Journal articles on the topic 'European avant-garde'
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1
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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Bogdanović, Jelena. "Evocations of Byzantium in Zenitist Avant-Garde Architecture." Journal of the Society of Architectural Historians 75, no. 3 (September 1, 2016): 299–317. http://dx.doi.org/10.1525/jsah.2016.75.3.299.
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Evocations of Byzantium in Zenitist Avant-Garde Architecture considers references to Byzantium in the architecture and philosophy of Zenitism, an Eastern European avant-garde movement founded by Ljubomir Micić in 1921. In this article, Jelena Bogdanović analyzes the visionary projects for the Zeniteum, designed by the only architect member of the Zenitist group, Jo Klek (Josip Seissel), as a singular example of Byzantine-modernist architecture, which incorporated aspects of Byzantine total design, spirituality, and aesthetics of dematerialization. She outlines the ways Zenitist theories and visionary drawings privileged the “Byzantine” dichotomy of a dome and a wall over Western European trabeated architecture while also deviating from the historicist, neo-Byzantine architectural style popular in Eastern Europe. Zenitism used indirect evocations of the Byzantine to create a dynamic Byzantine-modernist architecture, the study of which enriches discourse on tradition and the avant-garde in architecture.
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Kosiński, Dariusz. "Central-European theatre avant-garde : reclamation or reimagination." Theatralia, no. 1 (2022): 149–62. http://dx.doi.org/10.5817/ty2022-1-9.
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Lyubovich, Maksim Vyacheslavovich. "European Film Avant-Garde: phenomenological interpretation of reality." Journal of Flm Arts and Film Studies 5, no. 1 (February 15, 2013): 140–48. http://dx.doi.org/10.17816/vgik51140-148.
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The article deals with the historical and cultural genesis of the photogenes phenomenon. The author sees the roots of photogenes not only in the phenomenological philosophy, but also in Berkeley’s perception theory, in the philosophy of the mythos and primeval animism. Having originated in the twenties photogenes proves to be an isolated incident of a particular world perception manifested throughout centuries in various spheres of human activities. The author describes it as a phenomenological interpretation of reality.
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Glytzouris, Antonis. "On the Emergence of European Avant-Garde Theatre." Theatre History Studies 28, no. 1 (2008): 131–46. http://dx.doi.org/10.1353/ths.2008.0004.
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Harding, Jason. "European Avant-Garde Coteries and the Modernist Magazine." Modernism/modernity 22, no. 4 (2015): 811–20. http://dx.doi.org/10.1353/mod.2015.0063.
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Shingler, Martin. "Some Recurring Features of European Avant-Garde Radio." Journal of Radio Studies 7, no. 1 (May 2000): 196–212. http://dx.doi.org/10.1207/s15506843jrs0701_15.
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Kostova-Panayotova, Magdalena. "RUSSIAN LITERARY MODERNISM AND ITS INFLUENCE ON BULGARIAN LITERATURE." Vestnik slavianskikh kul’tur [Bulletin of Slavic Cultures] 58 (2020): 203–24. http://dx.doi.org/10.37816/2073-9567-2020-58-203-224.
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The paper discusses to what extent major currents and representatives of Russian modernism and the Avant-garde had influenced the works of prominent representatives of 20th-century Bulgarian literature such as L. Stoyanov, Liliev, Debelyanov, Trayanov, Sirak Skitnik, and many others. In addition to addressing the influence of Russian symbolism on Bulgarian writers, the article examines the impact of Acmeism on the work of El. Bagryanа and At. Dalchev; the one of Imaginism on the work of Bulgarian modernists from the 1920s such as Slavcho Krasinski, Geo Milev and others. The intertwining of features of the poetics from different avant-garde currents, both in the works of individual authors and in the works of a single writer appeared as a typical phenomenon in the life of the Bulgarian avant-garde. Such poets as N. Furnadzhiev, A. Raztsvetnikov, N. Marangozov and others, and fiction writers as Ch. Mutafov, A. Karaliychev, A. Strashimirov, J. Yovkov, repeatedly experienced the influence of contradictory modernist and avant-garde currents, however, in their works they managed to add the “European form” to the “Bulgarian content”. The study also involves Bulgarian avant-garde journals such as Crescendo, Libra/Vezni, etc. This paper argues that by going against the rules, the avant-garde writers created a productive artistic method, a kind of alternative classic.
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Sovhyra, Tetiana, Maryna Tatarenko, Andrii Kasianenko, Yevheniia Skrypnyk, and Liliana Belymenko. "Avant-gardism in the work of director Andrii Zholdak: Ukrainian and global context." Revista Amazonia Investiga 11, no. 53 (July 4, 2022): 155–65. http://dx.doi.org/10.34069/ai/2022.53.05.15.
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The article deals with the essence of avant-gardism in art (theater, cinema, music). The study aims to analyze the avant-garde techniques in dramatic productions directed by A. Zholdak. The representatives of the avant-garde direction in the works of different countries of the world are marked and the historical aspect of the emergence of avant-gardism in theatrical art is briefly outlined. The main life stages of Zholdak's formation as a creative unit are elaborated on the basis. Noted individual features and ways of presenting interpreted performances, including the integration of political issues in the content of the work, the play on the contrasts, the emphasis on the role and meaning of the theatrical space, dynamism. The research methodology is based on the principles of objectivity, historicism, multifactoriality, systematicity, complexity, development, and pluralism. Examples of the main controversial productions of classical plays in the interpretation of the famous director AndriiZholdak are given. Also described are the attitudes of the public in different European countries, including Ukraine, to the work of AndriiZholdak as an innovator and avant-garde artist. The peculiarities of the audience's perception of AndriiZholdak's productions in different European countries are indicated.
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Sovtić, Nemanja. "Rudolf Bruči and the criticism of the European avant-garde." Studia Musicologica 56, no. 4 (December 2015): 429–41. http://dx.doi.org/10.1556/6.2015.56.4.10.
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Yugoslav composer Rudolf Bruči is known on the international scene primarily as the author of Sinfonia Lesta, a composition winning the first prize in 1965 at the Queen Elizabeth Competition in Belgium. On a national level, Bruči was a powerful social entity, not only in respect of his creative freedom. As a member of the League of Communists, Bruči spent a lifetime as an official in social organizations and cultural institutions, thus dictating the rhythm of musical life of Novi Sad and the Province of Vojvodina, until the collapse of Socialism when he was suddenly forgotten. The developmental line of Bruči’s oeuvre – leading from Zhdanovian national classicism, through the adoption of elements of the European avant-garde, to the reaffirmation of a national/regional idiom in the mid-1970s – largely corresponds to the general tendencies of postwar art music in the socialist countries of Eastern and South-Eastern Europe. Bruči broke with the European avant-garde models not only in his creative practice, but he also reasoned it in the articles “The Composers’ Role in the Modern Development of Self-governing Socialist Society,” “Statements of Yugoslav Music Forum Composers’ Workgroup,” and “Manifesto of the ‘Third Avant- Garde’,” where he based his discourse on conformism, lack of communication and dehumanization of avant-garde, and in particular on Yugoslav ideological projects, such as self-management, non-alignment, and deprovincialization. The article analyzes the context in which Bruči’s creative transformation during the 1970s was expressed as the criticism of the Eurocentric cultural model, as well as the suspicion towards the imperative of modernization in a world obsessed with technological advances.
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Milenkovic, Pavle. "The noon of Serbian avant-garde." Zbornik Matice srpske za drustvene nauke, no. 124 (2008): 53–73. http://dx.doi.org/10.2298/zmsdn0824053m.
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This paper deals with artistic and social ideas of the founder and representative of zenithism in the Kingdom of Yugoslavia, i.e. Serbia Ljubomir Micic, in the light of history of ideas, i.e. sociology of knowledge. Activities of this writer and his fellows published in the journal Zenith are seen as representative for the period of the 1920s for the Serbian avant-garde between the two world wars. Special attention is paid to the ideas of Balkan barbarism, i.e. barbarogenius, to ideological ambivalence of Micic and the zenithists between the western ideas and Slavic and pro-Russian ideas, and to their views on Balkan identity and its relation to Europe and European values. .
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Klymenko, M. "Alexander Archipenko: Artistic and Aesthetic Principles of the European Avant-garde Epoch." Vìsnik Harkìvsʹkoi deržavnoi akademìi dizajnu ì mistectv 2021, no. 1 (February 2021): 69–76. http://dx.doi.org/10.33625/visnik2021.01.069.
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The paradigm formation of Alexander Archipenko’s art (1887–1964) in the context of the European avant-garde was analyzed in the article. The study examined the historiography of the 20th century artistic movement from Cubism, Futurism to Expressionism. The author analyzed the sculptor’s conceptual connection with innovations of the period and underlined the main philo-sophical principles of the epoch, and their impact on the formation of the artist’s figurative plastic concepts. The focus was made on the accumulation of the universal cultural experience of the European avant-garde in the process of Alexander Archipenko’s personality formation. The social and cultural factors of the sculptor’s personality formation were traced. The sculptor’s phenomenon is inseparable from the conglomeration of the European avant-garde thoughts. The sublimity of the intellectual resource development of the period was the driving force in the formation of Alexander Archipenko’s innovation. The author of the present study analyzed the main cultural and artistic groups of the epoch, and revealed Archipenko’s direct participation in them. Archipenko, the inventor of the experimental space, showed the way to sculptors of the 20th century. The sculptor’s philosophic line was projected into multicultural and anthropological dimension. The consolidation of general experience of the existence is embodied in the sculptor’s seeking strategies. Archipenko’s methodology development passed through the multicultural synthesis of the world’s ancient experience. There was a certain inspiration by mythological, ritual and historical prototypes as well. The artist’s semantic field had the only basis where new variations of the form and content arose from. The synthesis of artistic, aesthetic and philosophical principles of European avant-garde in Alexander Archipenko’s art contributed to the formation of the ethno-national basis of his art.
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Jochmanová, Andrea, and Mariana Orawczak Kunešová. "The historical avant-garde in the European context : editorial." Theatralia, no. 1 (2022): 7–12. http://dx.doi.org/10.5817/ty2022-1-1.
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Plassard, Didier. "Western European avant-garde theatre and puppetry : a reappraisal." Theatralia, no. 1 (2022): 13–26. http://dx.doi.org/10.5817/ty2022-1-2.
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Poudel, Arjun. "European Avant-garde Studies and the Future of Europe." Journal of Philosophy: A Cross-Disciplinary Inquiry 8, no. 19 (2013): 53–55. http://dx.doi.org/10.5840/jphilnepal20138197.
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Bojtar, Endre. "The Avant-Garde in Central and Eastern European Literature." Art Journal 49, no. 1 (1990): 56. http://dx.doi.org/10.2307/777181.
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Montonen, Claus. "The European physics publications scene: avant-garde and traditionalism." Learned Publishing 18, no. 2 (April 2005): 149–51. http://dx.doi.org/10.1087/0953151053584966.
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Bojtár, Endre. "The Avant-Garde in Central and Eastern European Literature." Art Journal 49, no. 1 (March 1990): 56–62. http://dx.doi.org/10.1080/00043249.1990.10792668.
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Ulemnova, Olga L. "The Kazan Avant-garde of 1910–1930s: Regional and National Specific Features." Koinon 3, no. 2 (2022): 147–72. http://dx.doi.org/10.15826/koinon.2022.03.2.021.
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The article highlights the regional version of the Russian avant-garde, which developed in such an important artistic center of Russia as Kazan, the capital of a vast region with a multi-confessional and multi-ethnic population. The article reveals the origins of the phenomenon and the main stages of its development, due to such historical events as the creation and reorganization of the Kazan Art School, the First World War and the Civil War, the revolution of 1917. The author positions the art of Kazan as part of the all-Russian artistic process. The new state cultural policy began to guide its development during the revolutionary years. Avant-garde artists elaborated and directed it towards the promotion and widespread propaganda of avant-garde art. The author reveals the development of the avant-garde through the activities of the art associations of Kazan — “Sunflower”, “Vsadnik (Rider)”, “TatLEF”, “SULF”, through the work of leading artists — K. Chebotarev, A. Platunova, I. Nikitin, S. Fedotov, I. Pleshchinsky, N. Shikalov, F. Tagirov, B. Urmanche and others. The author singles out the features of the Kazan avant-garde, determined by national and religious factors: the two main peoples of the region are Russians and Tatars, who profess Orthodoxy and Islam. This determined the predominance of Russian artists at the fi rst stage, their passion for various styles of the European avant-garde, which were carried out in different types of art. Their interest in the art of the peoples of their region became an important source for experiments. The formation of a galaxy of artists-Tatars was a characteristic feature of the Kazan avant-garde after the mid-1920s. The abolition of the religious restrictions of Islam which did not allow the development of the Tatar fi ne arts was adopted after the revolution and facilitated this process. An important role was played by the purposeful activity of B. Urmanche, who attracted the Tatar youth to art education. In this environment, mainly graphic art and theatrical and decorative arts were evolved, and the main stylistic direction of the Tatar avant-garde was Constructivism.
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Moravčíková, Henrieta. "Friedrich Weinwurm: Slovakia’s nearly forgotten contribution to the European architectural avant-garde." An Eastern Europe Vision, no. 59 (2018): 38–45. http://dx.doi.org/10.52200/59.a.2wjkntfv.
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Work of the architect Friedrich Weinwurm represents the most consistent contribution from within Slovakia to the activities of the international architectural avant-garde. Friedrich Weinwurm fully matched the idea of a socialist-minded architect, organizer of public life and visionary of a new social order. The new way that Friedrich Weinwurm followed in his architectural work ran parallel to the paths of the leading representatives of the European left-wing avant-garde. In Slovakia, these works represented the most coherent allegiance to the program of the New Objectivity, and the vision of a Marxist-inspired architecture. As such, Friedrich Weinwurm held a key role in ensuring that inter-war Bratislava formed one of Europe’s important focal points for modern architecture.
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Bojić, Zoja. "The Slav Avant-garde in Australian Art." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 37–48. http://dx.doi.org/10.14746/pss.2020.18.2.
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Australian art history includes a peculiar short period during which the European avant-garde values were brought to Australia by a group of Slav artists who gathered in Adelaide in 1950. They were brothers Voitre (1919–1999) and Dušan Marek (1926–1993) from Bohemia, Władysław (1918–1999) and Ludwik Dutkiewicz (1921–2008) from Poland, and Stanislaus (Stanislav, Stan) Rapotec (1911–1997) from Yugoslavia, later joined by Joseph Stanislaus Ostoja-Kotkowski (1922–1994) from Poland. Each of these artists went on to leave their individual mark on the overall Australian art practice. This brief moment of the artists’ working and exhibiting together also enriched their later individual work with the very idea of a common Slav cultural memory.
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Rakoczy, Marta. "Bziki tropikalne „białych mużynów”: (anty)kolonialne fantazje międzywojennej awangardy. Casus Witkacego." Przegląd Humanistyczny, no. 66/2 (January 16, 2023): 73–88. http://dx.doi.org/10.31338/2657-599x.ph.2022-2.6.
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The Polish avant-garde, as is well known, was eager to activate colonial and racial fantasies. For example, the figure of the “white Negro” was used by the Futurists as a figure signaling – at first glance invisible, but real – foreignness, non-privilegedness and anti-systemicity. “The Negro” in the Futurist narrative was an unidentified Other. His only distinguishing feature was his racial identity associated with a state of uncivilization. From the perspective of today’s sensibilities, shaped by years of development and application of postcolonial theories, this was an ambiguous figure: politically and ethically suspect. In this text, I argue that in order to understand it well and avoid presentist readings, it is necessary to see, if only in a brief and selective approximation, the discursive field of the scientific press and journalism of the time. The avant-garde and, more specifically, Witkacy’s tropical fantasies were provocations whose scale and nature may escape the modern viewer. Therefore, based on the sketchily reconstructed discursive background of the Polish interwar period, and the issues of race and European colonialism present in it, I will attempt to reach the meaning of these provocations at that time and understand the perverse game that the Polish avant-garde undertook with these themes. And against this background – to show the uniqueness of Witkacy, who, unlike his avant-garde contemporaries, showed the political nature of the opposition of civilization and savagery, complicating the colonial imaginary of his own era and formulating catastrophic predictions for the European future.
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Samardžić, Nikola. "The jazz avant-garde in the American economy." New Sound, no. 47 (2016): 75–86. http://dx.doi.org/10.5937/newso1647075s.
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Jazz originated and evolved in a free market economy and complex mutual relations with unregulated social conjuncture. Coping with social challenges during the Progressive era (1890-1920) contributed to the partial emancipation of marginalized groups; however jazz, in its first decades, remained directed to the general need for mass entertainment (the "jazz era" in the 1920s). The artistic development of jazz was therefore temporarily delayed during the economic crisis, Great Depression and the new recession of the late 1930s (1929-1938). The first movement in jazz that could be considered to be an art for art's sake, while renouncing any populist elements, appeared in 1939 Coleman Hawkins' Body and Soul recording. Market and social conditions for the emergence of the avant-garde began to mature only during the years after 1945, within a new business cycle in the US economy. The prosperous and conformist decade of the 1950s stabilized the middle class and directed general social preferences towards the benefits of higher education. European immigration from the inter-war period, and a new wave of immigration at the end of the Second World War enabled the growth of American universities in terms of quality and social influence. Universities recruited the jazz avant-garde audience, and supported other progressive art movements in the 1960s "decade of turbulence, protest, and disillusionment". Thanks to market support, the jazz avant-garde managed to survive free of the influences of state institutions, as John Coltrane's Love Supreme, often listed amongst the greatest jazz albums of all time, was sold in about 500,000 copies by 1970. A similar development, with the emergence of the baby-boom generation in the late 1960s, has contributed to the maturing of European avant-garde audiences and markets (ECM, 1969). The study will also examine avant-garde movements in relation to historical changes in economic and social disparities, from the thirties to the early 1970s.
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James, David E. "Soul of the Cypress: The First Postmodernist Film?" Film Quarterly 56, no. 3 (2003): 25–31. http://dx.doi.org/10.1525/fq.2003.56.3.25.
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In the late 1920s, European expatriates in Hollywood made a number of independent experimental films influenced by avant-garde cultural movements. But these were preceded by three short experimental films made in 1920 by an American, Dudley Murphy, of which one, Soul of the Cypress, survives. Influenced by California Pictorialist photography of the preceding decades, it was in its own day recognized as an avant-garde film, but nevertheless it secured successful commercial distribution. The surviving print of the film, however, was drastically framed by the later addition of a pornographic coda that radically transformed its erotic theme and its social function.
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Zlydneva, Nataliya. "Representation of Corpus Patiens in Russian Art of the 1920s." Arts 11, no. 5 (October 20, 2022): 105. http://dx.doi.org/10.3390/arts11050105.
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Similar to the Russian historical avant-garde of the 1910s, which predicted the war and the social revolution of 1917, the late avant-garde of the 1920s anticipated the advent of the totalitarian terror and the Stalinist repressions of the 1930s. In figurative painting, this manifested itself in a specific visual “lexicon” and modality (bodily violence and the fragmented body, frustration, motifs of loss, death and general catastrophe), as well as in the expressive style (that inherited but not duplicated the models of European expressionism). In addition to proposing an analytical classification of semantics and poetics of the painting of the 1920s, the present article discusses the issue of the representation of political power in visual art and the presence of archaic roots in the corpus patiens (lat.) motifs. It examines artefacts made by eminent as well as little-known painters of the late avant-garde, including Kazimir Malevich, Alexander Tyshler, Kliment Redko, Georgy Rublev, Aleksandr Drevin, Boris Golopolosov and others.
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Tanner-Kennedy, Dana. "Gertrude Stein and the Metaphysical Avant-Garde." Religions 11, no. 4 (March 25, 2020): 152. http://dx.doi.org/10.3390/rel11040152.
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When American metaphysical religion appears onstage, it most often manifests in the subject matter and dramaturgies of experimental theater. In the artistic ferment of the 1960s and 1970s counterculture, theater-makers looked both to alternative dramaturgies and alternative religions to create radical works of political, social, and spiritual transformation. While the ritual experiments of European avant-garde artists like Artaud and Grotowski informed their work, American theater-makers also found inspiration in the dramas of Gertrude Stein, and many of these companies (the Living Theatre and the Wooster Group, most notably) either staged her work or claimed a direct influence (like Richard Foreman). Stein herself, though not a practitioner of metaphysical religion, spent formative years in Cambridge, Massachusetts, at Radcliffe under the tutelage of William James. Cambridge, at the turn of the twentieth century, was a hotbed of spiritualism, theosophy, alternative healing modalities, and James, in addition to running the psychology lab in which Stein studied, ran a multitude of investigations on extrasensory and paranormal phenomena. This article traces a web of associations connecting Ralph Waldo Emerson, Transcendentalism, and liberal Protestantism to Gertrude Stein and landscape dramaturgy to the midcentury avant-garde, the countercultural religious seeking of the 1960s and 1970s, and the Off-Off-Broadway movement.
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Lyubovich, Maxim V. "European Avant-guard: Dialectics of “Feature” and “Non-feature” Films." Journal of Flm Arts and Film Studies 7, no. 4 (December 15, 2015): 100–110. http://dx.doi.org/10.17816/vgik74100-110.
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The article concludes the early stages of methodology of phenomenological interpretation of reality in its forming in the context of the European avant-garde cinema. The subject to analysis is the dichotomy of fiction and non-fiction aesthetics in the documentary stylistics and poetic consciousness, based on the films of Dmitry Kirsanov, Joris Ivens, and Luchino Visconti.
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Kornhauser, Jakub. "Hallucinating curls and a man-coffin. Occultist traces in Central European Surrealism." Romanica Cracoviensia 22, no. 3 (November 30, 2022): 281–89. http://dx.doi.org/10.4467/20843917rc.22.025.16190.
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The aim of the article is to analyse the influence of occultism on the development of the Central European avant-garde, especially the Surrealism of the ‘30s and ‘40s. On the one hand, occultists affirm a retreat from the tyranny of reason, which for many avant-garde artists embodies the pettiness of human existence, stifled by the forces of family and public duties. On the other hand, they are an inexhaustible source of props, actions and rituals. Both aspects are extremely important for both Czech Artificialists (Toyen and Štyrský) and Surrealists (Teige, Nezval); however, they gain particular importance in the theories and practice of Romanian Surrealists – Victor Brauner, Gherasim Luca and, above all, Gellu Naum. The space in which these transformed entities with a new status enter consciousness are the eponymous „dangerous territory” that André Breton wrote about, and which become a metaphor (but is it only a metaphor?) of the alliance of the proto-language and the proto-image.
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Kappanyos, András. "Three Glorious Resumptions: Kassák’s Road to Becoming a Master." Theatron 15, no. 4 (2021): 121–25. http://dx.doi.org/10.55502/the.2021.4.121.
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Although the Hungarian Avant-garde produced several outstanding and internationally renowned creative minds, its defining figure is undoubtedly Lajos Kassák, poet, novelist, editor, critic, curator, typographer, painter, but first and foremost tireless and incorruptible organizer. His unprecedented career is more than just an amusing story: it also exemplifies the changes of the times that made it possible for a very sharp and very stubborn young man to accomplish this journey from apprentice of a locksmith in a small rural town to respected member of the community of progressive European artists. The presentation examines the major stages of this journey in the socio-cultural context and in the intellectual-spiritual development of Kassák. It focuses on the turning points when his surprisingly independent thinking allowed such insights and decisions that heavily influenced the destiny of Central-European Avant-garde, and still affect our ideas on the ultimate aim of art.
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Germani, Ian. "German Expressionism in Context: the First World War and the European Avant-Garde." Acta Universitatis Sapientiae, Film and Media Studies 16, no. 1 (August 1, 2019): 11–34. http://dx.doi.org/10.2478/ausfm-2019-0002.
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Abstract German Expressionism, although often viewed as a uniquely German phenomenon, was part of a broader crisis affecting the European avant-garde at the time of the First World War. The experience of modernity, so proudly displayed at events like the Universal Exposition of 1900, inspired both hopes and fears which were reflected in the works of artists, writers and musicians throughout Europe. The outbreak of the war was welcomed by many exponents of the avant-garde as the cathartic crisis they had anticipated. The letters and diaries of artists who hastened to enlist, however, reflected their rapid disillusionment. The war had the effect of severing cultural ties that had been forged prior to 1914. This did not prevent a parallel process of cultural evolution on both sides of the conflict. Those who survived the war, of diverse nationalities and artistic affiliations, produced works reflecting a common perception that modern civilization had resulted in humanity becoming a slave to its own machines.
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Merbilhaá, Margarita. "La recepción temprana de Marcel Proust en el espacio de revistas culturales argentinas de los años veinte." Catedral Tomada. Revista de crítica literaria latinoamericana 6, no. 11 (January 3, 2019): 48–73. http://dx.doi.org/10.5195/ct/2018.345.
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This article analyzes Marcel Proust’s À la Recherche du Temps perdureading fenomenous, starting from its central reception in a varied archo of literary and cultural reviews in Buenos Aires by 1920. It examines how the diferent articles hace found in this novel some ways to define an emerging sensibility and to think urban masive culture. In this way, this work describes two reading keys, one sipirtualist and the other one opened to narrative experimentation. In relation to an interest in theorize, they confirm am avant-garde disposition which goes over the classical avant-garde group of Martin Fierroreview (1924-1927). Finally, this study focuses on the specific apropriation of one of Proust’s ideas, by a periferical cultural experience, in regard of European centers.
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Onishchenko, Olena. "Dadaism in the Dynamics of the Development of European Avant-garde." Culturology Ideas, no. 16 (2'2019) (2019): 54–62. http://dx.doi.org/10.37627/2311-9489-16-2019-2.54-62.
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The article focuses on the history of development and the establishment on the European cultural territories of Dadaism. Based on the chronological approach, it shows the place of Dadaism in the dynamics of the first experiments of French (Fauvism) and Italian (Futurism) avant-garde. Despite the lack of consistency in the aesthetical and artistic orientations of the Dadaists, the scatteredness in individual articles and manifestos of their ideas, the starting points should be the theses on the relation of the “Dada” art and “reality”, which at the turn of the 19th – 20th centuries, was distorted by poets and painters. Dada offers its own vision of “reality”, where various aspects of it can intersect, namely, social and artistic. The article considers originality of both the aesthetic and artistic, and political and ideological orientation of German and Swiss Dadaists, as well as the role of Dadaism in the formation of surrealism. It states that the theoretical searches of the Dadaists need further analysis, since their scientific explorations of the 1920s-30s went beyond the borders of European countries and aroused considerable interest among those writers and poets who, starting 1914, formed and developed the “Ukrainian model of futurism”. The author analyzed the most indicative artistic and expressive means “worked out” in the process of Dadaistic searches and confirmed the original aesthetic platform of this direction during the 1910s-30s conditions.
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Storchi, Simona, Sascha Bru, and Gunther Martens. "The Invention of Politics in the European Avant-Garde (1906-1940)." Modern Language Review 102, no. 4 (October 1, 2007): 1131. http://dx.doi.org/10.2307/20467562.
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Guy, Emmanuel. "Andrew J. Webber, The European Avant-Garde, Cultural History of Literature." Itinéraires, no. 2009-3 (November 1, 2009): 188–90. http://dx.doi.org/10.4000/itineraires.565.
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Tylik, Artem Yurevich. "STREET ART IN THE CONTEXT OF THE EUROPEAN AVANT-GARDE TRADITION." Manuscript, no. 8 (August 2019): 202–7. http://dx.doi.org/10.30853/manuscript.2019.8.40.
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Curtin, Deirdre. "Democracy and the Internet: The European Union in the Avant-garde?" International Law FORUM du droit international 2, no. 3 (2000): 149–56. http://dx.doi.org/10.1163/157180400322764947.
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Kholodynska, Svitlana. "Formation of Creative and Professional Dialogue of the Avant-gardists of the World: Interpretational Model by Bengt Jangfeldt." Culturology Ideas, no. 15 (1'2019) (2019): 105–12. http://dx.doi.org/10.37627/2311-9489-15-2019-1.105-112.
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The article analyses fundamental study Stake is Life by the profound Swedish writer, scholar of Slavistics and translator of Russian poetry of the first half of the 20th century Bengt Jangfeldt in which the main attention focuses on the personality of V. Mayakovsky and his milieu. The article shows how the Swedish scholar proposed personal view of the role and place of futurism within the logics of Russian avant-garde establishment and development. Timeliness of study B. Jangfeldt’s viewpoint is motivated by the fact that the material he used in his work is of relevance to the history of Ukrainian futurism. Methodology of the study is stipulated by the specific character of the article theme and based on historical and chronological methods, as well as on the personalization principle as structural element of biography methodology. The study aims to introduce existing research space to a wide circle of both scholars and readers who are keen on theoretical understanding of avant-garde. The novelty of the study lies in a broad representation of scholars’ interpretational model concerning the place and the role of futurism in the logic within establishing and development of Russian avant-garde compared to out-of-dated and traditional approaches to Russian futurism. Actual importance of the study lies in analyzing creative and professional dialogue formation between European and Russian and Ukrainian avant-garde. Conclusions. It is noted that timing of appealing to B. Jangfeldt’s view is provoked by the fact that the material researched by the author is relevant to Ukrainian futurism history.
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Vasic, Aleksandar. "Serbian Literary Magazine and avant-garde music." Muzikologija, no. 5 (2005): 289–306. http://dx.doi.org/10.2298/muz0505289v.
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One of the most excellent periodicals in the history of Serbian literature Serbian Literary Magazine (1901-1914, 1920-1941), also played an exceptionally important part in the history of Serbian music criticism and essay literature. During the period of 35 years, SLM had released nearly 800 articles about music. Majority of that number belongs to the music criticism, but there are also studies and essays about music ethno musicological treatises, polemics, obituary notices, as well as many ample and diverse notes. SLM was published during the time when Serbian society, culture and art were influenced by strong challenges of Europeanization and modernization. Therefore, one of the most complicated questions that music writers of this magazine were confronted with was the question of avant-garde music evaluation. Relation of critics and essay writers to the avant-garde was ambiguous. On one side, SLM's authors accepted modern art in principle, but, on the other side, they questioned that acceptance when facing even a bit radical music composition. This ambivalence as a whole marked the work of Dr Miloje Milojevic, the leading music writer of SLM. It is not the same with other critics and essayists Kosta Manojlovic was more tolerant, and Dragutin Colic and Stanislav Vinaver were true protectors of the most avant-garde aspirations in music. First of all SLM was a literary magazine. In the light of that fact it has to be pointed out that very early, way back in 1912, critics wrote about Arnold Schoenberg, and that until the end of existence of this magazine the readers were regularly informed about all important avant-garde styles and composers of European, Serbian and Yugoslav music. The fact that Schoenberg Stravinsky, Honegger or Josip Slavenski mostly were not accepted by critics and essayists, expresses the basic aesthetic position of this magazine. Namely, SLM remained loyal to the moderate wing of modern music, music that had not rejected the tonal principle and inheritance of traditional styles (Baroque, Classicism, Romanticism). Its ideal was the modern national style style that would present the synthesis of relatively modern artistic and technical means and national folklore.
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Kreft, Lev. "Hook to the Chin." Physical Culture and Sport. Studies and Research 46, no. 1 (December 1, 2009): 70–78. http://dx.doi.org/10.2478/v10141-009-0005-1.
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Hook to the ChinWithin historical avant-garde movements from the beginning of the 20th century, a curious taste and fascination for boxing burst out, and developed later into the claim that art must become more similar to boxing, or to sport in general. This fascination with pugilism in the early stage of its popularity on the continent included such charismatic figures of the Parisian avant-garde as Arthur Cravan, who was Oscar Wilde's nephew, a pretty good boxer and an unpredictable organizer of proto-dada outrages and scandals.After WWI, the zenith of artists' and intellectuals' love for boxing was reached in Weimar Germany. One of the well known examples connecting boxing with art was Bertolt Brecht with his statement that we need more good sport in theatre. His and other German avant-garde artists' admiration for boxing included the German boxing star May Schmeling, who was, at least until he lost his defending championship match against Joe Louis, an icon of the Nazis as well. Quite contrary to some later approaches in philosophy of sport, which compared sport with an elite art institution, Brecht's fascination with boxing took its anti-elitist and anti-institutional capacities as an example for art's renewal.To examine why and how Brecht included boxing in his theatre and his theory of theatre, we have to take into account two pairs of phenomena: sport vs. physical culture, and avant-garde theatre vs. bourgeois drama. At the same time, it is important to notice that sport, as something of Anglo-Saxon origin, and especially boxing, which became popular on the European continent in its American version, were admired by Brecht and by other avant-garde artists for their masculine power and energy. The energy in theatre, however, was needed to disrupt its cheap fictionality and introduce dialectical imagination of Verfremdungseffect (V-effect, or distancing effect). This was "a hook to the chin" of institutionalized art and of collective disciplinary morality of German tradition.
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Williams, James S. "The Rhythms of Life: An Appreciation of Michelangelo Antonioni, Extreme Aesthete of the Real." Film Quarterly 62, no. 1 (2008): 46–57. http://dx.doi.org/10.1525/fq.2008.62.1.46.
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Abstract This essay assesses Antonioni's oeuvre in its totality, focusing in particular on its constant negotiation of two extremes: documentary and melodrama. The essay argues that Antonioni's is a visionary project which, by achieving a genuine encounter between art and technology, extends an earlier tradition of the European avant-garde.
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Metlić, Dijana. "The Europe-Balkan and primitive-civilised antinomies in Micić's Zenit Magazine." Zbornik Akademije umetnosti, no. 9 (2021): 46–67. http://dx.doi.org/10.5937/zbaku2109046m.
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Ljubomir Micić was the founder of Zenitism and the editor of Zenit, the international avant-garde magazine published in Zagreb and Belgrade from 1921 to 1926. Sharply criticising a decadent European culture after the Great War and accepting progressive avant-garde ideas, Micić praised the New art founded on the principles of NEO-primitivism and Russian constructivism, following the technological and scientific progress of the 20th century. Analysing the Zenitist Balkanisation of Europe project led by Barbarogenius, I will point out to Micić's attitude towards the old continent, his efforts to oppose the image of the Balkans as "the inner other of Europe", and his aspiration to revive European culture with the primordial Balkan energy. Declaring the Balkans the sixth continent, the geographical space of the poets, Micić postulated a model of cultural barbarism by which he stood against the established primacy of Western European nations over those that were characterised "less civilised". This paper aims to point out to Micić's understanding of the relationship between the Balkans and Europe, as well as the so-called primitive-civilised opposition, in order to highlight internationalism, pacifism and cosmopolitanism as the key elements of his Zenitosophy