Relevant bibliographies by topics / European avant-garde

Academic literature on the topic 'European avant-garde'

Author: Grafiati
Published: 4 June 2021
Last updated: 20 February 2023

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Journal articles on the topic "European avant-garde"

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Janecek, Gerald J., Endre Bojtar, and Pal Varnai. "East European Avant-Garde Literature." Slavic and East European Journal 38, no. 3 (1994): 532. http://dx.doi.org/10.2307/308874.

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Puzyrkova, A. "Features of the avant-garde directions of European modernism during 1900–1910 in the Ukrainian avant-garde." Research and methodological works of the National Academy of Visual Arts and Architecture, no. 27 (February 27, 2019): 208–14. http://dx.doi.org/10.33838/naoma.27.2018.208-214.

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During 1900–1910, there was a process of intensive cooperation and mutual enrichment between artists in Western European artistic centers and representatives of the Ukrainian and Russian avant-garde. At the same time, the avant-garde, both in Europe and in the territory of the Russian Empire, forms its own face and features that are reflected in the specificity of the artistic expression of specific groups and trends. The art of the 1900–1910 became a turning point in the history of avant-garde in Europe and in the Ukrainian lands, finally affirming the irreversibility of the phenomenon of avant-gardism. The avant-garde movements evolved rapidly during the period from 1900 to 1930, however, despite certain differences in manifestations, the revolutionary gains of cubism, expressionism and futurism became the foundation of the entire Ukrainian avant-garde. The publication, using examples of cubism, futurism and expressionism, which, deriving from European centers, laid the foundation for the artistic expression of the Ukrainian, as well as Russian avant-garde – cubofuturism, suprematism, constructivism, scrutinizes the features of the avant-garde on Ukrainian territories in the European context. For the first time, it is focused on the differences between the manifestations of Cubism, Futurism, and expressionism in the Ukrainian and European avant-garde. There is a lack of formed groups and program documents of cubism, futurism, and expressionism in the Ukrainian fine art of the 1900-1910, with absolute domination of these areas of artistic expression and formulation. It focuses on the specific manifestations of the Ukrainian and Russian avant-garde that emerged on their base, as well as on the specific manifestation of the Ukrainian avant-garde, the neoprimitivism, which includes the school of Mykhailo Boichuk. The publication emphasizes the importance of suprematism in the Ukrainian avant-garde as a classical avant-garde movement, which had such distinct features as breaking with tradition and well-formed ideological principles outlined in the program documents, which was generally not typical for the Ukrainian avant-garde in the fine arts. As it is known, even the ideological foundations of cubofuturism were not clearly formed by its representatives, Oleksandr Bohomazov and Oleksandra Ekster. It is possible to speak of a formed and declared platform only with respect to the Ukrainian literary avant-garde, where it were the futurists who most clearly positioned themselves.
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Lavrentiev, Alexander N. "AVANT-GARDE DIALOGUES." Scientific and analytical journal Burganov House. The space of culture 17, no. 5 (December 10, 2021): 104–8. http://dx.doi.org/10.36340/2071-6818-2021-17-5-104-108.

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The article is dedicated to comparative analysis of spatial constructions created by the Russian Avant-Garde Artist Alexander Rodchenko and the famous kinetic European and American artist Alexander Calder in the first half of the 20-th century. For both artists technology played the decisive role in constructing spatial objects, both of them used line as a basic expressive element. Still there is a certain difference stressed by the author: Rodchenko used linear elements to express structural and constructive qualities of spatial objects, while Calder was more intending to represent emotion and movement. Rodchenko and Calder belong to the common abstract artistic trend in 20th century sculpture. But their works served as the basis for the two different traditions: minimalist conceptual and geometric art of Donuld Judd on one side and spontaneous mechanisms of Jean Tinguely on the other.
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Van den Berg, Hubert. "Martin Puchner, Poetry of the Revolution. Marx, Manifestos, and the Avant-Gardes 2006." Nordlit 11, no. 1 (May 1, 2007): 300. http://dx.doi.org/10.7557/13.1789.

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The genre of the manifesto belongs to the key elements of avant-garde textuality. As such, the manifesto has received considerable attention in recent avant-garde research. Many articles, chapters in general studies on the avant-garde, several collections of essays, monographs and annotated anthologies have been devoted to the manifesto in the past decades. Martin Puchner's book on the avant-garde manifesto is a latecomer in this context, published some ten years after a wave of Manifestantismus struck in particular continental European avant-garde research. As in the case of any late arrival, the main question is self-evidently: what adds Puchner to already existing literature? The answer must be rather ambivalent. Puchner's book definitely fills a lacuna in the Anglophone historiography of the avant-garde.
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Lymar, Anna. "Ukrainian Paradigm Of Avangard Art In Artistic Creativity." Art Research of Ukraine, no. 21 (November 29, 2021): 43–51. http://dx.doi.org/10.31500/2309-8155.21.2021.254671.

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The study of the Ukrainian aspects of the European avant-garde movement of the first third of the twentieth century became possible with a radical reassessment of values in the late twentieth century. During this period, the term "Ukrainian avant-garde" appeared in Western European art history discourse. The emergence of such a term in Ukraine during the Soviet period was impossible, because creativity was viewed through the prism of socialist realism and nothing else. However, art researchers were aware of the national aspects of the avant-garde. In the Ukrainian academic discourse, the problem of the contribution of domestic artists to the development of the avant-garde begins to become relevant with the acquisition of state independence. The state-building process stimulated the revival of cultural processes and the emergence of scientific interest in the avant-garde. Researchers have studied the problem of conventional and authorial, philosophical and aesthetic foundations of the Ukrainian avant-garde, its artistic and stylistic features, creative and theoretical heritage of artists. For a period of time, avant-garde revolutionary art and political revolution in the first quarter of the twentieth century were united in a single burst of influence on the masses. Avant-garde art for some time became part of the revolutionary process. The Ukrainian paradigm is marked by a territorial feature, the affiliation of artists of eidetic creativity of folk self-expression. With the acquisition of independence, the Ukrainian avant-garde emerged from oblivion and organically entered the national artistic space and became part of Ukrainian art.
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Tokarz, Bożena. "Przekład w perspektywie awangardowości." Między Oryginałem a Przekładem 26, no. 49 (September 30, 2020): 83–100. http://dx.doi.org/10.12797/moap.26.2020.49.05.

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Translation in the Perspective of Avant-garde Avant-garde is a kind of precursor that precedes some fundamental change. Translation can provoke such a change in the host literature, presenting works that have the potential to make a turn in it, or it can become revolutionary in the art of translation. The avant-garde function of Polish literature in Slovenia is fuzzy. It is present in the minds of some authors although they do not exhibit it in an explicit way. Therefore, it is not possible to assign its translations an avant-garde role in the interwar period, which abounded with stormy transformations of European art and not only. The Polish historical avantgarde was unknown to the reader, and the poetry of one of the central poetic groups, the Krakow Avant-Garde, has remained so. The translations of avant-garde prose and drama of that time are late to fulfill such a function because they only appeared after the 1970s.
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Moholy, Lucia. "International Avant-Garde, 1927–1929." October 172 (May 2020): 109–10. http://dx.doi.org/10.1162/octo_a_00394.

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Founded by a group of international artists and writers in 1927, the journal i 10 supplied a remarkable selection of historical documents from the late 1920s. Reporting on the occasion of a reedition of the journal, Lucia Moholy, who was a part of the group, discusses the circumstances of its founding and its importance to the interwar European avant-garde.
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Perloff, Marjorie. "From Language Poetry to the New Concretism: The Evolution of the Avant-Garde." Literature of the Americas, no. 12 (2022): 10–36. http://dx.doi.org/10.22455/2541-7894-2022-12-10-36.

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The article examines the trajectory of the Western avant-garde in the 20th century, in connection with the group formations characteristic of these movements. Movements such as the Russian avant-garde and European Dadaism are classified according to various criteria, and their rise and fall is traced. After a broad overview of avant-garde movements, the first part of the essay analyzes the cases of the modern avant-garde movement “Language Poetry”. The article then goes on to detail the theoretical principles of the “language movement” founded in the late 1970s, and then explore how this radical movement has developed over the past twenty years. Language poetics, closely associated with French poststructuralist aesthetics and Marxist ideology, was gradually assimilated into the mainstream, and its stylistic features were absorbed into more traditional modes. The movement is now mostly over, but it has produced a number of important poets such as Susan Howe and Charles Bernstein, Lyn Hejinian and Steve McCaffery. These poets now associate themselves outside the language movement they used to be part of and are eventually arriving their own styles. In the last part of the article, the author refers to the Latin American movement of concretism as a phenomenon that synthesizes the achievements of the Russian and European avant-garde and the American neo-avant-garde.
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Lyubovich, Maxim Vyacheslavovich. "European Film Avant-Garde: Poetics of Objectiveness." Journal of Flm Arts and Film Studies 7, no. 1 (March 15, 2015): 92–101. http://dx.doi.org/10.17816/vgik7192-101.

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The article focuses on the phenomenological description of poetical nature of film image associated with such elements as water and air (fog) in European film avant-garde. The author explores the origin of artistic imagination in connection with the problem of perception and representation of reality in a director's method
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Kantor, Maxim. "The Renaissance versus the Avant-Garde." Forum Philosophicum 18, no. 2 (January 5, 2014): 139–68. http://dx.doi.org/10.35765/forphil.2013.1802.09.

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The essay contrasts two recurring phenomena of European culture: renaissance and avant-garde. The author discusses the paradigmatic Renaissance of 15th and 16th centuries and the paradigmatic Avant-Garde of early 20th century from the point of view of a practicing artist, interested in philosophical, social, religious, and political involvements of artists and their creation. The author shows the artistic and social history of 20th century as a struggle between the Avant-Garde and the Renaissance ideals, which, as he points out, found a fertile ground in in the 20 years that followed immediately the Second World War.
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Dissertations / Theses on the topic "European avant-garde"

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Hagener, 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.

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Fowkes, M. "Central European neo-avant-garde art and ecology under socialism." Thesis, University College London (University of London), 2013. http://discovery.ucl.ac.uk/1380708/.

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This thesis addresses the question of how the natural environment figured in the neo‐avant‐garde practices of the generation of artists who around 1970 started to engage with the subject across the socialist states of Central Europe, where various degrees of communist control over society influenced not only artistic production, but also limited access to information about the state of the environment and ecological discourse. The study examines a historical period influenced by the aftermath of the social and political upheavals of 1968, one where art entered the natural environment and engaged with environmental problems, which corresponded to the moment when ecological crisis was first registered on a planetary scale. Individual chapters devote attention to detailed examination of the practices of the Pécs Workshop from Hungary, the OHO group from Slovenia, TOK from Croatia, Rudolf Sikora from Slovakia and Czech artist Petr Štembera, each of whom developed distinctive approaches to the environment through the investigation of process‐based works, land art, public art, conceptual practices or performances, motivated by the neo‐avant‐garde tendency to dematerialise the art object. By focusing on their diverse approaches to the environment, which included engaging with the problems of ecological crisis, raising environmental awareness among socialist citizens, and exploring non‐anthropocentric positions and cosmic perspectives, this comparative study analyses their practices in light of specific socio‐political and environmental circumstances, and reveals the complexity of art history as a discipline under socialism. Working from specific positions and with different artistic affinities, the artists considered here articulated a cosmopolitan voice which commented on the nationalist trespassing of nature, and the communist denial of the environmental crisis, and spoke about a burgeoning ecological imperative that spanned the globe and could not be confined within any imposed borders.
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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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Zheng, Yalan M. S. "The 798 Art Zone, the European Avant-Garde in China." University of Cincinnati / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1378197416.

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Lee, Young-Zun. "D.H. Lawrence and the European avant-garde : the significance of Dionysian art." Thesis, University of Aberdeen, 1997. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU093207.

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Lawrence's modern novels are related not so much to the native English tradition as to the wider context of avant-garde movements like Futurism, Expressionism and Surrealism. This thesis investigates the 'unusual' creativity of Lawrence's novels by measuring them against central ideas of avant-garde artists, in particular, Wassily Kandinsky and Antonin Artaud. Lawrence, Kandinsky and Artaud shared a considerable amount of common ground; they all were influenced by Nietzschean ideas. Their innovative arts set out to look for ways of releasing the unconscious, instinctual, 'transrational' or 'libidinal' energies of the psyche. Despite notable differences, the three artists felt that the contemporary situation demanded the development of radically new means of artistic expression; non-verbal, non-discursive, physical, sensual and plastic expression are central to their experiment. Sharing a conviction that the ultimate reality is 'Dionysian', they seek to reveal a Dionysian reality by means of a kind of visionary art which is more inclusive, dynamic and powerful than the traditional forms of art. Artaud and Lawrence especially devote themselves to developing ways in which all natural forces of incomprehensible 'cosmic cruelty'---the uncanny vision of the Dionysian real---can be artistically conveyed. They are Dionysian artists. They explore what they see as the fundamental reality of life: the 'dark' domain of unconscious forces and desires; impulses and instincts; body and blood. Their arts are 'transrational' ones. Kandinsky's 'monumental art', Artaud's 'theatre of cruelty' and Lawrence's post-war novels are each a kind of modern 'total work of art', relying on various non-verbal means of expression; the object is to recreate the festive spectacles of ancient religious rites and rituals.
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Macrae, David J. R. "The sensory screen : phenomenology of visual perception in early European avant-garde film." Thesis, University of Edinburgh, 2003. http://hdl.handle.net/1842/28518.

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At the beginning of the twentieth century, certain artists, writers, and philosophers became intrigued by the profound ways in which filmic images could pervade aspects of modern thought and experience. For them, film had the potential to reveal radical new dimensions of sensory phenomena. The early development of avant-garde film-making in Europe is culturally crucial not only for its historical and conceptual context of creative transition, but also for its dynamic exploration of processes of visual perception. The central objective of this thesis is to expose and engage these profound perceptual issues. The structural formation of the thesis entails the confluencing of material for analysis into a sequence of key areas comprising the central components of avant-garde cinematic visualisation. The visual implications of each area are analysed in specific depth, whilst acknowledging their respective interactivity. Significantly, the research applies analytic theories of phenomenology in order to focus incisively upon relevant early European avant-garde filmic imagery. The potential vitality of a phenomenological theorisation of early avant-garde film resides not only within their historical contemporaneity, but at the epistemological level of the mind’s cognitive engagement with the realms of creative visualisation. It is a system of analysis which aims to establish a nuanced phenomenological theory of visual perception as a matter of prime sustenance to historically crucial cinematic art forms.
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Salazar-Sutil, Nicolas. "Theatres of the Surd : a study of mathematical influences in European avant-garde theatre." Thesis, Goldsmiths College (University of London), 2010. http://research.gold.ac.uk/4754/.

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This doctoral dissertation deals with the somewhat neglected relationship between mathematics and theatre. Specifically, the focus of this study is the penetration of modern mathematical thinking into European avant-garde theatre during the late 19th and early 20th century, particularly as regards the revolutionary experiments on scenic space and dramatic logic that occurred at the time. I will argue that modern European theatre underwent a period of crisis, whereby a number of avant-garde practitioners renounced the axioms of traditional theatre, particularly in relationship to the rule of mimesis, representation, and verbal speech. Theatres of the Surd argues for a penetration of symbolic languages in the wake of a decline of word-based textuality in the theatre, combined with a cultural shift toward more abstract, technologically mediated and autonomous forms of theatrical practice. This work focuses on three seminal theatre practitioners of the late 19th and early 20th century avant-garde; namely, Alfred Jarry, Stanislaw Witkiewicz and Samuel Beckett, and the impact of non-Euclidean geometry and modern mathematical logic in their work. I will claim that the mathematisation of cultural practices in the late modern era marked a crucial watershed that played an important role in the transformation of the axiomatics of theatrical practice, and the emergence of a truly modern, post-Aristotelian and post-representational form of theatrical praxis. Thus, mathematics may be said to function within the ambit of cultural dynamics, insofar as its penetration into culture discourse and practice has helped modernise the way theatre is conceptualised and visualised.
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Aceti, Lanfranco. "European avant-garde : art, borders and culture in relationship to mainstream cinema and new media." Thesis, University of the Arts London, 2005. http://ualresearchonline.arts.ac.uk/7762/.

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This research analyses the impact of transformation and hybridization processes at the intersection of art, science and technology. These forms of transformation and hybridization are the result of contemporary interactions between classic and digital media. It discusses the concept of 'remediation' presented by Bolter and proposes the concept of 'digital ekphrasis,' which is based on Manovich' s analyses of the interactions between classic and digital media. This is a model which, borrowed from semiotic structures, encompasses the technical as well as aesthetic and philosophical transformations of contemporary media. The thesis rejects Baudrillard's and Virilio's proposed concepts of 'digital black hole' as the only possible form of evolution of contemporary digital media. It proposes a different concept for the evolutionary model of contemporary hybridization processes based on contemporary forms of hybridizations that are rooted in aesthetic, philosophical and technological developments. This concept is argued as emancipated from the 'religious' idea of a 'divine originated' perfect image that Baudrillard and Virilio consider to be deteriorated from contemporary hybridization experimentation. The thesis proposes, through historical examples in the fine arts, the importance of transmedia migrations and experimentations as the framework for a philosophical, aesthetic and technological evolutionary concept of humanity freed from the restrictions of religious imperatives.
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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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Halfyard, Janet Katherine. "Only connect : European music theatre in the context of Wagner's Gesamtkunstwerk and the early twentieth-century avant-garde." Thesis, University of Birmingham, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.397944.

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Books on the topic "European avant-garde"

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

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East European avant-garde literature. Budapest: Akadémiai Kiadó, 1992.

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Borges and the European avant-garde. New York: P. Lang, 1996.

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Mamas of Dada: Women of the European avant-garde. Columbia, South Carolina: University of South Carolina Press, 2015.

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Rui, Vilar Emílio, Freitas Helena de 1958-, and Fundação Calouste Gulbenkian, eds. Amadeo de Souza Cardoso: Diálogo de vanguardas = avant-garde dialogues. Lisboa: Fundação Calouste Gulbenkian, 2006.

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Art in Europe: From the vandals to the avant-garde. Paris: Assouline, 2001.

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Aagesen, Dorthe. The avant-garde in Danish and European art 1909-19. Copenhagen: Statens Museum for Kunst, 2003.

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Hanne, Abildgaard, Zerlang Martin 1952-, Warming Rikke, and Statens museum for kunst (Denmark), eds. The avant-garde in Danish and European art 1909-19. [Copenhagen]: Statens museum for kunst, 2002.

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G: An avant-garde journal of art, architecture, design, and film, 1923-1926. Los Angeles: Getty Research Institute, 2010.

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Gržinić, Marina. Fiction reconstructed: Eastern Europe, post-socialism & the retro-avant-garde. Wien: Edition Selene, 2000.

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Book chapters on the topic "European avant-garde"

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Levenson, Michael. "The European Avant-Garde." In A Companion to Modernist Poetry, 157–71. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118604427.ch13.

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Szabolcsi, Miklós. "La néo-avant-garde." In Comparative History of Literatures in European Languages, 573. Budapest: Akadémiai Kiadó, 1986. http://dx.doi.org/10.1075/chlel.iv.87sza.

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Drosos, Nikolas. "A Socialist Neo-Avant-Garde?" In New Narratives of Russian and East European Art, 151–65. New York: Routledge, 2020. | Series: [Studies in art historiography]: Routledge, 2019. http://dx.doi.org/10.4324/9780429028595-10.

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Cabiati, Alessandro. "Concluding Modernity: Writing , Writing Avant-Garde." In Palgrave Studies in Modern European Literature, 271–78. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-92018-0_7.

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Estivals, Robert. "Schéma linguistique du thème “avant-garde”." In Comparative History of Literatures in European Languages, 20. Budapest: Akadémiai Kiadó, 1986. http://dx.doi.org/10.1075/chlel.iv.04est.

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Bojtar, Endre. "The Avant-garde in East-Central European literature." In Comparative History of Literatures in European Languages, 364–73. Amsterdam: John Benjamins Publishing Company, 2004. http://dx.doi.org/10.1075/chlel.xix.42boj.

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Fox, Dorota. "Popular Amusement and Avant-garde in the Polish Cabaret." In Comparative History of Literatures in European Languages, 203. Amsterdam: John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/chlel.xxii.46fox.

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"Preliminary Material." In European Avant-Garde, 1–6. Brill | Rodopi, 2000. http://dx.doi.org/10.1163/9789004449411_001.

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"Preface." In European Avant-Garde, 7–11. Brill | Rodopi, 2000. http://dx.doi.org/10.1163/9789004449411_002.

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"Rewriting the Theory of the Avant-Garde." In European Avant-Garde, 13. Brill | Rodopi, 2000. http://dx.doi.org/10.1163/9789004449411_003.

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Conference papers on the topic "European avant-garde"

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Nicolau, Felix. "Dadaist Syncretism – Assumptions." In Conferință științifică internațională "Filologia modernă: realizări şi perspective în context european". “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2022. http://dx.doi.org/10.52505/filomod.2022.16.30.

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There have been made distinctions and approximations between Dada and futurism, cubism and surrealism. The same with regard to the load of (political) anarchism in Dada. My article is about the experimental and performative side of the Dada phenomenon. Of course, there is a comprehensive spirit of the avant-garde, just as there is a Saeculum of modernity. Dada, however, functioned as a crucible that took over the experimental openings of the moment and potentiated them to a level rarely surpassed until today. Any contemporary performance could claim its origin, better said must claim, from Cabaret Voltaire. What could be the typology of Dada performance?
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