Dissertations / Theses on the topic 'Avant-garde'
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Gubbiotti, Clodina. "The Italian neo-avant-garde : between the historical avant-garde and postmodernism." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/30232.
Full textRebelo, Anita Flanders. "U.S. avant-garde literature." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106189.
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Ferrari, Rossella. "Pop goes the Avant-Garde : Meng Jinghui and contemporary Chinese Avant-Garde Theatre." Thesis, SOAS, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439774.
Full textFaroult, David. "Avant-garde cinématographique et avant-garde politique : Cinéthique et le "groupe" Dziga Vertov." Paris 3, 2002. http://www.theses.fr/2002PA030121.
Full textThe 70's French avant-garde, represented by Dziga Vertov "group" (1969-1973), set up among others by Jean-Luc Godard and Jean-Pierre Gorin and Cinethique group (1969-1985) editing the homonym review was characterised by the ambition of a cinematographical practice which would merge the esthetical avant-garde and the political avant-garde (in a leninist view). To understand the topicality of their way approach needs to : 1ʿ systematize their presuppositions and experiences based on a marxist-leninist (in the "maoist" sense) conception : to study the social function of cinema which, as an ideological product contributes to the reproduction of the production conditions ; 2ʿ position historically their activities and establish the progression of their films and theoretical production. This analysis allowed us to emphasise the thesis and positions of the two groups, their topicality and the limits of their contribution
Halay, Alannah Marie. "Recognising absurdity through compositional practice : comparing an Avant-Garde style with being avant garde." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/16880/.
Full textPerez-Barreiro, Gabriel. "The Argentine avant-garde 1944-1950." Thesis, Online version, 1996. http://bibpurl.oclc.org/web/29655.
Full textPinder, David John. "Utopian spaces of the avant-garde." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624520.
Full textPrager, Phillip Andrew. "Avant-garde legacies for interactive cinematics." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611801.
Full textRievers, Henrique André Christiano. "Physiological Perspectives of Avant-garde Music." Doctoral thesis, Humboldt-Universität zu Berlin, 2021. http://edoc.hu-berlin.de/18452/24062.
Full textIt is our thesis that, even though the theatricalization of music is a crucial aspect of the Neue Musik – one that gain even more prominence on the post-1945 scenario –, it is also an expression of a corporeal turn in music. To speak of a corporeal turn in music also means an attempt to overcome a form of dualism. It is an attempt to unify music making and music perception. This is what will be attempted here. Through the works of avant-garde composers, an attempt to build an understanding of music perception in the context of a corporeal turn in music will be made. From the perception of the body and corporeity to the move from “listening” to “perceiving” and, finally, in the concept of the work of music as a phenomenal field, a physiological perception of the avant-garde will be developed.
Охріменко, Дарія Євгенівна. "Avant-garde heritage in modern design." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13110.
Full textYezhova, Olga, Kalina Pashkevich, Mariana Mrachynska, and Angelina Koryakina. "Avant-garde in modern clothing design." Thesis, Platforma europeană aștiinței, 2020. https://er.knutd.edu.ua/handle/123456789/17607.
Full textBurkett, Matthew Luis. "The Body In Avant Garde Poetry." ScholarWorks @ UVM, 2019. https://scholarworks.uvm.edu/graddis/1150.
Full textHagener, Malte. "Avant-garde culture and media strategies the networks and discourses of the European film avant-garde, 1919-39 /." [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2005. http://dare.uva.nl/document/77937.
Full textRiley, Ronald James Elliott. "Avant-garde literature and the recording process." Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608720.
Full textRacz, Imogen Anne. "Henri Laurens and the Parisien avant-garde." Thesis, University of Newcastle Upon Tyne, 2000. http://hdl.handle.net/10443/425.
Full textBoezaart, Kim. "Contemporary avant-garde jewellery in South Africa." Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51665.
Full textENGLISH 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.
Park, K. W. "Korean art and the avant-garde dilemma." Thesis, Nottingham Trent University, 2012. http://irep.ntu.ac.uk/id/eprint/98/.
Full textAlbertazzi, Liliana. "Années 1980 : une modernité sans avant-garde." Paris 1, 1993. http://www.theses.fr/1993PA010553.
Full textMy purpose is to demonstrate that in the eighties it is the avant-garde's concept which is overrun an not the one of modernity. And what came out of these thesis is that on developping the point one realize that the most important revelation is that the counter-thesis induce to an emptiness in the analytical and methodological approch to the art history in the XXth century. Since modernity has been massivily contested and since the prefix "neo" came to be attached to the name of the avant-garde in the eighties, some regulating notions of originality and pureness, until then constituents of the artistique evaluation, collapsed. But these crisis brought in more problems and questions then it sorted them out, though it was necessary to analyse retrospectivily the comdamned concepts and to establish the relation-ship between them. The questions to answer in my essay were though the ones originated bat the new trend of thought in post-modernity : which are the basis of these modernity that are overrun? The facts for which it is overrun are on themselves founding concepts? Concerning the avant-garde, art history makes large reference without defininf the phenomena, does the avant-garde have a chance to be considered asa phenomena and how do we recognaise it?
Rausch, Juliana Adele. "The New Journalism as Avant-Garde Art." Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/443068.
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Can journalism be avant-garde? This question arises from the body of work produced by the New Journalists, whose leading figures include Truman Capote, Tom Wolfe, Joan Didion, and Norman Mailer. Today, this question is urgent for considerations of the journalist’s role within a political landscape increasingly hostile to the news media. Yet it is a question that has not been sufficiently explored in the field of literary study. Scholars of literary journalism have identified the features of an experimental journalism, traced its historical origins, and made claims about how to situate the New Journalism generically. While important, this scholarship overlooks the relationship between experimentation with conventional journalistic form and similar experimentations in other artistic fields. As a result, the stakes of the New Journalism’s experimentations with conventional reporting have not been sufficiently mined. In order to remedy this, I place the New Journalism within a broader history of avant-garde art. The agitation of mainstream journalistic practice undertaken by each of the writers above was spurred by a questioning of a foundational journalistic practice: objectivity. The New Journalists challenged the authority of fact and its capacity to represent the human condition. This challenge to objectivity drove an experimentation with journalistic form that produced a deeply innovative body of work; however, these innovations are not merely formal. They also call into question the epistemological assumptions that tether journalism to a phenomenal world assumed to be fully representable. Significantly, the challenges to objectivity posed by the New Journalists parallel the challenges to representation posed by avant-garde artists like Paul Cezanne and Karel Appel. My dissertation thus situates the challenges to journalistic form undertaken by the New Journalists within a broader history of artistic experimentation and demonstrates that the significance of these experimentations exceeds the fields in which they occur. These arguments provide a framework for understanding not only the formal innovations of avant-garde artists, but also the epistemological consequences, and ethical imperatives, inherent in these innovations. My understanding of avant-garde art is informed by the work of Jean-Francois Lyotard. Over the course of his career, Lyotard illuminated the philosophical dimensions of artistic innovation. For Lyotard, one of the hallmarks of avant-garde experimentation is its ability to confront and redress problems across a variety of discursive fields. That is, Lyotard values avant-garde experimentation because it responds to discourses beyond its own, and much of Lyotard’s writing about avant-garde art establishes connections between artistic innovation and broader issues of ethics, politics, and justice. Over the course of this dissertation, I demonstrate how the New Journalism participates in this tradition by asking questions about the role and responsibility of the reporter through the self-conscious development of an experimental journalistic aesthetic.
Temple University--Theses
McCord, Brian James. "An American avant-garde: Grove Press, 1951--1986." Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2002. http://wwwlib.umi.com/cr/syr/main.
Full textBerman, Nancy. "Primitivism and the Parisian avant-garde, 1910-1925." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38149.
Full textFrench critics of Le Sacre viewed the work as a portrayal of Russian "Otherness" against which they could assert or question their own identity. Whereas the primitivism of Le Sacre was understood to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les Noces was perceived as a manifestation of the classicist "call to order" and as an emblem of American-style mechanization. That it was also understood in terms of the post-war avant-garde's emphasis on classical ideals of austerity, dryness, and sobriety reflects the Purists' belief that machines heralded the new classicism.
Jazz was the ultimate symbol of both primitivism and modernity, and was initially hailed by the avant-garde as a revivifying source for the French tradition. In their attempt to neutralize the racial and political threats perceived to be inherent in jazz, the avant-garde emphasized its rationality, precision, and economy. La Creation du monde represents the avant-garde's complete assimilation of jazz and l'art negre into the French classical tradition.
Sherry, Jay [Verfasser]. "Carl Gustav Jung, Avant-garde Conservative / Jay Sherry." Berlin : Freie Universität Berlin, 2008. http://d-nb.info/1022912569/34.
Full textMoyle, Julian. "Iconicity in the visions of the avant-garde." Thesis, University of Nottingham, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446395.
Full textBrook, Katherine Eliza. "Proust and the avant-garde : perception, knowledge, representation." Thesis, King's College London (University of London), 2018. https://kclpure.kcl.ac.uk/portal/en/theses/proust-and-the-avantgarde(43662227-f55c-493d-957c-13d5c9b68ef2).html.
Full textCole, Brian M. "Ekphrasis and Avant-Garde Prose of 1920s Spain." UKnowledge, 2015. http://uknowledge.uky.edu/hisp_etds/23.
Full textHowells, Annie. "Avant-garde nu och då : ett föränderligt koncept?" Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-33224.
Full textPitkin, 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 textKleberg, 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 textMaslowiec, Anna. "Sonorism and the Polish Avant-Garde 1958-1966." Phd thesis, Sydney Conservatorium of Music, 2008. http://hdl.handle.net/2123/8205.
Full textSimmonds, Toni Mia. "Mein Kodak Avant-Garde Photography in 1920s Germany." Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15991/1/Toni_Simmonds_Thesis.pdf.
Full textSimmonds, Toni Mia. "Mein Kodak Avant-Garde Photography in 1920s Germany." Queensland University of Technology, 2004. http://eprints.qut.edu.au/15991/.
Full textLedesma, Eduardo. "The Historic Avant-Garde, the Neo-Avant-Garde and the Digital Age: Experimental Visual-Textual Forms in the Luso-Hispanic World." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10286.
Full textRomance Languages and Literatures
Schrank, Brian. "Play beyond flow: a theory of avant-garde videogames." Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/42865.
Full textGagné, Marie 1961. "Le mouvement "Tel Quel": neo-avant-garde et postmodernite." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74534.
Full textOtty, Lisa. "Signals and noise : art, literature and the avant-garde." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3454.
Full textIddon, M. "The dissolution of the avant-garde Darmstadt 1968-1984." Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604920.
Full textHobbs, Stuart D. "The end of the American avant garde, 1930-1965 /." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487841975356445.
Full textMontero, Camacho Paulo. "Searching the Cosmos: Ripples from Avant-Garde Cosmological Probes." The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1562949205379439.
Full textArana, Cobos Juan. "Jorge Oteiza art as sacrament, avant-garde and magic /." abstract and full text PDF (free order & download UNR users only), 2008. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3307711.
Full textBederson, Aron. "New York avant-garde theatre, values, goals, and resonances." Tallahassee, Florida : Florida State University, 2009. http://etd.lib.fsu.edu/theses/available/etd-07072009-194354/.
Full textAdvisor: William Cloonan, Florida State University, College of Arts and Sciences, Dept. of Interdisciplinary Humanities. Title and description from dissertation home page (viewed on Nov. 19, 2009). Document formatted into pages; contains vii, 98 pages. Includes bibliographical references.
Scott, Rachel Maureen. "ROMANCE PAINTING: l ' avant garde ne se rend pas." Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/17794.
Full textSawczuk, Magdalena. "L'orphisme. Naissance, évolution et héritage d’une avant-garde oubliée." Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL093.
Full textThe notion of Orphism was born on the eve of the World War II. Forged by Guillaume Apollinaire, it served him to describe a new and bold art of his friends, especially those concentrated around Robert Delaunay. However, the notion was already troublesome back then: ill-defined and unclear, it was used by the poet in a vague way. Since then, the controversies continue to mount and in a century that elapsed since the invention of the notion, everything concerning Orphism is questioned, even its very existence. Contesting this negationist approach, we propose in this thesis to analyze the artistic production and conceptions of this period under a new light. We are distancing ourselves from the traditional labels of “-isms” and we are using the Orpheus myth – as suggested by Apollinaire – as a tool which allows us to reanalyze the art from the beginning of the 20th century. This new analysis – of artists’ career paths, their fascinations, relationships between different artistic centers and between people involved in this avant-garde – and the comparative analysis of artworks serves to prove that what we call Orphism is not an artificial concept, applied in an arbitrary manner to the somewhat accidental and independent career paths of different artists. On the contrary, Orphism is a logical and consistent evolution, whose true importance and impact was never fully appreciated. By using the Orpheus myth as a guiding thread, we are bringing to light the main lines of the evolution of Orphism: the origins and interpretation of the notion and the conception, the historical and artistic context in which the movement was born and was evolving, the relationships between its actors, artists’ inspirations and, last but not least, the stylistic evolution of Orphism over the time
Casprowiak, Katrina R. 1977. "Fashioning the Woodcut: Raoul Dufy and the Avant-Garde." Thesis, University of Oregon, 2008. http://hdl.handle.net/1794/7479.
Full textRaoul Dufy created woodcut illustrations for a book of poetry by Guillaume Apollinaire entitled, Le Bestiaire, au, Le Cortege d'Orphee, in 1910. Shortly thereafter, radical haute couture leader, Paul Poiret, commissioned Dufy to carve woodcuts to be printed onto fabric and used in Poiret's fashion designs. The goal of this thesis is twofold; to show how the nineteenth-century woodcut revival provided Dufy with a medium that simultaneously suggests popular French tradition and contemporary avant-garde culture and to reveal how Dufy's early employment of the woodcut led to a lifetime involvement with the decorative arts that both contributed to his success and style as a painter. These involvements mark a highpoint in the way the woodcut, which had fallen into artistic disfavor during most of the nineteenth-century, was returned by Dufy to the center of avant-garde culture and fashion.
Adviser: Sherwin Simmons
Savasir, Gokcecicek. "Re-thinking The Limits Of Architecture Through The Avant-garde Formations During The 1960s: Projections And Receptions In The Context Of Turkey." Phd thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609369/index.pdf.
Full textto form a framework for conceptualizing architectural avant-garde through scanning the twentieth-century avant-gardes
to focus on the avant-garde formations of the 1960s by applying this conceptual framework, and the debate on their receptions in the present architectural context of Turkey. Being on the verge of architecture, the avant-gardes during the 1960s, namely Constant Nieuwenhuys, Yona Friedman, Japanese Metabolists, Archigram, Archizoom, and Superstudio, point out that architecture is both an intellectual activity and a physical production. Projections and resonances of these avant-gardes in the Turkish architectural context of the subsequent periods are trail blazed through the expressions of a group of receiving subjects from the Turkish scene of architecture. Hence, this study offers to lay a common ground for debating on the limits of architecture by forming not only the topography of architectural avantgarde in this era, but also a &
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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.
Full textFranklin, Cary. "Freewoman : Dora Marsden and the politics of feminist modernism." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270659.
Full textLewer, Deborah Claire. "Dada in Zurich 1916-1920 : ideology and practice." Thesis, Manchester Metropolitan University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322020.
Full textMadrid-González, Alejandro Luis. "Writing modernist and avant-garde music in Mexico performativity, transculturation, and identity after the revolution, 1920-1930 /." Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054237342.
Full textTitle from first page of PDF file. Document formatted into pages; contains xv, 238 p.; also includes music, graphics Includes bibliographical references (p. 218-238). Available online via OhioLINK's ETD Center
Elliott, Deborah E. "The new architecture Iakov Chernikhov and the Russian Avant-Garde /." Connect to resource, 2006. http://hdl.handle.net/1811/6023.
Full textTitle from first page of PDF file. Document formattted into pages: contains 61 p.; also includes graphics. Includes bibliographical references (p. 60-61). Available online via Ohio State University's Knowledge Bank.
Presence, Steve. "The political avant-garde : oppositional documentary in Britain since 1990." Thesis, University of the West of England, Bristol, 2013. http://eprints.uwe.ac.uk/20924/.
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