Artykuły w czasopismach na temat „Avant-garde (aesthetics)”
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1
Davis González, Ana. "La vanguardia de los Contemporáneos, una estética de la dilación". Literatura Mexicana 33, nr 1 (6.03.2022): 149–77. http://dx.doi.org/10.19130/iifl.litmex.2022.33.1.7122x15.
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This paper seeks to dialogue with the preceding critic about the possible classification of Contemporáneos texts as avant-garde. Our proposal is that some of their poems can be classified as avant-garde if we understand the avant-garde as a 20th century art paradigm and not only as a historical category during the beginning of the century. For this purpose, in the first place, the dichotomy “threshold aesthetics / dilation aesthetics” is proposed to explain two avant-garde poetic modalities, starting from the expression “threshold aesthetics,” coined by Luciana Del Gizzo (2017). Secondly, the “aesthetics of dilation” is applied in the poetic Contemporáneos texts in contrast to the threshold aesthetics of stridentism or muralism, in the Mexican context.
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Paškevica, Beata. "ANNA (ASJA) LĀCIS AT THE CROSSROADS OF CULTURES AND IDEOLOGIES". Culture Crossroads 8 (13.11.2022): 63–69. http://dx.doi.org/10.55877/cc.vol8.161.
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The article explores the course of formation of the positions of Asja Lācis’s theatre aesthetics in the early period of her activity, mainly in Riga during the 1920s. The article takes a chronological look at the first theatre impressions of German and Latvian theatres in Riga. Special attention is paid to Asja Lācis’s change of aesthetic views under the influence of the Russian avant-garde. In contrast to the exuberance of Hedda Gabler and the existential loneliness in Ibsen’s psychological theatre, the new Russian avant-garde theatrical search stressed the biomechanical conception and the role of the actor as a player in a theatre company. The key position in Asja Lācis’s personal work of directing in Riga amateur theatre of the leftist trade unions was the aesthetic requirements of the proletarian cult and the theatre of October. She tried to create a radical avant-garde theatre and expressed her aesthetic views in a number of articles in the Latvian leftist press. Anna Lācis’s experiments in Oryol and the Riga theatres, which were based on her acquired experience of the Russian avant-garde, served as a catalyst for her further cooperation with Walter Benjamin and Bertolt Brecht; it also influenced the development of different contemporary theatre trends.
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Imre Szemán. "Aesthetics and Politics After the Avant-Garde". Criticism 50, nr 2 (2009): 313–17. http://dx.doi.org/10.1353/crt.0.0061.
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Manhas, Sumedha. "Nordau’s warning- Aesthetics under siege". International Journal of English Literature and Social Sciences 8, nr 5 (2023): 188–90. http://dx.doi.org/10.22161/ijels.85.30.
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This research paper delves into the contrasting ideologies of Max Nordau, a prominent critic of the 19th century, and Oscar Wilde, a renowned aesthete and playwright, in the context of late Victorian society. Nordau's theory of degeneration, which condemned deviations from societal norms as signs of cultural decay, is analyzed alongside Wilde's deliberate embrace of excess, maximalism, and aestheticism. By juxtaposing Nordau's conservative views against Wilde's avant-garde approach, this paper explores how Wilde's subversion of Victorian beauty standards challenged prevailing notions of aesthetics, morality, and individuality. Through an in-depth examination of Wilde's works and Nordau's critiques, this research sheds light on the intellectual and artistic tension of the era, highlighting the clash between traditional values and emerging avant-garde movements.
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Ibrahim, Areeg. "Sonali Pahwa, Theaters of Citizenship: Aesthetics and Politics of Avant-Garde Performance in Egypt". Modern Drama 64, nr 2 (czerwiec 2021): 250–52. http://dx.doi.org/10.3138/md.64.2.br06.
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Sonali Pahwa’s Theaters of Citizenship sheds light on the Egyptian avant-garde independent theatre movement from 2004 until 2014, with an eye on the aesthetics of citizenship. Although the writer’s fascination with ethnographic details of life in Cairo overshadows her analysis of the plays, the book is nevertheless a valuable resource on Egyptian avant-garde theatre.
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Nowicka, Daria. "Awangarda panoramicznie". Poznańskie Studia Slawistyczne, nr 18 (28.04.2020): 305–17. http://dx.doi.org/10.14746/pss.2020.18.19.
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The Seeing Avant-garde [Widzenie awangardy] volume edited by Agata Stankowska, MarcinTelicki and Agata Lewandowska is a collection of the articles about the avant-garde update.Written by many researchers, the articles show a wide scale of research on the contemporaryavant-garde manifested in literature, art, music, theatre and cybernetics. As an extremely valuablepublication, the book in question concentrates on the new and original methods of comparativeresearch, marks new reading directions, and presents contemporary problems of aesthetics.
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Burdman, Javier. "Lyotard and Democratic Aesthetics: The Sublime, the Avant-Garde, and the Unpresentable". Journal of Social and Political Philosophy 3, nr 1 (luty 2024): 37–51. http://dx.doi.org/10.3366/jspp.2024.0071.
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In recent years, democratic theorists have inquired into the aesthetic dimension of contemporary politics. Influenced by Hannah Arendt and Jacques Rancière, these scholars claim that there is an analogy between democratic politics and aesthetic experiences, since both involve the confrontation of an indeterminacy that cannot be overcome by means of rational argumentation. Contributing to this perspective, but challenging some of Rancière’s insights, this article shows the importance of Jean-François Lyotard’s writings on aesthetics for understanding what I call ‘democratic aesthetics’. This aesthetics, I argue, consists in works of art that bring representation to its limits, thus arousing an experience of the unpresentable. Influenced by Immanuel Kant’s analysis of the sublime, Lyotard claims that avant-garde art, by disrupting the rules of representational art, put representation as such into question. This experience of the unpresentable contributes to cultivating a readiness to listening to voices that are not yet heard, because they lack a discourse by which to express themselves. Given that politics in postmodernity, following Lyotard, consists in shifting the dividing line between the sayable and the unsayable, avant-garde art is conductive to a postmodern politics – which, I argue, is analogous to democratic politics.
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Coase, Hal. "Delimit / De-limit: Barbara Guest at Kandinsky’s Window". Text Matters: A Journal of Literature, Theory and Culture, nr 13 (27.11.2023): 127–42. http://dx.doi.org/10.18778/2083-2931.13.07.
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This essay reads Barbara Guest’s poem “The View from Kandinsky’s Window” from her 1989 collection Fair Realism alongside Wassily Kandinsky’s own theories of form and abstraction. It argues that Guest’s poetic reinvention of historic avant-garde aesthetics on the page can be taken as an exemplary case for new feminist theorizing of the avant-garde as a set of decentered, provisional, and heterogenous practices. Guest’s engagement with Kandinsky is initially situated in the context of Clement Greenberg’s criticisms of the painter throughout the 1940s. According to Greenberg’s formalism, Kandinsky is shown to have “failed” due to his provincialism, eclecticism, and disharmonizing of scale. Guest’s poem can be seen as valuing and accentuating each of these qualities and in so doing it presents a subtle defence of Kandinsky’s aesthetics and becomes an example of the kind of intermedia contamination which Greenberg’s theorizing on “pure” modernist painting had attempted to delimit. Guest’s counter interest in “de-limiting” the work of art—removing boundaries imposed by period, style, and media—is contextualized within debates on the “limit” within avant-garde aesthetics.
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Alekseyeva, Julia. "Vertov and the Avant-Garde Documentary: Dreaming Reality in the 1960s, from the USSR to Japan". Film History: An International Journal 35, nr 2 (czerwiec 2023): 1–25. http://dx.doi.org/10.2979/fih.00001.
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ABSTRACT: This article argues that the work of 1920s Soviet filmmaker Dziga Vertov found especially fertile ground in 1960s Japan, where critics have long discussed ties between documentary and the avant-garde. Theorists interpreted Vertov's filmmaking as fundamentally avant-gardist. That is, it was both an "experiment in a dream" and an "experiment in reality," according to Nakahara Yusuke, rather than the work of a documentarian "catching life unawares." This transnational media ecology results in a strong tradition of experimental documentary that traces revolutionary politics to editing tricks and self-reflexivity. Soviet and Japanese avant-garde documentary emerge independently, and decades apart, yet result in a fascinating confluence of political avant-garde aesthetics that overlaps significantly.
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Hewitt (book author), Andrew, i Antonio Franceschetti (review author). "Fascist Modernism: Aesthetics, Politics, and the Avant-Garde". Quaderni d'italianistica 15, nr 1-2 (1.10.1994): 315. http://dx.doi.org/10.33137/q.i..v15i1-2.10295.
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Golub, Spencer, i Lars Kleberg. "Theatre as Action: Soviet Russian Avant-Garde Aesthetics". Modern Language Review 91, nr 2 (kwiecień 1996): 537. http://dx.doi.org/10.2307/3735108.
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박상우. "Avant-garde Art and Moholy-Nagy’s Media Aesthetics". Journal of History of Modern Art ll, nr 36 (grudzień 2014): 153–81. http://dx.doi.org/10.17057/kahoma.2014..36.006.
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Forrester, Sibelan. "Russian Futurist and Avant-Garde Works and Aesthetics". Russian Studies in Literature 53, nr 2 (3.04.2017): 103–4. http://dx.doi.org/10.1080/10611975.2017.1424434.
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Lough, Francis. "Avant-Garde Aesthetics in Felisberto Hernández's Menos Julia". Bulletin of Spanish Studies 95, nr 2-3 (17.11.2016): 255–64. http://dx.doi.org/10.1080/14753820.2016.1248336.
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Przybysz, Piotr J. "Fenomenologia, film i awangarda. O inspiracjach Stefana Morawskiego". Przegląd Kulturoznawczy, nr 3 (49) (2021): 562–80. http://dx.doi.org/10.4467/10.4467/20843860pk.21.039.14359.
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Phenomenology, Film and the Avant-garde. The Inspirations of Stefan Morawski The article addresses three key issues that are presented in the section of the “Cultural Studies Review” dedicated to the 100th anniversary of the birth of Professor Stefan Morawski. Firstly, the issue of the relationship between Stefan Morawski and Roman Ingarden and his environment, where I draw attention to the role of Roman Ingarden’s phenomenology in building an independent position in Morawski’s aesthetics/philosophy of art. Secondly, in reconstructing Morawski’s aesthetic views on the basis of published film reviews and on the basis of his reflections on film criticism and artistic meta-criticism, I pay attention to the axiological context of the hierarchisation of works of art, which is the basis of this review. Thirdly, I present basic findings on avant-garde and neo-avant-garde art, as well as on avant-garde theory. This provides an opportunity to better recognise what Morawski’s diagnosis of continuity and severance in the historical development of art was in this area. The above three issues are preceded by biographical information, which is continued in the rest of the text. In this way, Morawski’s choices and changes of interests become more understandable and fraught with consequences.
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Przybysz, Piotr J. "Fenomenologia, film i awangarda. O inspiracjach Stefana Morawskiego". Przegląd Kulturoznawczy, nr 3 (49) (2021): 562–80. http://dx.doi.org/10.4467/20843860pk.21.039.14359.
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Phenomenology, Film and the Avant-garde. The Inspirations of Stefan Morawski The article addresses three key issues that are presented in the section of the “Cultural Studies Review” dedicated to the 100th anniversary of the birth of Professor Stefan Morawski. Firstly, the issue of the relationship between Stefan Morawski and Roman Ingarden and his environment, where I draw attention to the role of Roman Ingarden’s phenomenology in building an independent position in Morawski’s aesthetics/philosophy of art. Secondly, in reconstructing Morawski’s aesthetic views on the basis of published film reviews and on the basis of his reflections on film criticism and artistic meta-criticism, I pay attention to the axiological context of the hierarchisation of works of art, which is the basis of this review. Thirdly, I present basic findings on avant-garde and neo-avant-garde art, as well as on avant-garde theory. This provides an opportunity to better recognise what Morawski’s diagnosis of continuity and severance in the historical development of art was in this area. The above three issues are preceded by biographical information, which is continued in the rest of the text. In this way, Morawski’s choices and changes of interests become more understandable and fraught with consequences.
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Gurianova, Nina. "Visions, Wars, and Utopias of the Russian Avant-Garde". Experiment 23, nr 1 (11.10.2017): 203–14. http://dx.doi.org/10.1163/2211730x-12341311.
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Abstract While the aspiration to harmony, utopian in its essence, became a distinctive feature in the particular vein of modernist aesthetics, interested in constructive principles, which came to the fore after the October Revolution in the early 1920s, another line, which will interest me the most in this essay, had been predominant during 1912-17, and developed in quite a different direction, striving for dystopia, dissonance, and the absurd. The metaphor of war in the pre-revolutionary avant-garde was paradigmatic to the concept of innovation and directly linked to the rather symbolic “destruction” of previous achievements. A deeper understanding of avant-garde ideology—on social, political, and aesthetic levels—appears when contextualized in relation to World War i. Natalia Goncharova’s series of lithographs Misticheskie obrazy voiny [Mystical Images of War] (1914), Pavel Filonov’s artist book Propeven o prorosli mirovoi [Canticle of World Flowering] (1915), Olga Rozanova’s linocut portfolio Voina [War] (1916), and Aleksei Kruchenykh’s album of collages Vselenskaia voina [Universal War] (1916) were among the most profound artistic responses to the war. These unique works represent three different artistic explorations of the theme, as reflected in neoprimitivist, futurist, and suprematist aesthetics.
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Ustyugova, E. N. "The Idea of the “Creative Form” in the Aesthetics of the Russian Avant-garde of the 1920s". Art & Culture Studies, nr 1 (marzec 2024): 12–33. http://dx.doi.org/10.51678/2226-0072-2024-1-12-33.
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The Russian avant-garde of the 1920s was a time of a utopian thinking crisis in theoretical aesthetics and in art. The utopianism of the avant-garde project consisted in the impracticability of the mission of art to totally transform reality and man through aesthetic means. The key idea of the avant-garde aesthetic concepts was the effectiveness of the creative form building the integrity of the life creative matter. The concept of the “creative form” was developed in different directions: from the concept of a single style in all spheres of life and the theory of synthesis of arts to the aesthetics of functionally appropriate forms of the objective environment. The symbolic language of style was a universal aesthetic translation of metaphysical ideas into sensual ontological image of the wholeness of being; synthesis of arts was seen as a means of expressing the initial wholeness of cosmic being; and a functionally appropriate form of the objective environment was understood as a means of direct involvement of man, spontaneously causing his active creative response. The utopianism of the idea of the “creative form” determined its rapid demise, which had a complex of philosophical, social, political and human reasons. The major of them included the totality of the wholeness project, the undervaluation of the individual artistic subject’s creative freedom, the rejection of a substantial spiritual and value-based interpretation of culture, the hope that the aesthetic influence might transform the masses into creative subjects, the narrowing of the potentialities of the utopian project by the attempt to turn it into a methodology of action, the pursuit of realization that limited the growth of its inner potential, and the undervaluation of the real conditions for its implementation.
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Perloff, Marjorie. "From Language Poetry to the New Concretism: The Evolution of the Avant-Garde". Literature of the Americas, nr 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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Nutas, Andrei. "Review of Sorgner's Philosophy of Posthuman Art". International Journal of Technoethics 13, nr 1 (1.01.2022): 1–7. http://dx.doi.org/10.4018/ijt.313197.
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The paper deals with a review of Sorgner's new book, Philosophy of Posthuman Art. The review highlights Sorgner's positioning of postmodern art as emerging from a way of dealing with the realities of ontological naturalism and epistemic perspectivism. It is also highlighted why the author believes that the avant-garde and modernist aesthetic is lacking in dealing with a world of technology embedded post-modernity. In this sense, Sorgner's arguments for the totalitarian aspects of the avant-garde are presented. The paper also offers a critique regarding Sorgner's continental focus, and an argument for why his 10 aesthetics of posthuman art could be boiled down to eight, before finalizing with a walk through Sorgner's view on a posthuman total work of art and his view leisure within a posthuman era.
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Jakelski, Lisa. "Góórecki's Scontri and Avant-Garde Music in Cold War Poland". Journal of Musicology 26, nr 2 (2009): 205–39. http://dx.doi.org/10.1525/jm.2009.26.2.205.
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Abstract Poland's post-1956 cultural liberalizations sat uneasily in the midst of a Cold War binary that equated avant-gardism with artistic freedom and socialist realism with aesthetic coercion. During 1960––61, Polish composers and critics debated the seeming paradox of official support in Poland for avant-garde aesthetics. Their disputes arose after the premiere of Henryk Mikołłaj Góórecki's Scontri (Collisions) for Orchestra, op. 17, at the 1960 Warsaw Autumn Festival; disrupted the General Assembly of the Polish Composers' Union in December 1960; and persisted in the journal Ruch Muzyczny (Musical Movement) during the early months of 1961. Taken together, the successive stages of debate show how defenses of Polish avant-garde music intersected with competing cultural imperatives of the Cold War. Maneuvers by composers and critics formed a musical corollary to the ““Polish road to socialism”” that Włładysłław Gomułłka had engineered with the Soviet Union, an agreement by which expanded internal freedoms would be tolerated as long as no serious steps were taken to abandon state socialism in Poland. The amenability of music to such critical moves, paired with the growing international prestige of Polish avant-garde composers and the Warsaw Autumn Festival, suggests why music was spared the reimposition of restrictive governmental oversight as Poland's Thaw came to a close.
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Lychkovakh, V. A. "Aesthetics of the Ukrainian Avant-garde: Energy-information Dimension". Вісник Житомирського державного університету імені Івана Франка. Філософські науки, nr 1(85) (28.12.2019): 103–10. http://dx.doi.org/10.35433/philosophicalsciences.1(85).2019.103-110.
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Al-Masri, Khaled. "Feminism and avant-garde aesthetics in the Levantine novel". Middle Eastern Literatures 21, nr 1 (2.01.2018): 105–6. http://dx.doi.org/10.1080/1475262x.2018.1492194.
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Ragin, Renée Michelle. "Feminism and Avant-Garde Aesthetics in the Levantine Novel". Journal of Middle East Women's Studies 15, nr 1 (1.03.2019): 95–97. http://dx.doi.org/10.1215/15525864-7273734.
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Ioffe, Dennis G. "The Revolutionary Aesthetics of the Second Russian Avant-Garde". Russian Studies in Literature 53, nr 2 (3.04.2017): 172–200. http://dx.doi.org/10.1080/10611975.2017.1400272.
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Rodríguez González, Alberto. "El Corno Emplumado y la vanguardia en el umbral de la nueva era." Sincronía XXV, nr 80 (3.07.2021): 383–416. http://dx.doi.org/10.32870/sincronia.axxv.n80.18b21.
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This article analyzes the case of the Mexican magazine El Corno Emplumado and its role as an avant-garde publication based on Renato Poggioli's idea of avant-garde movement and the notions of epoch threshold and aesthetics of threshold formulated by Hans Robert Jauss and Luciana del Gizzo, respectively. The intention is to examine the way in which the magazine edited by Margaret Randall and Sergio Mondragón updates the utopian impulse of the avant-gardes based on their vision that social change at the beginning of the 60s of the 20th century would come thanks to renewal spirituality that only art and poetry could provide. Additionally, it investigates the way in which the magazine reconfigures the avantgarde myth of the new beginning from its postulate of the advent of a new era, the era of the man of air. All this in order to discuss the possibility of thinking about the presence of an avant-garde continuity in Mexican literature throughout the 20th century.
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Stangret, Paweł. "The Tradition of the Destruction of Tradition". Tekstualia 1, nr 52 (19.07.2018): 129–38. http://dx.doi.org/10.5604/01.3001.0013.3126.
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The paper focuses on the attributes of the polish avant-garde, especially in the modern polish theatre. In Tadeusz Kantor’s words: it is „the tradition of the destruction of tradition”. The most important and infl uential tradition in Poland – since the nineteenth century – is romanticism and its legacy. Twentieth-century artists saw it as both traditional and modern. It was a paradox of the polish avant-garde of the last century (until now). The article demonstrates how Polish theatre directors have fought with romantic aesthetics and the cultural identity it helped shape.
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De Ros, Xon. "Avant-Garde and Kitsch in María Blanchard’s Neo-Cubism". Journal of Avant-Garde Studies 2, nr 1-2 (9.10.2023): 31–46. http://dx.doi.org/10.1163/25896377-bja10007.
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Abstract The exceptionality of the women artists who achieved recognition within the circles of the avant-garde in the first decades of the twentieth century involved a number of performative strategies to avoid the risk of being confined to the category of ‘women painters’. The case of María Blanchard, a Spanish painter integrated in the School of Paris, exemplifies the problematics faced by women working in the avant-garde. Her trajectory from synthetic Cubism to neo-Cubist figuration follows the pattern of many of her male contemporaries working under the sociopolitical and market pressures in the post-war period, but the simultaneous assimilation of and ironic distance from the prevailing aesthetic ideologies is a distinctive feature of her style shared by other women artists. As Cubism became mainstream and began to lose its subversive power, Blanchard’s interest in challenging conventional artistic discourses and hierarchies found expression in kitsch aesthetics.
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Bogdanović, Jelena. "Evocations of Byzantium in Zenitist Avant-Garde Architecture". Journal of the Society of Architectural Historians 75, nr 3 (1.09.2016): 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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Javorski, Irena. "Kriza modernosti – nekoliko odgovora od Liotara do Vitgenštajna i Balarda /The Crisis of Modernity – a Few Answers from Lyotard to Wittgenstein and Ballard". AM Journal of Art and Media Studies, nr 11 (15.11.2016): 23–34. http://dx.doi.org/10.25038/am.v0i11.144.
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Once again the crises of modernity becomes actual because of the transitive nature of current situation in contemporary art (the postmodern is still a valid regulatory principle). Comparing classical texts of Lyotard and Habermas, with Rancière’s contemporary perspectives on aesthetics and politics – I will try to recontextualise Lyotard’s thesis on the necessity of rewriting modernity (and the modern) through return to original modernity (ie. avant-garde practices) which brought Lyotard closer to Rancière’s interpretation of the avant-garde. With reference on The Philosophical Investigations of Ludwig Wittgenstein, I will also examine connection between Rancière’s aesthetics and analytic philosophy and – in the case of literature of James Graham Ballard – try to show how critique of the modern works in practice (i.e. how Ballard brought concept into neo-avantgarde literature).
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Belobratov, Alexander V. "Art nouveau period: borders and concepts". Semiotic studies 1, nr 1 (19.04.2021): 33–41. http://dx.doi.org/10.18287/2782-2966-2021-1-1-33-41.
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The article offers an extensive overview of modern approaches to definition of art nouveau as a literary era and to establishing its chronological boundaries. There have been analyzed main variations of the self-definition of the era as well as researchers attempts to find an appropriate definition to this complex aesthetic phenomenon. The extended interpretation of art nouveau as a macroepoch is examined, the period dating back to the end of the 18th century and connected primarily with the artistic system of Romanticism. Based on the aesthetic manifestos of German Naturalism, the meaning of the literary situation in 1880th Germany is examined, where the widespread proclamations of the aesthetic revolution and modern attitudes coexisted with the adherence to the deterministic aesthetics of the previous decades. The leading trends in the culture of the fin de sicle are connected with the onset of the first stage of art nouveau in the art and literature of 1890-1900, soon to be replaced by avant-garde art at the turn of the second decade of the new century. Avant-garde, which associated itself with modernity, was mainly destroying already established art forms. This article suggests that the literary avant-garde as a project of the future manifests a utilitarian approach to the attitudes of the art nouveau on the brink of the new century, making art nouveau accessible for the audience and bringing the artist into the space of political interaction with the society.
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Holotenko, Pavlo. "Jazz Avant-Garde by Cecil Taylor". Aspects of Historical Musicology 19, nr 19 (7.02.2020): 466–81. http://dx.doi.org/10.34064/khnum2-19.27.
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The relevance of the subject. Jazz music is a vivid, unique and distinctive phenomenon of the world culture, which is a grand achievement of many-years musical practice of humanity. In the context of the artistic culture of the modern information society, jazz art plays an essential part and is really quite interesting. The creative activity of jazz performers has always attracted the attention of the audience, caused a diverse reaction and today has many supporters in different parts of the world. Since the middle of the XX century, more and more trends have begun to emerge in jazz music, which led to the understanding of philosophical and psychological issues, in particular, ethical, aesthetic, social and other aspects. In this connection, new styles began to form in jazz, which in fact represented the emergence of the next, radically new stage in the evolution of jazz art. In the second half of the XX century there appeared jazz avant-garde – an entirely new cultural phenomenon that has its own history and philosophy, genre and style. In musicology, this concept can also be called “abstract jazz”, “new jazz”, “free jazz”, etc. It is clear that this trend is at the crossroads of two separate types of art – musical avant-garde and jazz, so it attracts admirers from both sides. Compared to traditional classic jazzmen, many prominent musicians of jazz avant-garde are still little known. Among them are composer and pianist Cecil Taylor, who was a compelling opponent of jazz traditions. His style is unique, his music is one of the most striking examples of musical avant-garde in the history of art. Nowadays, the scientific literature has no fundamental works devoted entirely to the analysis of C. Taylor’s avant-garde art. This circumstance also enhances the relevance of studying specific features of C. Taylor’s performing style. The purpose of the research is to determine peculiarities of Cecil Taylor’s creative style and related techniques of music speech. Achieving the goal involves solving the following tasks: to determine the difference between artistic systems of classic and avant-garde jazz; to outline the main informative paradigms of C. Taylor’s creative work; to analyze the technology of expressive means of C. Taylor’s music; to reveal the significance of C. Taylor’s avant-garde activity and to identify its place in the world of modern artistic culture. Research methods. The research is based on the interaction of scientific approaches, the most important of which are: analytical, which involves elaboration of musical means of expressiveness and composition technique of sounds organization; comparative, used to compare specific features of artistic systems of jazz mainstream and avant-garde; semantic, necessary for defining the content of music pieces, their meanings, images, mood; biographical, with the help of which certain facts of the musician’s biography are specified for a better understanding of his creative personality. Results of the study confirm the fact that in the world of artistic culture Cecil Taylor is one of the greatest representatives of the radical musical avant-garde. The basis of his art is the so-called “aesthetics of opposition”, the central idea of the artistic system of jazz avant-garde, according to which any artistic truth categorically established for all others cannot exist. In this context, the individualization of style, the relativity of all aesthetic ideals and the unlimited spectrum of expressive possibilities are stated, which is conditioned by the optimal disclosure of the figurative and emotional content of the piece. At the same time, the central object of the avant-garde jazz denial is the concept of the classic jazz art, based on the so-called “aesthetics of identity”. Its main idea is to adhere to structural stamps in order to maximally approach the stylistic aesthetic ideal. Such an ideal is the given classical theme-standard. Actually, this is an artistic truth for the jazz mainstream, to which one should aspire. Avant-gardists did not agree with this situation, for them it was nothing more than imposing personal whims by adherents of jazz traditions. The main informative paradigms of C. Taylor’s avant-garde art are antiromanticism, realistic pessimism and dystopia. The essence of anti-romanticism is to deny the domination of sentimentality, subjectivity, dreaminess and escape from reality, typical for romanticism. In their place, the primacy of rationalism, collectivity and pursuit of objectivism are established. Realistic pessimism is a worldview where, basing on tragic experience attention is focused on negative aspects, which leads to a belief in the eternal dominance of evil all over the world. Anti-utopia is recognition of the deception of utopia, the denial of the achievement of social ideals and the possibility of creating the world of justice. The main means of expressiveness of this ideological content in C. Taylor’s works are atonality, disharmony and percussive pianism. Conclusions. According to the research findings, we conclude that Cecil Taylor made a significant contribution to the development of modern culture. He was a compelling opponent of jazz traditions, always remained an uncompromising fighter for new jazz. Cecil Taylor is a virtuoso pianist and prominent improviser, one of the best representatives of avant-garde jazz in the world. Cecil Taylor discovered a new bright side of musical art and stimulated the public to redefine spiritual values and view of world as a whole. His work attracts and will attract attention of all those who are interested in contemporary art.
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Mijatović, Aleksandar. "Knotting Loops in the European Avant-Garde(s) The Poetic Image in Ezra Pound’s, A. B. Šimić’s and André Breton’s Anti/Ana-Aesthetics, and its Relation to Painting". Zagreber germanistische Beiträge 32, nr 1 (20.12.2023): 67–80. http://dx.doi.org/10.17234/zgb.32.4.
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The essay offers a (re)construction of an avant-garde network consisting of imagism, expressionism, and surrealism in literature and art. It proposes a reassessment of Ezra Pound’s and André Breton’s concepts of the poetic image, and compares them to their counterpart in the writing and poetry of Croatian expressionist writer Antun Branko Šimić. Through this reconstruction of one node in the avant-garde network, the paper proposes a theory of avant-garde as a twofold structure of de-figuration and transfiguration, which performs the role of re-figuring reality. This proposal solves a principal tension in Peter Bürger’s argument expounded in "Theorie der Avantgarde".
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Korppi-Tommola, Riikka. "The Cultural Context of Reception:". Nordic Journal of Dance 3, nr 2 (1.12.2012): 38–55. http://dx.doi.org/10.2478/njd-2012-0010.
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Abstract The reception of the Merce Cunningham Dance Company and John Cage’s visit to Helsinki in 1964 revealed local, Finnish aesthetic priorities. In the dance critics’ texts, Cunningham’s style seemed to create confusion, for example, with its mixture of styles visà-vis avant-garde music. Music critics, mainly avant-garde and jazz musicians, had high expectations for this theatrical event. In their reviews, comparisons were made between Cunningham’s style and the productions of Anna Halprin. In this paper, I analyse the cultural perspectives of this encounter and utilize the theoretical framework of Thomas Postlewait’s pattern of cultural contexts. Additionally, I follow David M. Levin’s argumentation about changes in aesthetics. Local and foreign conventions become emphasized in this kind of a transnational, intercultural encounter. Time and place are involved in the interpretations of the past as well as later in the processes of forming periods.
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Yang, Dong. "Robert Breer’s Perpetual Motion Machine". Film-Philosophy 26, nr 2 (czerwiec 2022): 219–41. http://dx.doi.org/10.3366/film.2022.0196.
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Embodying and balancing the European avant-garde movement of the 1920s and the dialectical U.S. neo-avant-garde aesthetics of the 1960s, Robert Breer encompassed various art forms in his painting, sculpture and film. In doing so, he created a distinct style that embraces both photographic representation and non-figurative abstraction – a heterogeneous assemblage of sorts – to advocate taking an intermediate stance in the act of rendering the relation between artistic tradition and innovation. By looking at A Man and His Dog Out for Air (1957), Fuji (1974) and LMNO (1978), I show three strategies devised by Breer that help generate the vital energy in these animations: metamorphosis, gradational abstraction, and self-moving objects. All three strategies point to Breer’s dualistic endeavour to experiment with the aesthetic and ontological possibilities of moving images and with the animated objects within the frame in spite of photographic, realist and rational confinements.
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Tratnik, Polona. "Aesthetics of Art and Life Sciences: Collaborations and Resistance". AM Journal of Art and Media Studies, nr 20 (15.10.2019): 11. http://dx.doi.org/10.25038/am.v0i20.329.
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In this paper, the author pays attention to the actual phenomenon of art and life science collaborative projects. She discusses the orientation of this project towards the world. In the course of modernity, the fields of art and science have been established as relatively autonomous fields with canonized methods and objectives. The author will compare scientific and artistic activities and address the question of their objectives. If art and science strive for different objectives, are these art and science projects about harmonizing them, or what is the objective that art follows and perhaps differs much from science? The author emphasizes a certain role of art, which art inherited from Romanticism. Comprehension of art as an avant-garde was extremely important for 19th-century art, particularly in France, where artists considered themselves the avant-garde of the society and also used militant rhetoric. Mallarmé, for instance, said that the modern poet is “at strike against the society”. This romantic attitude of the artists that position themselves rebelliously against the norms and cannons of the majority of population, insisted in the art throughout modernism and expressed particularly strongly in the historical avant-gardes. The author claims that exactly this heritage is crucial for the art that enters the field of science and is engaged with its socially-relevant aspects. The contemporary art projects entering the field of life sciences inherit the tradition of the avant-garde. The modes of collaborations and resistance will be addressed in the paper. Particular relevance will be given to the orientation of art towards the future. That is the comprehension of art as a political agent. Article received: June 12, 2019; Article accepted: July 6, 2019; Published online: October 15, 2019; Review articleHow to cite this article: Tratnik, Polona. "Aesthetics of Art and Life Sciences: Collaborations and Resistance." AM Journal of Art and Media Studies 20 (2019): 11-16. doi: 10.25038/am.v0i20.329
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Симеонова-Конах, Галя. "Към въпроса за стила „Pодно изкуство” в аспекта на българския авангард през 20-те години на ХХ век". Poznańskie Studia Slawistyczne, nr 18 (28.04.2020): 209–22. http://dx.doi.org/10.14746/pss.2020.18.12.
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The article presents the selected aspects of the Bulgarian avant-garde movement called “Native Art” (Rodno izkustvo) which developed in art (painting of Ivan Milev and others) and literature (the so-called decorative prose, ars decorum) in the 1920s. An aesthetical object of the then creators was searching for spirituality of the community expressed through a synthesis of such form of cultural heritage as symbolism, secession, Old Bulgarian and Byzantine iconography, rituals and folklore embroideries, ancient mosaic. For the constitution of the style “Rodno izkustvo”, the aesthetics of Bulgarian expressionism along with its artistic forms of rhythm and motion had a special significance. The analysis focuses on the theoretical writings by the most important representatives of Bulgarian avant-garde, namely, Čavdar Mutafov, Geo Milev, Nikolai Rainov, Sirak Skitnik and others whose attitude towards the problems of the style highlighted the process of it arising from individual acts to artistic syntheses. In the article, there are also references to the works of the contemporary art historian Dimitâr Avramov. The interdisciplinary research perspective of the article allows the author to indicate the distinctive properties of the avant-garde style of the Native Art, but also to illuminate the intellectual turn in Bulgarian art at the beginning of the 20th century.
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Blasko, Andrew M. "The Politics of Aesthetics". Public Voices 9, nr 1 (5.01.2017): 86. http://dx.doi.org/10.22140/pv.205.
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An examination of the role that art and aesthetic activity have played in the affairs of state can be useful in shaping a framework for a discussion of the more specific issue of the interrelations between music and political life. The following discussion focuses on the manner in which the Russian avant-garde aesthetic movement gradually coalesced with the centrally planned construction of Soviet-style society in the efforts to build a new way of life and a new type of human being in accordance with the developing practice of the Communist-led revolution.
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Herring, Scott. "Djuna Barnes and the Geriatric Avant-Garde". PMLA/Publications of the Modern Language Association of America 130, nr 1 (styczeń 2015): 69–91. http://dx.doi.org/10.1632/pmla.2015.130.1.69.
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Though her publications were slight after she permanently moved to Greenwich Village, in New York City, in 1940, Djuna Barnes labored over scores of literary and nonliterary typescript drafts from the 1940s to the 1980s. This unpublished artwork constitutes a geriatric avant-garde that deepened her earlier investments in modernist aesthetics. Archived documents record the elderly writer performing the principles of high modernism—innovation, experimentalism, and novelty—across an unprecedented array of genres, such as the poem, the pharmacy order, the grocery list, the medicine regimen, the memo, and personal correspondence. This article reassesses gerontophobic depictions of Barnes as an aged recluse who lived a creatively fruitless late life. The underex-plored works of her senior years are a unique version of what Eve Kosofsky Sedgwick calls “a senile sublime.”
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VYSHESLAVSKY, Glib. "The simultaneous existence of modernist and neo-avant-garde tendencies in nonconformist art of Ukraine in the 1980s". Contemporary Art, nr 17 (30.11.2021): 9–22. http://dx.doi.org/10.31500/2309-8813.17.2021.248422.
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In the early 1980s, the nonconformist art movement in Odesa, which had been developing since the mid-1950s, was widened by a new generation of artists. Their art searches differed significantly from their senior colleagues, which led to the formation of a separate movement within nonconformism, which later became known as APTART. The differences were mainly in the worldview of artists, aesthetics, themes, artistic techniques. The art of the new generation was closer to the Western neo-avant-garde, while their older colleagues tended toward modernism. The presence of two different well-defined movements within the nonconformism, a phenomenon in itself countercultural to official culture, distinguished the artistic process in Odesa in the 1980s from other cities in Ukraine. It is these features of the artistic life of that time, still insufficiently covered and analysed. The text considers the part of the work of the Odesa APTART artists, which the most clearly displays the elements of neo-avant-garde aesthetics, that, accordingly, affected the artistic means: acts, performances happenings; the differences between the two groups of artists belonging to the nonconformist subculture were analysed. Specific acts, works of the APTART artists opposed to the background of creative activity of their colleagues are considered. The stages of the APTART artists’ creativity development are traced. Within the disclosure of the research theme, the text highlights the processes of nonconformist artistic life in the main cities of Ukraine, traces parallels to similar phenomena in world art. Due to the experience of recent researches, the terms that directly affect the subject of the paper are specified: nonconformism, informal art, avant-garde, modernism, neo-avant-garde.
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Zhu, Meifan. "Avant-gard filmmaker Maya Deren’s feminist film At Land, analysis, and comparison". Journal of Education, Humanities and Social Sciences 12 (19.04.2023): 15–19. http://dx.doi.org/10.54097/ehss.v12i.7585.
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Shortly after the french new wave movement, avant-garde films during the 20th century with black and white colors create a spark of feminist ideologies. They successfully achieved their original goal - anti-Hollywood filmmaking - through films with not simple action and adrenaline but rather ones with depth and aesthetics. Maya Deren’s films, specifically, reflect her own experiences as an artist and feminist director with many metaphors and foreshadowings to uncover the true depth behind the aesthetic of gestures. During this style of filmmaking, different cinematic skills and the progress of films in the avant-garde genera became more sophisticated ideas and filmmakers appear on the screen. This is when At land appears, it was not only a well-known black and white film but also a representation of progression in people’s feminist views and appreciation of subject matter in the film industry. Maya Deren used this short film to illustrate a woman’s life which we can relate to almost 80 years after the film was produced.
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Shakhmatova, Elena V. "Mikhail Matyushin’s Creative Method and the Russian Avant-Garde". Observatory of Culture 19, nr 4 (5.09.2022): 400–409. http://dx.doi.org/10.25281/2072-3156-2022-19-4-400-409.
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The article reveals the connection between the creative method of M. Matyushin and the search for a new spirituality associated with the ideological and aesthetic searches of Russian modernism in the era of the Silver Age. The relevance of the article is due to the need for a comprehensive analysis of the heritage of the Russian avant-garde, because, in the Soviet period, everything that went beyond the method of socialist realism was excluded from public consideration. A new aesthetics of theatrical futurism emerged in 1913 in the experimental opera production “Victory over the Sun”. In 1923, M. Matyushin formulated the program of “extended viewing”, calling it “ZOR-VED”, which came from the Russian words “Vision” + “Knowledge”. The contemplative method he proposed, by analogy with Buddhist practices, made it possible to overcome the fragmentation of the reality perception. The observer was to go beyond the space-time limitations, while the boundaries between the object and the subject would become blurred, removing the animate / inanimate opposition, and an understanding of the integrity of the universe would be achieved. M. Matyushin perceived color as a complex phenomenon, depending on the illumination, color of the environment, movement. The result of the experiments conducted by Matyushin at the State Institute of Artistic Culture (GINHUK) was the “Guide to Color” (1932). The method of “extended viewing” brought closer a new era of comprehension of the world as a whole, foreshadowing a breakthrough in many areas of knowledge: the sciences of consciousness, philosophy, psychology and even physics. However, in the country of victorious socialism, the experiments, which anticipated the further development of the visual arts of the 20th century, were forcibly stopped. M. Matyushin continued his search for a new spatial aesthetics in his home theater. The novelty of the solution to the problems under consideration is due to the fact that the article introduces a whole layer of rejected culture of the first third of the 20th century into scientific use, analyzes the activities of the little-studied organic direction of the Russian avant-garde, and compares M. Matyushin’s method of “extended viewing” with Buddhist practices.
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Corrêa, Marina. "Politics of Aesthetics and the Neo-Avant-Garde in Brazil". OALib 04, nr 01 (2017): 1–17. http://dx.doi.org/10.4236/oalib.1103155.
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Jennifer Wild. "For a Concrete Aesthetics: Against Avant-Garde Film c. 1930". Framework: The Journal of Cinema and Media 58, nr 1-2 (2017): 67. http://dx.doi.org/10.13110/framework.58.1-2.0067.
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Payne, Stanley G. "Book Review: Fascist Modernism: Aesthetics, Politics, and the Avant- Garde". Modernism/modernity 1, nr 1 (1994): 160–61. http://dx.doi.org/10.1353/mod.1994.0006.
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Wild, Jennifer. "For a Concrete Aesthetics: Against Avant-Garde Film c. 1930". Framework: The Journal of Cinema and Media 58, nr 1&2 (czerwiec 2017): 67–78. http://dx.doi.org/10.1353/frm.2017.a682903.
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Luty, Jerzy. "Świat sztuki i czas ewolucyjny — dlaczego estetyka współczesna boi się unaukowienia". Studia Philosophica Wratislaviensia 16, nr 2 (2.12.2021): 107–17. http://dx.doi.org/10.19195/1895-8001.16.2.8.
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The criticisms I address in this article provoke questions about the very nature of aesthetic discourse and its relation to scientific approach in art theory. In the article, I try to respond to the author who criticizes me (and evolutionary aesthetics) for disliking avant-garde art and, worse, contemporary aesthetics. I also try to explain that I am not a biological determinist, that I do not consider art an evolutionary adaptation, that I do not practice reductionism, and that I know how evolutionary mechanisms work. I also describe the reasons why the contemporary aesthetics, which the critic represents, is afraid of being scientific, and what this has to do with the need for prestige and belonging to the art world.
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Wilhelm, Mirjam E. "“A Child in Every Artist?” Vjera Biller and Jewish Primitivism in the Berlin Sturm Avant-garde". Ars Judaica The Bar Ilan Journal of Jewish Art: Volume 17, Issue 1 17, nr 1 (1.01.2021): 87–107. http://dx.doi.org/10.3828/aj.2021.17.5.
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This article centers on the “forgotten” Jewish avant-garde artist Vjera Biller, among the most active contributors to the Berlin-based 1920s expressionist movement Der Sturm. Through an in-depth analysis of the artist’s fragmented oeuvre, including her Venice series, it examines Biller’s art practice, her leitmotif of children, and its links to the aesthetics of interwar German Expressionism. It contrasts her approach with that of her contemporary Sturm colleague Marc Chagall and shows how both artists drew extensively on children’s art and “the primitive” for inspiration. Biller also pioneered the inclusion of popular culture elements such as cartoons and comics as an avant-garde art form.
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DeMay, Timothy. "Constraint against Constraint: Hunger Strikes and the Score". Comparative Literature 76, nr 1 (1.03.2024): 44–64. http://dx.doi.org/10.1215/00104124-10897107.
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Abstract In 1961, the poet Jacques Roubaud was dismissed by the French military in Algeria after undergoing a series of “clandestine hunger strikes,” an act he later referred to as his “very first constraint.” By using a term that at once refers to a particular and increasingly prevalent resistance act, the rules and procedures used by post–World War II avant-garde artists and writers, and oppressive structures like prisons that delimit lives, “constraint” provides a way to rethink the history of avant-garde procedural poetry through the act of the hunger strike. This essay analyzes the constraint as a “score,” a method of making that allows for the repeatability and transformation of forms across contexts. This repetition with a difference is underscored by a cast of 1960s and 1970s writers from France, the United States, and Morocco, including Roubaud, Norman H. Pritchard, Bernadette Mayer, Saïda Menebhi, and Abdallah Zrika. Foregrounding the hunger strike and seeing an aesthetics that accords with this provocative and popular act, this essay makes a case for avant-garde practice, rather than the avant-garde object, as acts that might not only reorganize everyday life into weapons and tools, but also thread trans-national possibilities of solidarity through a shared political form.
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E, Embun Kenyowati. "PROBLEM KEINDAHAN DALAM SENI: TELAAH BUKU ARTHUR C .DANTO ' THE ABUSE OF BEAUTY' , 2003". Jurnal Dimensi Seni Rupa dan Desain 7, nr 1 (1.09.2009): 23–39. http://dx.doi.org/10.25105/dim.v7i1.1076.
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AbstractThis paper is about Arthur C. Danto's book. The Abuse of Beauty, Aesthetics and the Concepts of Art , 2003. Danto started to discuss about beauty in art, by analyzing the work of Andy Warhol, Brillo Box ( 1964), he invited us to answer the question, is there still beauty in art? How to explain the aesthetics of that work ? Once , beauty is part of the definition of art. But by looking at the avant grade art, do we still say about beauty , in Immanuel Kant's sense in Englightenment era? Avant garde art is intractable, he said. Avant garde art says something about new category of aesthetics such as repulsion , object, horror, disgust, etc. He proposed , instead of beauty , art should be understood in three ways: art as transformative power. Art as the way to understand culture and as a work that embodied meaning. Finally, he proposed sumblimity in art that seems to go beyond beauty. AbstrakTulisan ini merupakan telaah bukunya Arthur C. Danto The Abuse of Beauty Aesthetics and The Concept of Art, 2003', yaitu mengenai penyimpangan keindahan ,estetika dan konsep seni tahun 2003. Danto memulai mendiskusikan keindahan dalam seni dengan membahas karya Andy Warhol yang berjudul Brillo Box ( 1964), ia melontarkan pertanyaan , apakah masih ada keindahan dalam sebuah karya seni? Bagaimana menjelaskan proses terjadinya estetika, keindahan adalah bagian dari definisi seni. Tapi dengan melihat seni avant grade, apakah kita masih dapat mengatakan tentang keindahan . Bagi Immanuel Kant pengertian di era Pencerahan? Avant grade meripakan seni sulit ditangani katanya. Apa yang dipinggirkan Kant telah menjadi 'katagori estetik baru' dalam seni kontemporer, seperti yang menjijikan, rendah menakutkan dan yang memuakkkan. Seni harus dipahami dalam tiga segi , yaitu seni sebagai kekuatan transformatif , seni sebagai cara untuk memahami budaya dan sebagai sebuah karya yang mengandung makna. Akhirnya Danto mengemukakan bahwa seni itu sublime.