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.
Full textFowkes, 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/.
Full textLee, Sze Wah Sarah. "Aesthetics of experiment : Imagism, Vorticism and the European avant-garde." Thesis, Goldsmiths College (University of London), 2016. http://research.gold.ac.uk/19690/.
Full textZheng, 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.
Full textLee, 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.
Full textMacrae, 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.
Full textSalazar-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/.
Full textAceti, 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/.
Full textPapalas, 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 textHalfyard, 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.
Full textMcGillivray, Glen James. "Theatricality: A critical genealogy." Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/1428.
Full textSiukonen, 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.
Full textTokimatsu, Rosana Fumie. "O iniciado do movimento: a ficção de Aníbal Machado e o cinema." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8151/tde-12052017-155530/.
Full textThis work intends to discuss problems related to Anibal Machados literary works and the dialogues he established with the filmic art and in this way trying to define the large view of his poetics. The authors interest as fan and expert of the so called Seventh Art was fundamental to the assimilation he processed in his fictional works. So one of the aspects observed in this analyses includes the authors attempt to reproduce techniques and proceedings of the cinematographic language with keeping its roots in practices of the European Avant-garde and in the Brazilian Modernism. This mentioned attempt is firstly present in João Ternura, a book he started writing by 1926 and only finished in 1964 soon before his death, and in which he exposes the linking with the Brazilian modernist project. In this case the approach he established between his literary writing and the filmic proceedings was limited to the act of assembling discontinuous narrative sequences. But different approaches to the filmic narrative were explored in his short-stories being A morte da porta-estandarte the most relevant example of the various ways he tried to absorb the cinematographic language. So from different angles of viewing and discontinuous acts of assembling Aníbal Machado tried to explore the field of the images, movements and sonorities. As a second part this work examines a specific element, focusing the famous character created by Charles Chaplin, Charlie, but also trying to capture the general burlesque aspect of the cinema in the work of Aníbal Machado. So it is showed that in the authors fiction there is a gallery of characters distinguished by its innocence, by the dream and by irrational aspects that lead to Charlies universe and is also influenced by the European Avant-garde, mainly the Surrealism, that Aníbal Machado once declared its adoption. The references to Chaplins filmography will be also stressed by means of the ironical approach of the narrator as well as the comic and the dramatic aspects. In the authors fiction it is marked the presence of the corporal movement related to innocence and tenderness of some characters that due to this kind of acting are slaughtered by the rigidness of social rules and conventions. And so it results in irrationalism represented by the burlesque as a refusal to be submitted to the social rules. The research is still enlarged by other activities of Aníbal Machado related to the Seventh Art. In this case the focus was directed to the beginning of the 50s when the A. Machado was invited by the cinematographic Companhia Vera Cruz to help in the writing of scripts and also asked to adapt some of his own short-stories. Among them are A morte da porta-estandarte, O telegrama de Ataxerxes and O piano, though none of them was filmed. In this part the intention is to expose the context in which the Aníbals work of fiction is included trying to situate it in the history of the Brazilian cinema. Finally, we try to appreciate and discuss reasons way at that time the filmic industry was interested in adapting Aníbals short-stories. So it was developed a comparative approach between A morte da porta-estandarte and two versions of its respective summary. The same was developed between O telegrama de Ataxerxes and a script based on this short-story. In both cases it is tried to show ways the author used to translate his fictional stories to a filmic language thus creating new elements to adapt different arts and languages.
Chamiço, Vinicius Domingues [UNIFESP]. "Próximo ma(i)s distante: do potencial crítico das imagens de pensamento na obra “Rua de mão única” de Walter Benjamin." Universidade Federal de São Paulo (UNIFESP), 2014. http://repositorio.unifesp.br/handle/11600/39257.
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Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES)
Esta pesquisa pretende compreender o conceito de crítica dentro da obra Rua de mão única (Einbahnstrasse) através da análise do funcionamento e da estrutura da escrita empregada por Walter Benjamin chamada: “imagem de pensamento” (Denkbild). Partindo de um procedimento que norteia grande parte dos fragmentos: uma proximidade distanciadora, potencialmente crítica e reflexiva, proporcionada por formas aparentemente irrelevantes (unscheinbaren Formen) e pela polarização de imagens e ideias dissonantes.
This research aims to understand the concept of critic in the work, One Way Street (Einbahnstrasse) by the analysis of the functioning and the structure of writing used by Walter Benjamin named: “though-image” (Denkbild). From a procedure that orients much of the fragments: a proximity distancing, potentially critical and reflective, provided by apparently irrelevant forms (unscheinbaren Formen) and by the polarization of dissonant images and ideas
Dawood, Rasha Ahmed Khairy Hafez. "Critical discourse within European plays in the first half of the twentieth century and the manifestations of a similar phenomenon in modern Egyptian drama." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15359.
Full textCarvalho, Lilian Escorel de. "A revista francesa L´Esprit Nouveau na formação das idéias estéticas e da poética de Mário de Andrade." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8149/tde-12082009-144736/.
Full textL\'Esprit Nouveau, revista de estética publicada em Paris entre 1920 e 1925, projeto do pintor francês Ozenfant, do arquiteto suíço Le Corbusier e do poeta belga Paul Dermée, representa uma importante matriz na formação das idéias estéticas e da poética de Mário de Andrade. Lida e anotada por ele em todos os exemplares, esta publicação da vanguarda francesa encerra um alentado diálogo do poeta brasileiro com o modernismo europeu. Paralelamente, os apontamentos autógrafos, sobrepostos aos textos impressos, fazem com que os números anotados gozem da dupla natureza de edição e de manuscrito. Esta pesquisa inclinou-se sobre as correlações entre as leituras, as notas e as obras do autor brasileiro entre 1920 e 1925. Transcreveu e classificou as anotações autógrafas deste escritor/leitor na coleção completa da revista em sua biblioteca, no Instituto de Estudos Brasileiros, na Universidade de São Paulo, e apresentou, no final, um índice da revista LEsprit Nouveau nas estantes do autor de Macunaíma. Biblioteca de Mário de Andrade, Marginália, Leitura e criação, Modernismo brasileiro, Vanguardas européias
Boroff, Kari. "Was the Matter Settled? Else Alfelt, Lotti van der Gaag, and Defining CoBrA." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1586786734877754.
Full textMahot, Boudias Florian. "La Poésie insupportable : politiques de la littérature dans l’entre-deux-guerres européen, autour de L. Aragon, W. H. Auden et B. Brecht." Thesis, Paris 10, 2013. http://www.theses.fr/2013PA100131.
Full textLeaving behind the spiritualist and idealist method which is frequent in poetry criticism nowadays, this dissertation aims to challenge the model of an essentially non-political poetry. It adopts both a historical and theoretical approach and focuses on so-called minor poems or poems that were later on excluded from the literary canon. Focused on France, Britain and Germany between the two World Wars, it presents how poets became politicized and how they conceived of the links between poetry and politics between 1918 and 1939. The main corpus is composed of L. Aragon, W. H. Auden and Bertolt Brecht but also extends to A. Breton, X. de Magallon, S. Spender, C. Day Lewis, T. S. Eliot, E. Pound, W. Lewis, G. Benn and even V. Mayakovski and R. Alberti, etc. The three main authors should be considered as centres to explore the European literary networks and describe reception effects. The project also encompasses various newspapers, magazines and literary journals (La N.R.f., Commune, Eurydice, The Criterion, The Left Review, Die neue Rundschau, Das Wort, etc.). The first part of this research is historical and establishes how poets and critics quarrelled about the notions of “propaganda” and “pure poetry” over the period. The second part is analytical and delves into how poets evoke contemporary history and how they use writing and publishing strategies to make their poems more effective in the public space. The third part is more theoretical and depicts how poets conceived their own historicity, how they positioned themselves with respect to the poetry of the past, to contemporary modernist theories of artistic autonomy and to the political programmes of the Avant-Garde
Glomm, Anna Sandaker. "Graphic revolt! : Scandinavian artists' workshops, 1968-1975 : Røde Mor, Folkets Ateljé and GRAS." Thesis, University of St Andrews, 2012. http://hdl.handle.net/10023/3171.
Full textJuchem, Marcelo. "Imagens e letras do realismo à vanguarda : intercâmbio de influências entre fotografia, pintura e literatura." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/16225.
Full textEste trabalho propõe-se a analisar as relações de influência entre os media literatura, pintura e fotografia durante o surgimento e instituição dos movimentos artísticos realismo e vanguarda, com ênfase no âmbito europeu. Parte-se do pressuposto de que mudanças e inovações midiais refletem-se na sociedade e na arte. Busca-se discutir os movimentos realismo e vanguarda, atualmente consolidados nas diferentes abordagens da história da literatura, como emergentes das discussões sobre a imagem, em que pese o surgimento da fotografia e seu embate com a pintura. Considerando-se a produção artística e teórica da época são avaliadas as relações entre imagens e letras a partir de um breve histórico do medium fotográfico e da contextualização dos primeiros romances realistas até o surgimento e desenvolvimento dos movimentos vanguardistas cubismo, futurismo, dadaísmo e surrealismo. São enfatizadas as manifestações artísticas bem como as reflexões conceituais e poetológicas que de alguma forma utilizaram referências entre o visual e o literário, ou elementos tanto textuais quanto visuais. Esta abordagem interdisciplinar mostra-se válida ao discutir a função dos media visuais, sobretudo a pintura e a fotografia, na instauração dos movimentos literários realismo e vanguarda.
Vuong, Thomas. "Usages du sonnet européen (Allemagne, France, Grande-Bretagne, Italie) durant la Seconde Guerre-Mondiale (1939-1945)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCD089.
Full textThis study consists in a wide, comprehensive overview of the usages of the poetic form of the sonnet during the Second World War in France, Germany, Great Britain and Italy. Such a process aims at gathering close readings of sonnets, in order to highlight the mechanisms of a blooming form in the midst of a dürftiger Zeit. Many poets resort indeed to the sonnet in order to give a frame to a singular or collective experience of the chaos unleashed throughout Europe.The way these recourses to the sonnet interact with the role of poetry in a time of wide reception and collective crisis will be scrutinized in the light of political commitment, religious or ideological biases and the questioning of the former foundations of Western European culture, all of which can interfere in poetry’s proper motives.This work’s proposal is that the sonnet can be used as an ordered form, either to set a demiurgic stand in front of the chaotic situation of the continent, or so as to accept it. Neither poetic stances do necessarily lead to a disordering of the form itself ; however, both conservative and rejuvenating usages of the sonnet have in common the ability to deeply question poetry’s relation to the world
Fraixe, Catherine. "Art français ou art européen ? : l'histoire de l'art moderne en France : culture, politique et récits historiques, 1900-1960." Paris, EHESS, 2011. http://www.theses.fr/2011EHES0115.
Full textThis thesis studies a series of « histories of modern art », which circulated in France between 1900 and 1960, as a « hypertext» whose transformations can be understood as political reinterpretations of the same question, that is the form of the community they« describe ». Thus in the first half of the XX th Century, those narratives establish complex relations, and sharp distinctions, between «nation» and «Europe », «people» and «elites », «ethnic groups» and «races ». The organicist model the Third Republic favoured around 1900 and which triumphed al the Salon d'Automne would structure during three decades a narrative which referred either to the so-called psychology of the peoples or to the creative power of an elite, which according to the Action française, would save a Western Civilisation rooted in a Latin tradition. At the end of 1920s, the imperialist model of a « French Europe », dear to the maurrassians, coexisted with a narrative stressing the ethnic caracteristics of each « Europeân people ». Ln the early 30s, the political myth of a Latin Civilisation was at last dispeIIed in favour of the biological conception of a « Latin Europe » composed of ethnie groups belonging to the same « racial type ». A new « history of art» was designed to spread ideas similar to those of the diverse European fascisms. The «history of modern art », focused on international avant-gardes expressing the values of the « free world », that American and European groups tried to impose in the early 1950s, would then conflict not only with nationalist representations but also with the supranational, ethno-racial, « European » models of the interwar period
Grevstad, Anne. "Florence Henri and the European avant-garde a photographic assessment of the modern woman /." 1994. http://catalog.hathitrust.org/api/volumes/oclc/32159189.html.
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Farré, Torras Begoña. "The Medieval in Modernism: Cathedrals, Stained Glass, and Constructive Painting in Joaquín Torres-García and in the European Avant-garde." Doctoral thesis, 2020. http://hdl.handle.net/10362/97996.
Full textA presente tese explora as atitudes do modernismo em relação com o passado em geral e o passado medieval em particular, por meio de uma análise da relevância da arquitetura e do vitral góticos nas pesquisas pictóricas construtivas de Joaquín Torres-García, František Kupka, Robert Delaunay, Otto Freundlich, Piet Mondrian, Theo van Doesburg e Josef Albers. Torres-García constitui o caso de estudo da tese uma vez que a sua obra pictórica e teórica evidencia um diálogo com o medieval que até a data passou largamente desapercebido. O estudo traça portanto a complexa e variável relação que Torres-García estabelece com o gótico ao longo do tempo, e examina o lugar deste referente na sua prática pictórica construtiva. Dois períodos concretos da carreira de Torres-García merecem particular atenção. Em primeiro lugar, a sua transição do Noucentisme para a vanguarda, em meados da década de 1910 em Barcelona, que coincide com o seu envolvimento num projeto de vitral para um edifício público. Este período é analisado à luz das atitudes predominantes em relação ao medieval no ambiente classicista noucentista de Barcelona, atitudes estas que são inferidas a partir de uma análise abrangente da sua expressão nas revistas modernistas da cidade. Um segundo período de interesse situa-se nos finais da década de 1920, quando Torres-García formula o Universalismo Construtivo, a sua singular linguagem primitiva-construtiva que ele próprio caracteriza como "um estilo de catedral", num momento em trabalha em estreita associação com três dos artistas objeto de estudo desta tese: van Doesburg, Freundlich e Mondrian. A discussão acerca da obra destes três artistas, bem como a de Kupka, Delaunay e Albers, leva em consideração que, ao contrário de Torres-García, todos eles desenvolveram a sua prática num contexto cultural que celebrava o legado gótico. A sua relação com o gótico é examinada, segundo o caso, à luz das teorias de Wilhelm Worringer sobre a arquitetura medieval. Em alguns dos artistas aqui contemplados, ao interesse pela dimensão construtiva da pintura acrescia a pesquisa sobre as propriedades sensoriais da fragmentação e a interação da cor. Esta área de pesquisa pictórica, em que o estudo do vitral se revelou particularmente fecundo, é também explorada aqui para os casos pertinentes.
McGillivray, Glen James. "Theatricality. A critical genealogy." 2004. http://hdl.handle.net/2123/1428.
Full textABSTRACT The notion of theatricality has, in recent years, emerged as a key term in the fields of Theatre and Performance Studies. Unlike most writings dealing with theatricality, this thesis presents theatricality as a rubric for a particular discourse. Beginning with a case-study of a theatre review, I read an anti-theatricalist bias in the writer’s genre distinctions of “theatre” and “performance”. I do not, however, test the truth of these claims; rather, by deploying Foucauldian discourse analysis, I interpret the review as a “statement” and analyse how the reviewer activates notions of “theatricality” and “performance” as objects created by an already existing discourse. Following this introduction, the body of thesis is divided into two parts. The first, “Mapping the Discursive Field”, begins by surveying a body of literature in which a struggle for interpretive dominance between contesting stakeholders in the fields of Theatre and Performance Studies is fought. Using Samuel Weber’s reframing of Derrida’s analysis of interpretation of interpretation, in Chapter 2, I argue that the discourse of the field is marked by the struggle between “nostalgic” and “affirmative” interpretation, and that in the discourse that emerges, certain inconsistencies arise. The disciplines of Theatre, and later, Performance Studies in the twentieth century are characterised, as Alan Woods (1989) notes, by a fetishisation of avant-gardist practices. It is not surprising, therefore, that the values and concerns of the avant-garde emerge in the discourse of Theatre and Performance Studies. In Chapter 3, I analyse how key avant-gardist themes—theatricality as “essence”, loss of faith in language and a valorisation of corporeality, theatricality as personally and politically emancipatory—are themselves imbricated in the wider discourse of modernism. In Chapter 4, I discuss the single English-language book, published to date, which critically engages with theatricality as a concept: Elizabeth Burns’s Theatricality: A Study of Convention in the Theatre and Social Life (1972). As I have demonstrated with my analysis of the discursive field and genealogy of avant-gardist thematics, I argue that implicit theories of theatricality inform contemporary discourses; theories that, in fact, deny this genealogy. Approaching her topic through the two instruments of sociology and theatre history, Burns explores how social and theatrical conventions of behaviour, and the interpretations of that behaviour, interact. Burns’s key insight is that theatricality is a spectator operation: it depends upon a spectator, who is both culturally competent to interpret and who chooses to do so, thereby deciding (or not) that something in the world is like something in the theatre. Part Two, “The Heritage of Theatricality”, delves further, chronologically, into the genealogy of the term. This part explores Burns’s association of theatricality with an idea of theatre by paraphrasing a question asked by Joseph Roach (after Foucault): what did people in the sixteenth century mean by “theatre” if it did not exist as we define today? This question threads through Chapters 5 to 7 which each explore various interpretations of theatricality not necessarily related to the art form understood by us as theatre. I begin by examining the genealogy of the theatrical metaphor, a key trope of the Renaissance, and one that has been consistently invoked in a range of circumstances ever since. In Chapter 5 explore the structural and thematic elements of the theatrical metaphor, including its foundations, primarily, in Stoic and Satiric philosophies, and this provides the ground for the final two chapters. In Chapter 6 I examine certain aspects of Renaissance theories of the self and how these, then, related to public magnificence—the spectacular stagings of royal and civic power that reached new heights during the Renaissance. Finally, in Chapter 7, I show how the paradigm shift from a medieval sense of being to a modern sense of being, captured through the metaphor of a world view, manifested in a theatricalised epistemology that emphasised a relationship between knowing and seeing. The human spectator thus came to occupy the dual positions of being on the stage of the world and, through his or her spectatorship, making the world a stage.
Wood, Dafydd Gwilym. "Modernism and the classical tradition." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-12-2193.
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