and sets out the theoretical parameters of my examination. The chapter argues for a speculative reading of the director cross-examined with current positions within theatre historiography. The chapter paves a new understanding of the director, not historically, but conceptually, as a mode of embodied thought. Chapter 2 explores the relationship between the primacy and centrality of the aesthetic paradigm of theatre in philosophy and the role and practice of the poet - or 'chorodidaskalos' - who I consider as an early philosophical figuration of the modern director. I highlight speculative 'aporia' which in Rose indicates a path 'without a path' as the primary modality of thinking philosophically, already at work in tragedy, that renders the modernist director as a theatrical thinker. Chapter 3 puts forward the case of the director's mediating subjectivity by arguing for the Event of the director. I analyse Badiou's philosophy of the Event, making connections to speculative philosophy and illuminating the Evental dimension of this figure. Chapter 4 moves the examination to the Event of the director that I locate in Richard Wagner. My reading explores the philosophical dimension of Wagner as an artist and a thinker by which I rehabilitate his overtly negative image. I do this by reading Left Hegelianism, and anarchist philosophy more broadly, in Wagner's operatic works, writings, and political activism. Chapter 5 examines the 'speculative director' in the aesthetic project of Naturalism and Realism. The chapter includes a published section by which I explore the political mode of the director indirectly, by examining the articulatory discourse in Laclau and Mouffe's definition and the practice of affirmation. Chapter 6 looks at the avant-garde manifesto as a form of meta-language that seeks to actively re-shape theatre and the world as embodied, declaimed philosophy. The chapter repositions the avant-garde's aesthetic preoccupation with failure as a profoundly transformative project rather than as being incomplete. The included published article examines more closely the affinity between the Spartacus Manifesto by Rose Luxemburg (philosophy) and the more politicized forms of the Dada Berlin manifesto art (theatre). Chapter 7 is the concluding chapter by which I argue the case of the director finally having entered the theatre as a philosopher; that is, through Bertolt Brecht.
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Mortari, Virgilio. "Avant-garde et révolution. Pour une critique des implications politiques de la théorie du cinéma d’avant-garde, avec l’étude du cas de Jean Epstein." Thesis, Paris 3, 2019. http://www.theses.fr/2019PA030026.
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Face à la réappropriation, par les institutions et l’idéologie hégémonique, de la prétention émancipatrice de tout ce pan de l’art dit « d’avant-garde », cette Thèse s’est donné pour but la remise en question des présupposés idéologiques et sociaux de cette situation paradoxale. Ayant pour hypothèse que le cinéma nous offrirait le terrain de recherche le plus fertile, la confrontation de certaines parmi les plus importantes des études récentes sur le cinéma d’avant-garde, nous a invité à dresser une critique de la méthode formaliste, à essayer d’en comprendre les enjeux idéologiques et politiques, pour repenser, finalement, non seulement le concept d’« art d’avant-garde », mais aussi celui de Modernité et la vision de l’Âge Moderne lui-même. Si l’on peut concevoir la modernisation comme le processus de laïcisation et démocratisation des sphères socio-culturelles, les dynamiques de critique et apologie des institutions, de tradition et innovation des techniques et des styles, peuvent se configurer – selon une approche matérialiste dialectique – en tant que prises de position face aux conflits idéologico-politiques liés à l’affirmation de la Modernité et la découverte de ses limites. En renouant ainsi les gestes poético-esthétiques à leurs prémisses idéologiques et en abandonnant la définition qui réduit l’« art d’avant-garde » à une succession d’abstraites ruptures formelles, nous pouvons alors reconnaître une évolution de tendances « d’avant-garde » réciproquement conflictuelles, réactionnaires ou progressistes. Dans cette perspective et contrairement au discours critico-historiographique hégémonique, nous avons enfin essayé de montrer le caractère réactionnaire des prises de position théoriques et du programme d’instrumentalisation politique du cinéma conçu par le cinéaste Jean EpsteinFaced with the institutional and hegemonic ideological reappropriation of the emancipatory pretensions of what we call « Avant-Garde Art », this research aims at questioning the ideological and the social assumptions of such a paradoxical situation. Considering that cinema offers the most fertile research field, and confronting some of the most important recent studies on avant-garde cinema, this work criticizes the formalist approach while endeavouring to understand its ideological and political stakes in order to rethink, not only the concept of « Avant-Garde Art », but also Modernity and the vision of the Modern Age itself. Conceiving modernisation as a process of secularisation and democratisation of the socio-cultural spheres, the dynamics between critics and apology of the institutions, between stylistic or technical tradition and innovation, might rearrange themselves – according to a dialectical-materialist approach – as positions taken when faced with ideological and political conflicts related to the progress of Modernity and the discovery of its limitations. Intertwining poetical gestures with their ideological premises while leaving behind the definition that reduces Avant-Garde Art to a series of abstract formal breaches, we are led to acknowledge an evolution of Avant-Garde tendencies, reciprocally conflictual, reactionary and progressive. With this in mind and contrary to the hegemonic critical and historiographical discourse, we have attempted to show the reactionary dimension of both the theoretical understanding and the political instrumentalization of cinema formulated by Jean Epstein
36
Debien, Geneviève. "Otto Freundlich (1878-1943) : œuvre et réflexions philosophiques : Une quête esthétique à la recherche de l'homme et de son rapport au monde : vers de nouvelles perceptions." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040127.
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L'oeuvre plastique et l'oeuvre écrit d'Otto Freundlich (1878-1943) sont traversés par une grande thématique : celle d'une volonté de renouvellement de l'esthétique dans une quête de vérité, au coeur de laquelle se situe le rapport perceptif de l'être humain à la nature. Pour Otto Freundlich, qui adopte dans le champ de l'art une position d'artiste plasticien et d'artiste philosophe, ce renouvellement s'opère non seulement par l'intervention de l'artiste mais aussi par la perception visuelle des oeuvres. L'apparente hétérogénéité de son parcours artistique est donc sous-Tendue par une grande cohérence que cette thèse examine à travers une analyse d'une part diachronique des oeuvres plastique et écrit dans leur ensemble, d'autre part en rendant compte dans un même temps et de manière synchronique des modifications qui les affectent et de leurs modalités. Pour ce faire, cette recherche s'appuie sur le travail fondamental lié à la monographie d'artiste : l'étude précise des sources originales écrites principalement en gothique allemand, l'apport de sources inédites, l'analyse des oeuvres et du contexte de leur genèse, au sein du réseau international qu'Otto Freundlich tisse avec les acteurs du champ culturel présents en Allemagne et en France. Cette approche permet non seulement de corriger certaines données historiques mais aussi d'apporter des éléments nouveaux dans l'étude iconographique, iconologique et conceptuelle des oeuvres, isolément comme globalementA main thematic pervades Otto Freundlich's works of plastic art and writings : the will to renew the aesthetic in a quest for truth, in the center of which is the perceptive relation of the human being to nature. Otto Freundlich positions himself in the art field as a visual and a philosopher artist. To his mind, this renewal occurs not only through the intervention of the artist, but also by visual perception of works. The apparent heterogeneity of his artistic journey is underpinned by a strong coherence. This thesis examines his works of art andwritings diachronically as a whole, on one hand, and the changes and causes of their emergence synchronically, on the other. This research is founded on the methodology used for artist's monograph: a detailed study of the original sources written mainly in Gothic German, the contribution of unpublished sources, the analysis of works and of the context of their genesis within the international network Otto Freundlich weaves with the art field actors living in Germany and in France. This approach not only enables to correct some historical data, but also provides fresh elements in the iconographical, iconological and conceptualinterpretations of his works, separately and taken as a whole as well
37
Siukonen, Jyrki. "Uplifted spirits, earthbound machines studies on artists and the dream of flight, 1900-1935 /." Helsinki : Suomalaisen Kirjallisuuden Seura, 2001. http://catalog.hathitrust.org/api/volumes/oclc/48162692.html.
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Bruzual, Alejandro. "Narrativas contaminadas tres novelas Latinoamericanas el tungsteno, parque industrial y cubagua /." [Pittsburgh, PA] : University of Pittsburgh, 2006. http://etd.library.pitt.edu/ETD/available/etd-12052006-172521/unrestricted/ABruzual%5FDissertation2.pdf.
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Papadopoulos, Theokritos. "The aesthetics of waste : investigating the role of the ephemeral in the development of the avant-garde in Western Europe and Greece and its relationship to trauma." Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/6470/.
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This research project, driven by my on-going practice, seeks to identify the role of non-traditional materials such as ephemera, debris, waste and historical archive footage in order to produce art installations for investigating trauma, especially in moments of social crisis. My art practice is informed by Sigmund Freud’s notion of the ‘death drive’ in his book Beyond the Pleasure Principle. Freud’s story about his grandson’s fort-da game provided the context in my research for examining the use of ephemeral everyday materials and historical archive footage within this psychoanalytical interpretation. Freud’s concept of the death drive provided my enquiry with a reflective methodology for addressing my own installation practice. I was able to combine this with reflection upon traumatic situations in Greek history, especially the Greek Civil War. As a result of completing the above procedure, I realised the importance of everyday ephemeral materials and archive footage in the creation of an object or installation to which artists attach their subjectivity in moments when society is in crisis. In my own installations using historical archives from Greek Civil War, through the method of cut and paste, I have tried to create new images reusing photographic archives laden with historical, social and political meaning. This action was my subjective way to deal with collective trauma and loss, to create my own version of Freud’s fort-da game by turning installations into a theatrical space in which this action was presented and communicated with the viewers. In addressing research through practice, connections between trauma, the use of heterogeneous materials and the development of the avant-garde movement, particularly in Greece, have become paramount. Despite the research undertaken by Greek academics on the Greek Civil War (1944–1949), little is known about the importance of this period in relation to the development of avant-garde in Greece. My research concludes that the study of the history of the Greek avant-garde provides a new understanding of the development of collage, assemblage and the use of found objects after the Second World War by Greek artists. During my investigation, I realised that these techniques were first used by exiled artists in 1948 during the Greek Civil War, and later developed in the mid-1950s by Greek artists to become one of their main methods of producing art. During this period, Greek artists began to produce works that reflected a fragmentary vision in contrast to the hitherto classic aesthetics of the whole. Ostensibly, this was a reflection of the impossibility of a whole that war had created; the relationship of the individual within society had crumbled as civil war raged and society’s values, which had been based on the Orthodox Christian tradition, disintegrated. The use of found objects by Greek artists during this period expressed transgression as a way to deal with the main concerns of Greek culture.
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Evans, Victoria Louise, and n/a. "Douglas Sirk, aesthetic modernism, and the culture of modernity." University of Otago. Department of Media, Film and Communication Studies, 2008. http://adt.otago.ac.nz./public/adt-NZDU20080707.122544.
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In this dissertation, I argue that Douglas Sirk was attempting to dissolve the boundaries of the cinematic medium by assimilating elements of avant-garde art, architecture and design into the colour, composition and settings of many of his most popular studio produced films. While the exaggerated artifice of this director�s formal style has often been remarked upon, it has yet to be interpreted in the light of his detailed cognisance of the major art and architectural movements of the period, which include German Expressionist painting and Machine Age Modernist design. This is a lacuna that my thesis should at least partially fill, since I have shown that Sirk�s highly self conscious visual approach was deeply influenced by the artistic debates that were taking place in Europe during the 1920s and �30s and in America after World War II. To my mind, there is no doubt that this director�s syncretic mise-en-scène was the result of an interdisciplinary, transnational dialogue, and I have sought to illuminate some of the social, philosophical and political meanings that it seems to convey.
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Niggl, Selima. "Pinot Gallizio - Malerei am laufenden Meter : München 1959 und die europäische Avantgarde." Hamburg Ed. Nautilus, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=2893378&prov=M&dokv̲ar=1&doke̲xt=htm.
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Dunaeva, Cristina Antonioevna 1975. "De sistemas novos na arte de Kazimir Malievitch : da historiab da arte a analise da lingagem artistica." [s.n.], 2005. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281797.
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Orientador: Nelson Alfredo AguilarDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-04T02:08:28Z (GMT). No. of bitstreams: 1 Dunaeva_CristinaAntonioevna_M.pdf: 563718 bytes, checksum: 9e1ff31ec246ac81abb6304ae37d9f1b (MD5) Previous issue date: 2005
Resumo: De Sistemas Novos na Arte (O nóvikh sistiémakh v isskûstvie), 1919, é o primeiro tratado teórico de Kazímir Sievierínovitch Maliévitch (1878, Kíiev ¿ 1935, Leningrado), um dos principais artistas da vanguarda russa, criador do suprematismo, teórico da arte, filósofo e pedagogo. No tratado Maliévitch apresenta e analisa os sistemas novos da arte: o impressionismo, o cubismo, o futurismo, a obra pictórica de Cézanne, Van Gogh e Gauguin, assim como a crítica da arte dita primitiva, a arte da Grécia clássica e a romana, o primitivismo moderno e o academismo. A crítica da arte está ligada à reflexão filosófica sobre o contexto histórico e cultural do surgimento da arte moderna e do suprematismo. O tratado está relacionado às atividades pedagógicas desenvolvidas por Maliévitch. Em 1918 ele é o professor dos Ateliês Artísticos Livres do Estado (SVOMAS ¿ Svobódnyie Khudójestviennyie Mastierskíie), em Petrogrado, e em 1919 ¿ o Mestre-Chefe dos I e II Ateliês Artísticos Livres do Estado em Moscou. Em Vítiebsk cria o grupo UNOVIS (Afirmadores da Arte Nova ¿ Utvierdítieli Nóvogo Isskûstva) e embasa o ensinamento na análise dos sistemas pictóricos. O pintor afirmava que o livro editado em Vítiebsk fora a transcrição de uma das palestras supostamente dadas em Moscou1
Abstract: ¿On The New Systems of Art¿, 1919, it¿s a first theoretical work of Kazimir Severinovich Malevich. This Russian artist of avant-garde, philosopher and pedagogue was the creator of the suprematism. In this work Malevich introduce the new systems of modern art, such as the impressionism, the cubism, the futurism, the painting of Cézanne, Van Gogh and Gaugain; and also represent the critics on the primeval art, the classic art of Greece and Rome, the modern primitivism and academic art. This critic is connected to philosophical reflection about the historical and cultural context of the birth of modern art and suprematism. In this period of time (1919) Malevich was a professor of the State Free Artistic Workshops (SVOMAS) in Petrograd and master of the I and II State Free Artistic Workshops in Moscow. In Vitebsk he created the Affirmers of the New Art (UNOVIS) group and instructed the pupils on the new systems of the art
Mestrado
Historia da Arte
Mestre em História
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Gemme, Pascal. "De L'écho des jeunes au Nigog, pour une préhistoire de l'avant-garde littéraire au Québec, 1890-1920." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0027/MQ35680.pdf.
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Xu, Ran. "Le cinéma de Jia Zhang-ke, un entre deux." Thesis, Toulouse 2, 2013. http://www.theses.fr/2013TOU20032.
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Jia Zhang-ke est un cinéaste chinois. Il est généralement considéré comme une figure de la Sixième génération. De son premier court-métrage Xiao Shan Going Home (1995) jusqu’à I Wish I Knew, de son premier films trilogie Xiao Wu, artisan pickpocket (1997), Platform (2000), Plaisirs Inconnus (2002) qui est considéré comme des films underground, à la sortie en Chine de Still Life en face du film blockbuster La cité interdite de Zhang Yi-mou, Jia Zhang-ke reste fidèle à son attitude de cinéaste de films d’auteur. Il ne change jamais. Il est un authentique paradigme de la société chinoise. Il est comme un écrivain qui enregistre la mutation de la société chinoise des années 1980 et 1990 jusqu’à aujourd’hui. Il cherche la vérité, avec sincérité, soucieux de ne jamais simplifier la réalité, dans le respect de l’homme et de la complexité de sa vie quotidienne. Ce que je crois avoir bien dégagé dans ma thèse, c’est la fertilité des oppositions symétriques : arrière-garde et avant-garde, ancien et nouveau, tradition et modernité, culture réservée à une certaine élite et culture de masse. Parce que Jia Zhang-ke est toujours un entre-deux : Oriental et Occidental, procédure de fiction et procédure documentaireJia Zhang-ke is a Chinese film director. He is generally regarded as a leading figure of the Sixth Generation mouvement of Chinese cinema. From his first short Xiao Shan Going Home (1995) to the last film I Wish I Knew (2010), from his early films trilogy Xiao Wu (1997), Platform (2000), Unknown Pleasures (2002), which are considered underground film, to the film Still Life in front of the blockbuster film Curse of the Golden Flower by Zhang Yi-mou, Jia Zhang-ke remains faithful to his attitude film d'auteur. He never changes. He is a true paradigm of Chinese society. He is as a writer who records the transformation of Chinese society in the 1980s and 1990s until today. He seeks the truth with sincerity, careful, not to simplify the reality, within the respect of man and the complexity of everyday life. What I think I have identified in my work, is the fertility oppositions symmetrical: avant garde and rear garde, old and new, traditional and modernity, cultural elite and mass culture. Because Jia Zhang-ke is always an in-between: Oriental and Occidental, process documentary and fiction process
贾樟柯是一位中国导演.他被公认为是第六代电影导演的代表人物.从他的第一部短片小山回家,（1995年），直到海上传奇（2010年），从他的第一个故乡三部曲，小武（1997年），站台（2000年），任逍遥（2002）, 他的地下电影时期，到三峡好人, 和张艺谋的大制作满城尽带黄金甲同日公映,贾樟柯始终保持他作者导演的态度。他从来没有改变. 他是一个真正的中国社会的范式。他像是一个作家，记录了中国社会在20世纪80年代和90年代直到今天的社会转型。他用真诚寻求真理，小心的从来不简化现实, 尊重人和日常生活的复杂性。在我的论文中,我坚持用对比：后卫和先锋，旧的和新的，传统与现代，精英文化和大众文化。因为贾樟柯总是跨界：东方和西方，剧情
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Sabiron, Céline. "Limites et frontières dans les romans écossais de Walter Scott." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040181.
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Cette monographie invite à une étude de la pensée de la frontière chez Walter Scott (1771-1832) à partir d’une analyse textuelle détaillée de ses romans écossais — dont l’intrigue se déroule en Écosse, près des Borders ou de la faille frontalière des Highlands, principalement aux XVIIe et XVIIIe siècles autour de l’Union des deux royaumes anglais et écossais. Elle découvre un ensemble d’interactions entre les concepts de limite et de frontière en s’appuyant sur une stratégie particulière, élaborée par l’auteur, fervent opposant à tout manichéisme. Ce dernier fixe les frontières envisagées comme des limites, des bornes immuables et infranchissables, pour ensuite les déconstruire, c’est-à-dire les traverser, les déplacer et les brouiller avant de les dissoudre dans le but d’atteindre un état d’entre-deux parfait où les contraires s’unissent harmonieusement. Cette thèse permet de dégager une voie du milieu scottienne faisant de Scott un écrivain d’avant-garde pour son époque, et qui reste très novateur aujourd’hui encore, car il annonce bien des préoccupations postmodernesThis monograph is dedicated to the question of limits and borders in Walter Scott (1771-1832)’s Scottish novels — thus called because the stories are set in the Borders or near the Highland line mostly in the 17th and 18th centuries at the time of the Union between the two kingdoms of England and Scotland. A very detailed analysis of the texts of the novels helps us to discover a series of interactions between the two concepts of limit and border which are grounded in a particular strategy developed by the author — a fervent opponent to Manichaeism. He sets boundaries, seen as fixed and impassable limits, and then deconstructs them, i.e. has them be crossed, moved, blurred before dissolving them in order to reach a perfect in-between state where all opposites mingle harmoniously. This thesis enables us to define a Scottian middle way, which makes Scott an avant-garde writer in his own time, and still nowadays since he paves the way for many a postmodern concern
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Brito, Junior Antonio Barros de. "Obra aberta : teoria da vanguarda literaria nas obras teorico-criticas de Umberto Eco." [s.n.], 2006. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270063.
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Orientador: Marcio Seligmann-SilvaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: Esta dissertação lida com os conceitos de obra aberta, vanguarda e kitsch, nas obras teórico-críticas do semiólogo italiano Umberto Eco, com o objetivo de observar como o conceito de obra aberta esclarece e fundamenta uma dialética entre norma e invenção, em artes, e entre vanguarda e kistch, no cenário artístico contemporâneo. Na primeira parte, revisamos as bases epistemológicas de Eco, em particular os trabalhos de Luigi Pareyson e dos formalistas russos; em seguida, tratamos dos principais conceitos de sua teoria semiótica, a fim de compreender (a) o conceito de abertura, mediante a dicotomia entre mensagens estéticas e mensagens referenciais; (b) como a abertura promovida pelas mensagens estéticas desafiam os hábitos interpretativos impostos pelo uso repetitivo das mensagens referenciais; e (c) como é possível, a partir disso, construir uma ideologia contestadora. De posse de um modelo estrutural, buscamos compreender como se dá a dialética entre vanguarda e kitsch, analisando as suas respectivas implicações ideológicas face aos argumentos anteriores. Na segunda parte, propusemos uma discussão da poética do Pós-modernismo com base nas reflexões acima, evidenciando a sua possibilidade de difundir, mediante uma linguagem paródica, uma ideologia contestadora, na medida em que ela exibe um elevado grau de abertura. Finalizamos com um breve estudo dos romances de Eco, apontando para uma contradição entre o que ele postula como valor artístico no plano teórico e o que ele produz como ficcionista
Abstract: This dissertation deals with the concepts of open work, avant-garde and kitsch present in the theoretical and critical works of the Italian semiologist Umberto Eco, in order to observe how the concept of open work sheds light upon and founds a dialectic between norm and invention in the field of the arts, and between avant-garde and kitsch in the contemporary artistic scenery. In the first section, we review Eco¿s epistemological basis, in particular the works of Luigi Pareyson and the works of the Russian formalists; afterward, we deal with the main notions within Eco¿s semiotic theory, in order to grasp (a) the concept of openness, by means of the dichotomy between aesthetical messages and referential messages; (b) how the openness fostered by the aesthetical messages challenges the interpretative habits imposed by the repetitive use of the referential messages; and (c) how is it possible, since that, to build a controvert ideology. In possession of a structuralist model, we intend to comprehend how the dialectic between avant-garde and kitsch art sustain itself, by the analysis of their respective ideological implication in face of the preceding argumentation. In the second section of this dissertation, we propose a discussion of the poetics of postmodernism based on the ideas above, trying to evince its possibility to diffuse a controvert ideology by means of the parody, while it shows a high degree of openness. We finalize this dissertation with a short study of Eco¿s novels, when we point to a contradiction between what he postulates as the artistic value in the field of theory and what he actually produces as novel writer
Mestrado
Teoria e Critica Literaria
Mestre em Teoria e História Literária
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Cortes, Saavedra David Fernando [Verfasser], Birgit [Akademischer Betreuer] Mersmann, Immacolata [Akademischer Betreuer] Amodeo, and Susanne [Akademischer Betreuer] Klengel. "Interarts Aesthetics in Latin-American Avant-Garde. On Creative Constructionism in Xul Solar, Vicente Huidobro and Joaquín Torres-García. / David Fernando Cortes Saavedra. Betreuer: Birgit Mersmann. Gutachter: Birgit Mersmann ; Immacolata Amodeo ; Susanne Klengel." Bremen : IRC-Library, Information Resource Center der Jacobs University Bremen, 2016. http://d-nb.info/1098532716/34.
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Cortes, Saavedra David Fernando Verfasser], Birgit [Akademischer Betreuer] Mersmann, Immacolata [Akademischer Betreuer] [Amodeo, and Susanne [Akademischer Betreuer] Klengel. "Interarts Aesthetics in Latin-American Avant-Garde. On Creative Constructionism in Xul Solar, Vicente Huidobro and Joaquín Torres-García. / David Fernando Cortes Saavedra. Betreuer: Birgit Mersmann. Gutachter: Birgit Mersmann ; Immacolata Amodeo ; Susanne Klengel." Bremen : IRC-Library, Information Resource Center der Jacobs University Bremen, 2016. http://nbn-resolving.de/urn:nbn:de:gbv:579-opus-1005475.
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Zerwes, Erika Cazzonatto 1980. "A fotografia eloquente : arte e politica em Aleksandr Rodchenko (1924-1930)." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/282033.
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Orientador: Iara Lis Franco SchiavinattoDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Buscou-se com este estudo analisar as fotografias produzidas pelo construtivista russo Aleksandr Rodchenko, entre 1924 e 1930, a partir de suas tramas internas, e a relação entre as imagens e o engajamento político do artista. Em sua concepção, a arte possuía um papel efetivo na construção da sociedade. Isto se daria com o emprego de uma estética fotográfica revolucionária, que, demandando uma postura ativa de seu observador, engendraria um novo homem. Este ficou conhecido como Novo Homem Soviético, noção utópica partilhada pela vanguarda russa. A partir de sua ligação com o formalismo e o futurismo russos, bem como com o grupo LEF, fundado em 1923 pelo poeta Maiakovski, Rodchenko foi pioneiro na construção de uma nova visualidade, que julgava mais coerente com o mundo moderno. Nestes seis anos, ele empenhou-se na reinvenção do fazer e da linguagem fotográficos, explorando sua singularidade técnica.
Abstract: This study intents to analyze the photographs made by the Russian constructivist Aleksandr Rodchenko from 1924 to 1930, in its inner conformities and the relation between his images and his political engagement. To him, art had an important role in the construction of society. It would be done with a revolutionary photographic aesthetics which demanded from the observer an active posture that would create a new man. This new man became known as the New Soviet Man, a utopist notion that was shared by the Russian avant-garde. From his knowledge of formalist and futurist theories and the LEF group, founded by the poet Mayakovsky in 1923, Rodchenko pioneered in the construction of a new visuality which according to him was more coherent to the modern world. In these six years, he committed himself to the reinvention of photographic making and language, exploring its technical singularity.
Mestrado
Politica, Memoria e Cidade
Mestre em História
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Fugmann, Nicole Elisabeth. "The poetics of critical space and postmodernity : critique, aesthetics, and cultural memory: a comparative study of critique and the sublime across literary theory, continental philosophy, literature and the Avant-Garde in the visual arts." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367446.
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