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Gubbiotti, Clodina. "The Italian neo-avant-garde : between the historical avant-garde and postmodernism". Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/30232.
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The present work argues that the Italian neo-avant-garde’s understanding and expression of the social value of formalised language and literariness is to be closely related to Modernist and Avant-gardist cultural dynamics, and not to a Post-modernist regime of cultural values. Chapter 1 presents the Italian neo-avant-garde as a phenomenon to be posited within the scenario of the changing role of the humanist intellectual in 50s and 60s Italy. Avant-garde art as a notion and tradition is tackled through Bürger and Bourdieu’s theorisations. Chapter 2 focuses on how Italian Futurism disproves any idealistic notion of avant-garde art as good political praxis. It also explores the rhetorical codifications of the avant-garde’s self-mythologizing discursive practices through the analysis of the Futurists’ use and appropriation of the genre of the manifesto. Chapter 3 analyses the neo-avant-garde’s corpus of theoretical writing and shows that, despite the fact they did not write a proper manifesto, the rhetorical codifications of the avant-garde’s self-reflexive discourse are still present in their individually written texts. Chapter 4 frames the Italian neo-avant-garde within the broader framework of the historical avant-garde while highlighting their use of and relationship with science and scientific discourse, especially in Eco’s works. Chapter 5 is a lengthy analysis of the use of the technique of the montage in poesia novissima. It carries out a critical comparison between the discursive, ideology-oriented and anti-hedonistic use of montaged linguistic material characterising the experimentalism of the Novissimi and the iconic use of language characterising the multimediatic experiments of poesia totale, concrete poetry and technological poetry. The conclusion highlights the modalities, or in Bourdieu’s terms, the distinction marks, by which the Italian neo-avant-garde challenges, appropriates, changes and finally performs the practice of avant-garde art as truly innovative art.
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Rebelo, Anita Flanders. "U.S. avant-garde literature". reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106189.
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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1982.Made available in DSpace on 2013-12-05T19:33:27Z (GMT). No. of bitstreams: 1 321767.pdf: 68643577 bytes, checksum: a792bc8b4dcca23413498b3d370b7681 (MD5)
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Ferrari, Rossella. "Pop goes the Avant-Garde : Meng Jinghui and contemporary Chinese Avant-Garde Theatre". Thesis, SOAS, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439774.
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Faroult, David. "Avant-garde cinématographique et avant-garde politique : Cinéthique et le "groupe" Dziga Vertov". Paris 3, 2002. http://www.theses.fr/2002PA030121.
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L'avant-garde cinématographique française des années 1970, représentée par : le "groupe" Dziga Vertov (1969 - 1973), fondé notamment par Jean-Luc Godard et Jean-Pierre Gorin et le collectif Cinéthique (1969-1985) éditant une revue homonyme,était caractérisée par l'ambition d'une pratique cinématographique articulant avant-garde esthétique et avant-garde politique (au sens léniniste). Saisir l'actualité de leur démarche, suppose de : 1ʿ) systématiser leurs présupposés et acquis théoriques, fondés sur une conception marxiste-léniniste (au sens " maoi͏̈ste ") : étudier la fonction sociale du cinéma qui, en tant que produit idéologique, contribue à la reproduction des conditions de la production ; 2ʿ) situer historiquement leurs activités et établir la progression de leur production filmique et théorique. Cette analyse permet de retenir les thèses et positionnements des deux groupes, leur actualité et les limites de leurs apportsThe 70's French avant-garde, represented by Dziga Vertov "group" (1969-1973), set up among others by Jean-Luc Godard and Jean-Pierre Gorin and Cinethique group (1969-1985) editing the homonym review was characterised by the ambition of a cinematographical practice which would merge the esthetical avant-garde and the political avant-garde (in a leninist view). To understand the topicality of their way approach needs to : 1ʿ systematize their presuppositions and experiences based on a marxist-leninist (in the "maoist" sense) conception : to study the social function of cinema which, as an ideological product contributes to the reproduction of the production conditions ; 2ʿ position historically their activities and establish the progression of their films and theoretical production. This analysis allowed us to emphasise the thesis and positions of the two groups, their topicality and the limits of their contribution
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Halay, Alannah Marie. "Recognising absurdity through compositional practice : comparing an Avant-Garde style with being avant garde". Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/16880/.
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‘avant garde’ and ‘Avant Garde’: one term denotes artistic progression, the other describes a fixed concept. These terms are easily and often confused, and this contributes to blurring the boundaries between being progressive and adhering to a style. Unknowingly adhering to the Avant-Garde style, under the false guise of being ‘new’, perpetuates a Sisyphean nature in Avant-Garde practice today. Such practice has become inward-looking, separated from the majority of society, and therefore fails to be the ‘advance post’ it proclaims. In Camus’s terms, this is absurd. Rather than proving and accepting this absurdity, I explore the unfolding of such absurdity through compositional practice, and attempt to avoid it. This involves recognising the absurdity (and maintaining an awareness of it) as well as examining and comparing the mechanics behind the formation of the Avant-Garde style with being avant garde by way of an introspective examination of my compositional process. This practice-led method is supported by theoretical, musicological, and analytical research into existing practice. My research is supplemented by the following topics: Meno’s paradox; Heidegger’s hermeneutic framework as a development of Meno’s paradox; Adorno’s notion of naïveté; détournement as a means of recognising absurdity through practice. Examining my own compositional process, in relation to existing practice, allows me to propose that the Avant-Garde style is based on two interacting hermeneutic frameworks between ‘unfamiliarity’ and ‘familiarity’, and creative ‘freedom’ and ‘restriction’. If one is to overcome these frameworks and be genuinely avant garde, subversion of technique cannot be an end in itself but should support the truth content of a musical work; this is because a musical work is defined by its context more than its constituent musical characteristics. Subversion must happen in relation to the context of a composition, not the composition itself. Adherence to an Avant-Garde context, perpetuated by the expectations of practitioners with a knowledge of that context, prevents compositional practice from moving beyond that context and being genuinely avant garde. All one can do now is recognise this absurdity. This is not a solution, but should pave the way for future developments in this area. For now, ‘there is no longer any art that has remained inviolable.’
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Perez-Barreiro, Gabriel. "The Argentine avant-garde 1944-1950". Thesis, Online version, 1996. http://bibpurl.oclc.org/web/29655.
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Pinder, David John. "Utopian spaces of the avant-garde". Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624520.
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Prager, Phillip Andrew. "Avant-garde legacies for interactive cinematics". Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611801.
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Rievers, Henrique André Christiano. "Physiological Perspectives of Avant-garde Music". Doctoral thesis, Humboldt-Universität zu Berlin, 2021. http://edoc.hu-berlin.de/18452/24062.
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Obwohl die Theatralisierung der Musik ein entscheidender Aspekt der Neuen Musik ist, der im Szenario nach 1945 noch mehr an Bedeutung gewinnt, kann die aber auch als Ausdruck einer musikalischen Wende zum Leib verstanden werden. Um von einer Wende zum Leib in der Musik zu sprechen, muss man auch eine Form des Dualismus zu überwinden. Durch die Werke avantgardistischer Komponisten wird in dieser Arbeit versucht, ein Verständnis der Musikwahrnehmung aufzubauen.It is our thesis that, even though the theatricalization of music is a crucial aspect of the Neue Musik – one that gain even more prominence on the post-1945 scenario –, it is also an expression of a corporeal turn in music. To speak of a corporeal turn in music also means an attempt to overcome a form of dualism. It is an attempt to unify music making and music perception. This is what will be attempted here. Through the works of avant-garde composers, an attempt to build an understanding of music perception in the context of a corporeal turn in music will be made. From the perception of the body and corporeity to the move from “listening” to “perceiving” and, finally, in the concept of the work of music as a phenomenal field, a physiological perception of the avant-garde will be developed.
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Охріменко, Дарія Євгенівна. "Avant-garde heritage in modern design". Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13110.
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Yezhova, Olga, Kalina Pashkevich, Mariana Mrachynska i Angelina Koryakina. "Avant-garde in modern clothing design". Thesis, Platforma europeană aștiinței, 2020. https://er.knutd.edu.ua/handle/123456789/17607.
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The avant-garde style of clothing, which appeared in high fashion in the second half of the 20th century, continues to be relevant both in haute couture and in the ready-to-wear segment. The main features of avant-garde style clothing have been investigated, an author's collection of women's clothing has been developed.
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Burkett, Matthew Luis. "The Body In Avant Garde Poetry". ScholarWorks @ UVM, 2019. https://scholarworks.uvm.edu/graddis/1150.
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This thesis examines the use of the body in avant-garde poetics, relating it to both theory and contemporary culture. An outline of how the body has been depicted, represented, and formalized in modernism is made, and contemporary issues involving the body, from what Meredith M. Render calls the “alienability” of the body to posthuman hybridity and technological transcendence. Language poetry, including the works of M. SourbeSe Philip, Clark Coolidge, Steve McCaffery, Charles Bernstein, Karen Mac Cormack, Lyn Hejinian, and Bruce Andrews is then examined for the body’s fraught usage in a generally non-referential poetics. The body’s place in conceptual writing combines contemporary technologies with a look back at Antonin Artaud’s corps sans organes.
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Hagener, Malte. "Avant-garde culture and media strategies the networks and discourses of the European film avant-garde, 1919-39 /". [S.l. : Amsterdam : s.n.] ; Universiteit van Amsterdam [Host], 2005. http://dare.uva.nl/document/77937.
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Riley, Ronald James Elliott. "Avant-garde literature and the recording process". Thesis, University of Cambridge, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608720.
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Racz, Imogen Anne. "Henri Laurens and the Parisien avant-garde". Thesis, University of Newcastle Upon Tyne, 2000. http://hdl.handle.net/10443/425.
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This dissertation examines the development of Henri Laurens' artistic work from 1915 to his death in 1954. It is divided into four sections: from 1915 to 1922, 1924 to 1929, 1930 to 1939 and 1939 to 1954. There are several threads that run through the dissertation. Where relevant, the influence of poetry on his work is discussed. His work is also analyzed in relation to that of the Parisian avant-garde. The first section discusses his early Cubist work. Initially it reflected the cosmopolitan influences in Paris. With the continuation of the war, his work showed the influence both of Leonce Rosenberg's 'school' of Cubism and the literary subject of contemporary Paris. The second section considers Laurens' work in relation to the expanding art market. Laurens gained a number of public commissions as well as many ones for private clients. Being site specific, all the works were different. The different needs of architectural sculpture as opposed to studio sculpture are discussed, as is his use of materials. Although the situation was not easy for avant-garde sculptors, Laurens became well respected through exposure in magazines and exhibitions. The third section considers Laurens in relation to the depression and the changing political scene. Like many of the avant-garde, he had left wing tendencies, which found form in various projects, including producing a sculpture for the Ecole Karl Marx at Villejuif. Patronage virtually ceased. However, Laurens was frequently included in articles in avant-garde journals and exhibited widely. The fourth section begins with the war. Laurens continued to live and work in Paris but was not included in official exhibitions. After the war, the press and State, which had largely disregarded members of the tcole de Paris, reversed this trend. As well as revisiting old sculptural themes, Laurens illustrated a number of books.
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Boezaart, Kim. "Contemporary avant-garde jewellery in South Africa". Thesis, Stellenbosch : Stellenbosch University, 2000. http://hdl.handle.net/10019.1/51665.
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Thesis (MA)--University of Stellenbosch, 2000.ENGLISH ABSTRACT: This study considers the dynamics and nature of neo-avant-garde jewellery with specific reference to contemporary South African (neoavant- garde) jewellery. In Chapter One defensible working descriptions of the terms "avant-garde" and "neo-avant-garde" are established in order to establish some manageable conclusions regarding their application to jewellery design. These descriptions are derived from a consideration of the concepts in contemporary aesthetic discourse. Chapter Two considers the role, justifications and implications of adornment with a view to isolating the development, influences and nature of neo-avant-garde jewellery. A distinction is drawn between the aesthetics, ontology and art-relevant status of such jewellery and commercial or mainstream jewellery. Chapter Three analyses specific examples of contemporary South African avant-garde jewellery in the light of the above-mentioned distinctions. Works are considered in relation to the transgression of material, the transgression of taste, the transgression of integrity of form and the integration of narrative and parochial content and attempts to demonstrate that an appropriate critical posture in regard to such jewellery is art, rather than craft-relevant. In Chapter Four general influences regarding themes and concepts apparent in the author's body of practical work are discussed. An annotated catalogue supplements the general discussion.
AFRIKAANSE OPSOMMING: CONTEMPORARY AVANT-GARDE JEWELLERY IN SOUTH AFRICA Hierdie studie ondersoek die dinamika en karaktereienskappe van neoavant- garde juweliersware, met spesifieke verwysing na kontemporêre Suid-Afrikaanse neo-avant-garde juweliersware. In Hoofstuk Een word die terme "avant-garde" en "neo-avant-garde" beskryf. Die doel hiervan is om uiteindelik die omvattende gebruike en definisies van hierdie terme (met betrekking op kontemporêre estetika) vas te lê. Hoofstuk Twee gee 'n oorsig aangaande die redes vir- en implikasies van fisieke versiering. Die ontwikkeling, invloede en aard van neo-avant-garde juweliersware word bespreek en gekontrasteer met komersiêle jeweliersware. In lig van die bogenoemde onderskeidings verwys Hoofstuk Drie na spesifieke Suid-Afrikaanse voorbeelde van neo-avant-garde juweliersware. Hierdie voorbeelde word oorweeg in terme van hul oorskryding van tradisionele grense aangaande materiaalgebruik, smaak, integriteit van vorm en die integrasie van relaas. Die studie poog om die relevansie van neo-avant-garde juweliersware as kuns eerder as kunsvlyt te demonstreer. In Hoofstuk Vier word die outeur se praktiese werke bespreek deur middel van 'n geannoteerde katalogus. Die katalogus word voorafgegaan deur 'n bespreking van invloede, temas en konsepte van die deurlopende ooreenkomste in die outeur se werke verduidelik.
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Park, K. W. "Korean art and the avant-garde dilemma". Thesis, Nottingham Trent University, 2012. http://irep.ntu.ac.uk/id/eprint/98/.
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The thesis covers Korean avant-garde art history and the dilemma that faced Korean artists at the end of the Japanese Colonial Period (1910-1945). Current literature adequately details avant-garde as progressive fine arts; however, there is limited literature on Korean art in this period. This thesis suggests the term avant-garde dilemma to indicate Korean artists‘ difficulty in style selection to follow a traditional aesthetical trend or progressive socio-political attitude for the foundation of Korean post-modernism. A salient démarche is found when Korean political avant-garde artists meet this dilemma in the midst of the Korean Demonstration Era (1976-1989) that initiates the decline of aesthetical activism and Demonstrative Art. Several styles of avant-garde dilemma after the Korea War are critiqued in the avant-garde evolution; subsequently, there arise hybrid styles between socio-political avant-garde and aesthetical avant-garde styles in Contemporary Korean Art. The examples included are Nam-Jun Baik‘s Video Art (a combination of art and technology), Do-Ho Suh‘s combination of meticulous sculpture with installation to satire Korean neo-capitalist society, Doo-Shik Lee‘s combination of oriental color with western gesture, and Suk-Chang Hong‘s free calligraphy to combine still-life, landscape, calligraphy, and scribbling. Related artistic, political, and social developments since 2000, illustrate the climax of the Korean avant-garde dilemma and my artistic motivation to create Iron Age through a medium of stainless steel & plastic with polyurethane pigments. Iron Age exemplifies the development of a new hybrid style (painting and sculpture) to resolve the ideological avant-garde dilemma. This thesis develops the hybrid term Aesthetical and Socio-political Avant-garde Art to satisfy two aesthetical and socio-political ideologies. For aesthetical development, we consider Clive Bell‘s philosophy to create 'significant form'. Iron Age combines theories of Italian Arte-Povera, French Nouveau Realism (Fire Painting), German Neo-Expressionism, post-structural Conceptualism with free expression and varieties of composition. Iron Age that develops from Adorno‘s socio-critical expression to describe a dystopia through Material Language, Destroy Structure, Dissipative Void, Metamorphosed Texture, Letters and Personages, Smoke and Shade, and Symbolic Coloring. A visual Socio-political message is developed through metamorphosis and deconstruction skills under Iron Age that form a core motif of Scrooge Repent as the mirror image of Scrooge‘s redemption of in A Christmas Carol to show a futuristic material paradise destroyed through war, terrorism, and spiritual desolateness.
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Albertazzi, Liliana. "Années 1980 : une modernité sans avant-garde". Paris 1, 1993. http://www.theses.fr/1993PA010553.
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Mon propos est de montrer au long de cette thèse que dans les années 1980, ce n'est pas le concept de modernité qui est caduque mais celui d'avant-garde. Dès lors que dans les années 1980 la modernité fut massivement contestée et le préfixe "néo" vint s'attacher au nom avant-garde, invalidant les notions d'originalité et de pureté jusqu'alors constitutives de la création et de l'évaluation artistique, beaucoup des prémisses régulatrices de ces concepts sont venues s'écrouler. Ce vide conceptuel a laissé la place à des considérations sur l'institutionnalisation et la diffusion artistique souvent dans l'hypothèse que l'art lui-même s'y confond. Cette crise entra nait plus de problèmes et de questions qu'elle n'en résolvait, il était donc nécessaire d'analyser rétrospectivement les concepts condamnes et d'établir des rapports entre eux. Ainsi un certain nombre de questions ont été de mise : quels sont au juste les fondements de cette modernité qu'il s'agirait de dépasser ? Ce dépassement est-il lui-même un acte fondateur ? Quant aux avant-gardes, l'histoire de l'art y fait abondamment référence sans jamais en définir les traits récurrents. Par l'analyse historiques des avant-gardes, peut-on appréhender l'avant-garde comme un phénomène en soi ?My purpose is to demonstrate that in the eighties it is the avant-garde's concept which is overrun an not the one of modernity. And what came out of these thesis is that on developping the point one realize that the most important revelation is that the counter-thesis induce to an emptiness in the analytical and methodological approch to the art history in the XXth century. Since modernity has been massivily contested and since the prefix "neo" came to be attached to the name of the avant-garde in the eighties, some regulating notions of originality and pureness, until then constituents of the artistique evaluation, collapsed. But these crisis brought in more problems and questions then it sorted them out, though it was necessary to analyse retrospectivily the comdamned concepts and to establish the relation-ship between them. The questions to answer in my essay were though the ones originated bat the new trend of thought in post-modernity : which are the basis of these modernity that are overrun? The facts for which it is overrun are on themselves founding concepts? Concerning the avant-garde, art history makes large reference without defininf the phenomena, does the avant-garde have a chance to be considered asa phenomena and how do we recognaise it?
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Rausch, Juliana Adele. "The New Journalism as Avant-Garde Art". Diss., Temple University Libraries, 2017. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/443068.
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EnglishPh.D.
Can journalism be avant-garde? This question arises from the body of work produced by the New Journalists, whose leading figures include Truman Capote, Tom Wolfe, Joan Didion, and Norman Mailer. Today, this question is urgent for considerations of the journalist’s role within a political landscape increasingly hostile to the news media. Yet it is a question that has not been sufficiently explored in the field of literary study. Scholars of literary journalism have identified the features of an experimental journalism, traced its historical origins, and made claims about how to situate the New Journalism generically. While important, this scholarship overlooks the relationship between experimentation with conventional journalistic form and similar experimentations in other artistic fields. As a result, the stakes of the New Journalism’s experimentations with conventional reporting have not been sufficiently mined. In order to remedy this, I place the New Journalism within a broader history of avant-garde art. The agitation of mainstream journalistic practice undertaken by each of the writers above was spurred by a questioning of a foundational journalistic practice: objectivity. The New Journalists challenged the authority of fact and its capacity to represent the human condition. This challenge to objectivity drove an experimentation with journalistic form that produced a deeply innovative body of work; however, these innovations are not merely formal. They also call into question the epistemological assumptions that tether journalism to a phenomenal world assumed to be fully representable. Significantly, the challenges to objectivity posed by the New Journalists parallel the challenges to representation posed by avant-garde artists like Paul Cezanne and Karel Appel. My dissertation thus situates the challenges to journalistic form undertaken by the New Journalists within a broader history of artistic experimentation and demonstrates that the significance of these experimentations exceeds the fields in which they occur. These arguments provide a framework for understanding not only the formal innovations of avant-garde artists, but also the epistemological consequences, and ethical imperatives, inherent in these innovations. My understanding of avant-garde art is informed by the work of Jean-Francois Lyotard. Over the course of his career, Lyotard illuminated the philosophical dimensions of artistic innovation. For Lyotard, one of the hallmarks of avant-garde experimentation is its ability to confront and redress problems across a variety of discursive fields. That is, Lyotard values avant-garde experimentation because it responds to discourses beyond its own, and much of Lyotard’s writing about avant-garde art establishes connections between artistic innovation and broader issues of ethics, politics, and justice. Over the course of this dissertation, I demonstrate how the New Journalism participates in this tradition by asking questions about the role and responsibility of the reporter through the self-conscious development of an experimental journalistic aesthetic.
Temple University--Theses
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McCord, Brian James. "An American avant-garde: Grove Press, 1951--1986". Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2002. http://wwwlib.umi.com/cr/syr/main.
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Berman, Nancy. "Primitivism and the Parisian avant-garde, 1910-1925". Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38149.
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At the beginning of the twentieth century, the primitive played a crucial role in the emerging European modernist aesthetic. While art historians have been exploring the role of primitivism in modern art for decades, this area of research has received little attention in musicology. In this dissertation I examine how primitivism is constructed in modern French culture as manifest in three of the most important avant-garde stage works of the first part of the century: the Ballets Russes's Le Sacre du printemps (1913) and Les Noces (1923), and the Ballets Suedois's La Creation du monde (1923). Relying on primary sources such as reviews, other historically relevant documents, as well as the art historical literature, I trace the evolution of the cultural role of primitivism in pre- and post-World War 1 French culture.French critics of Le Sacre viewed the work as a portrayal of Russian "Otherness" against which they could assert or question their own identity. Whereas the primitivism of Le Sacre was understood to be radical, excessive, even prophetic and apocalyptic, the primitivism of Les Noces was perceived as a manifestation of the classicist "call to order" and as an emblem of American-style mechanization. That it was also understood in terms of the post-war avant-garde's emphasis on classical ideals of austerity, dryness, and sobriety reflects the Purists' belief that machines heralded the new classicism.
Jazz was the ultimate symbol of both primitivism and modernity, and was initially hailed by the avant-garde as a revivifying source for the French tradition. In their attempt to neutralize the racial and political threats perceived to be inherent in jazz, the avant-garde emphasized its rationality, precision, and economy. La Creation du monde represents the avant-garde's complete assimilation of jazz and l'art negre into the French classical tradition.
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Sherry, Jay [Verfasser]. "Carl Gustav Jung, Avant-garde Conservative / Jay Sherry". Berlin : Freie Universität Berlin, 2008. http://d-nb.info/1022912569/34.
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Moyle, Julian. "Iconicity in the visions of the avant-garde". Thesis, University of Nottingham, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.446395.
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Brook, Katherine Eliza. "Proust and the avant-garde : perception, knowledge, representation". Thesis, King's College London (University of London), 2018. https://kclpure.kcl.ac.uk/portal/en/theses/proust-and-the-avantgarde(43662227-f55c-493d-957c-13d5c9b68ef2).html.
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This thesis compares Proust’s Recherche with the work of the Cubists, Futurists, and Surrealists. Few scholars have considered the novel’s engagement with avant-garde ideas and aesthetics, despite Proust’s geographical and temporal proximity to avant-garde activity. Without arguing extensively for direct influence or even significant interaction between the two, my research focuses on a broader pool of ideas and cultural-historical developments, around which Proust’s work can be brought into dialogue with both the collective aims of particular groups within the avant-garde, and with the paintings and (to a lesser extent) writings of individual artists. Throughout the thesis, I use their work as a means of shedding light on the conflict and crossover between states of ‘insidership’ and ‘outsidership’, and on the manner in which these states define relations between perceiving, acting subjects and the external objects and spaces they encounter. Chapter 1 focuses on the artistic perceptive faculty and the relation it enables between the artist and the external world, using Bergson’s opposition of ‘analysis’ and ‘intuition’ as a theoretical framework. Chapter 2 is centred around the metaphor of the work of art as a ‘window on the world’ and its implication that a painting is primarily a representation, rather than an object in its own right. Chapter 3 investigates the influence of mechanised transport technologies both on perceptions of space and on relations between people, while Chapter 4 uses Didier Anzieu’s theory of the Moi-peau to argue that the self is defined not only by bodily but by architectural boundaries, which also shape the subject’s relationships with other people. Ultimately, the thesis asks whether the work of Proust and the avant-gardes conceives of the subject’s interaction with the world as a function of surface or of depth, or as a more complex troubling between the two.
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Cole, Brian M. "Ekphrasis and Avant-Garde Prose of 1920s Spain". UKnowledge, 2015. http://uknowledge.uky.edu/hisp_etds/23.
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This dissertation analyzes the prose works of the “Nova Novorum,” a fiction series created and published by José Ortega y Gasset between 1926 and 1929. This collection included six works by four authors, five of which will be discussed in this dissertation. Pedro Salinas’ Víspera del gozo (1926) inaugurated the series. Benjamín Jarnés published two works: El profesor inútil (1926) and Paula y Paulita (1929). Antonio Espina is also responsible for two works: Pájaro pinto (1927) and Luna de copas (1929).
The dissertation is divided into five sections. The first chapter introduces the topic of avant-garde prose during the 1920s in Spain, and the concept of ekphrasis as a methodological approach. Prose authors of the avant-garde were prolific during the first third of the twentieth century in Spain. They produced a new aesthetic sensibility with their experimental narrations. All of the works analyzed are examined through the lens of ekphrasis, which is the verbal representation of visual representation. Chapter Two discusses three relational aspects of ekphrasis: word and image, time and space, and the hermeneutics of ekphrasis. The first section examines the difference between narration and description. The second explores the relationship between time and space and the implications of the fact that a visual object is normally associated with space, while a verbal representation is associated with time. This section examines how authors incorporate spatial techniques into their narrations in ways that are commonly employed by painters. The third section of Chapter Two examines iconology and the hermeneutics of ekphrasis and how the authors use the trope of mimesis not to imitate nature but rather to distort reality. Chapters Three, Four and Five closely examine the images described by each author.
This study draws on understanding of ekphrasis from literary studies and art history as well as theories of the literary avant-garde that stems both from Europe and from Spain in particular. Ortega y Gasset’s ideas about the novel and the avant-garde informed the basic assumptions of the authors of the “Nova Novorum,” who often used ekphrasis as a means of avoiding narrative progress. In many cases of ekphrasis found in the “Nova Novorum” collection, the representations of art are deployed in the same way in which the authors utilize metaphor, as a means of digressing from the narrative. These ekphrastic moments allow each author to withdraw from or slow down the narration, providing the author with the opportunity to focus on the use of language itself.
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Howells, Annie. "Avant-garde nu och då : ett föränderligt koncept?" Thesis, Högskolan i Halmstad, Akademin för lärande, humaniora och samhälle, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-33224.
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I denna undersökning har jag utgått ifrån Sassower och Cicotellos bok The Golden Avant-Garde: Idolatry, Commercialism, and Art. I den diskuterar författarna deras uppfattning utav vad som utgör en avant-garde konstnär och de bygger upp en modell för detta. Jag har utgått ifrån denna modell och jämfört en dåtida avant-garde konstnär, Marcel Duchamp, och en samtida, Cory Arcangel, för att ta reda på eventuella likheter och skillnader. Mitt syfte har varit att ta reda på om avant-garde som koncept har förändrats från 100 år sedan, på Duchamps tid, fram till nu. Sassower och Cicotellos teori utgår mycket ifrån en ekonomisk synvinkel och de diskuterar ämnen som konstmarknad och monetärt värde i samband med avant-gardens innebörd. Författarna tar upp ett par, för mig, nya koncept; technoscience och detached engagement, som de menar är avgörande att besitta för att som konstnär anses som avant-garde. En del av mitt syfte har också varit att ta reda på om Sassower och Cicotellos modell är ett givande sätt att undersöka avant-garde som koncept. Jag kommer fram till att modellen är trovärdig och givande samt att det är ett intressant sätt att ta sig an avant-garde som konstform. I min undersökning hittar jag många likheter och olikheter emellan de båda konstnärerna utifrån Sassower och Cicotellos modell och därför kommer jag också fram till att det är svårt att göra en exakt jämförelse på en så pass liten skala. För att komma fram till ett mer omfattande resultat hade jag behövt göra fler jämförelser mellan flera olika konstnärer.
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Pitkin, Carissa. "Against Expression?: Avant-garde Aesthetics in Satie's "Parade"". University of Cincinnati / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1595499202615172.
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Kleberg, Lars. "Theatre as action : Soviet Russian avant-garde aesthetics /". Houndsmills, Basingstoke, Hampshire : Macmillan Press, 1993. http://www.loc.gov/catdir/enhancements/fy0808/95184875-b.html.
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Maslowiec, Anna. "Sonorism and the Polish Avant-Garde 1958-1966". Phd thesis, Sydney Conservatorium of Music, 2008. http://hdl.handle.net/2123/8205.
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Simmonds, Toni Mia. "Mein Kodak Avant-Garde Photography in 1920s Germany". Thesis, Queensland University of Technology, 2004. https://eprints.qut.edu.au/15991/1/Toni_Simmonds_Thesis.pdf.
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This study examines some of the fundamental principles of a number of influential photographers working in Germany in the 1920s and assesses the ways they understood the world through their camera's lens. German photography initiated a complex engagement with the modern world and marked a significant reevaluation of the relationship between the camera, perception and reality. The unique quality of the photographic image's verisimilitude of nature was an important phenomenon in this re-evaluation, as it led to assumptions about the capacity of photography to reveal the truth of reality. László Moholy-Nagy's innovative employment of a variety of photographic techniques provide an effective conduit to modern theories about photography that not only expose the presumptions surrounding the photographic image, but also the inherent complications. I propose that the avant-garde photographic experiments of 1920s Germany radically changed the ways in which humanity perceived and interacted with the surrounding world.
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Simmonds, Toni Mia. "Mein Kodak Avant-Garde Photography in 1920s Germany". Queensland University of Technology, 2004. http://eprints.qut.edu.au/15991/.
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This study examines some of the fundamental principles of a number of influential photographers working in Germany in the 1920s and assesses the ways they understood the world through their camera's lens. German photography initiated a complex engagement with the modern world and marked a significant reevaluation of the relationship between the camera, perception and reality. The unique quality of the photographic image's verisimilitude of nature was an important phenomenon in this re-evaluation, as it led to assumptions about the capacity of photography to reveal the truth of reality. László Moholy-Nagy's innovative employment of a variety of photographic techniques provide an effective conduit to modern theories about photography that not only expose the presumptions surrounding the photographic image, but also the inherent complications. I propose that the avant-garde photographic experiments of 1920s Germany radically changed the ways in which humanity perceived and interacted with the surrounding world.
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Ledesma, Eduardo. "The Historic Avant-Garde, the Neo-Avant-Garde and the Digital Age: Experimental Visual-Textual Forms in the Luso-Hispanic World". Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10286.
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My dissertation examines the experimental poetry of three periods, the historical avant-garde of the 1920s, the neo-avant-gardes of the 1950s, 60s, and 70s, and the digital avant-garde (from the 1990s until the present), drawing on the works of poets from the Luso-Hispanic world including the Iberian Peninsula and Latin America. Scholars such as Renato Poggioli and Peter Bürger define the avant-garde as radically new and unrepeatable, an "advanced" guard that exhausted its aesthetic and political possibilities. I challenge this view by establishing a continuity of avant-gardes that emerge during periods of technological innovation and cultural exchange, introducing new artistic modalities, engaging with emerging media and re-purposing the strategies of past avant-gardes to their own historical conditions. Experimental poetic practices such as visual, kinetic, phonetic, concrete, video poetry, and poetic performance have unfolded over time and across national boundaries in response to global, social, and technological forces. My focus is on poetry broadly understood as works that "experiment" with the interplay between the visual, the sonorous and the verbal, questioning both genre and medium specificity, and contesting traditional discipline-bound tools of analysis. In order to critically approach poems that are often not printed on a page, and depend on more than verbal communication, I draw on disciplines such as literary analysis--including close-readings--media theory, and film analysis, and deploy theories of metaphor, embodiment and affect to interpret works that focus on the materiality of language through typographic experiments, script animation, and performance. The selection includes poems by authors from the 1920s such as Josep M. Junoy, Joan Salvat-Papasseit, José Juan Tablada, Guilherme de Almeida; neo-avant-garde visual and concrete poets from the 1960s such as Joan Brossa, Julio Campal, Edgardo Vigo, and Décio Pignatari; and their contemporary counterparts working with digital media such as Ana María Uribe, Olga Delgado, María Mencía, Arnaldo Antunes, and Eduardo Kac. Examining digital poetry in the light of older poetic practices, I compare and contrast how artists have queried the status of literature as a purely script-based art, considering how notions of experimental literature have changed through time (diachronically), but also isolate each period (synchronically).Romance Languages and Literatures
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Schrank, Brian. "Play beyond flow: a theory of avant-garde videogames". Diss., Georgia Institute of Technology, 2010. http://hdl.handle.net/1853/42865.
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Videogame tinkerers, players, and activists of the 21st century are continuing, yet redefining, the avant-garde art and literary movements of the 20th century. Videogames are diverging as a social, cultural, and digital medium. They are used as political instruments, artistic experiments, social catalysts, and personal means of expression. A diverse field of games and technocultural play, such as alternate reality games, griefer attacks, arcade sculptures, and so on, can be compared and contrasted to the avant-garde, such as contemporary tactical media, net art, video art, Fluxus, the Situationists, the work of Pollock or Brecht, Dada, or the Russian Formalists. For example, historical avant-garde painters played with perspectival space (and its traditions), rather than only within those grid-like spaces. This is similar in some ways to how game artists play with flow (and player expectations of it), rather than advancing flow as the popular and academic ideal. Videogames are not only an advanced product of technoculture, but are the space in which technoculture conventionalizes play. This makes them a fascinating site to unwork and rethink the protocols and rituals that rule technoculture. It is the audacity of imagining certain videogames as avant-garde (from the perspective of mainstream consumers and art academics alike) that makes them a good candidate for this critical experiment.
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Gagné, Marie 1961. "Le mouvement "Tel Quel": neo-avant-garde et postmodernite". Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74534.
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Cette etude propose une analyse de "Tel Quel" en tant que mouvement de neo-avant-garde situe a la frontiere de la modernite et de la postmodernite. Nous y considerons tous les textes de creation (roman et poesie) publies dans la collection "Tel Quel" entre 1960 et 1982, sans negliger l'etude de leur rapport avec la reflexion theorique exposee dans les essais et les articles de la revue. Cette these represente en meme temps un effort de synthese des principales typologies ou tentatives de definition proposees par la critique occidentale pour caracteriser les mouvements litteraires issus des societes post-industrielles: modernite, postmodernite, modernisme, postmodernisme, avant-garde, post avant-garde et neo-avant-garde.
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Otty, Lisa. "Signals and noise : art, literature and the avant-garde". Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/3454.
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One of the most consistent features of the diverse artistic movements that have flourished throughout the twentieth century has been their willingness to experiment in diverse genres and across alternative art forms. Avant-gardes such as Expressionism, Dada, Surrealism, Futurism, Fluxus and Pop were composed not only of painters but also dramatists, musicians, actors, singers, dancers, sculptors, poets and architects. Their works represent a dramatic process of crossfertilization between the arts, resulting in an array of hybrid forms that defy conventional categorisation. This thesis investigates implications of this cross-disciplinary impulse and aims by doing so to open out a site in which to reassess both the manner in which the avant-gardes have been theorised and the impact their theorisation has had on contemporary aesthetics. In the first part of this study, I revisit the work of the most influential theorists of the avant-garde in order to ask what the term “avant-garde” has come to signify. I look at how different theories of the avant-garde and of modernism relate to one another as well as asking what effect these theories have had on attempts to evaluate the legacies of the avant-gardes. The work of Theodor Adorno provides a connective tissue throughout the thesis. In Chapter One, I use it to complicate Peter Bürger’s notion of the avant-garde as “anti-art” and to argue that the most pressing challenge that the avant-gardes announce is to think through the cross-disciplinarity that marks their work. In Chapter Two, I trace how painting has come to be considered as the paradigmatic modernist art form and how, as a result, the avant-garde has been read as a secondary, “literary” phenomenon to be grasped through its relation to painting. I argue that this constitutes a systematic devaluation of literature and has resulted in an “art historical” model of the avant-gardes which represses both their real radicality and implications of their work for these kinds of disciplinary structures. In the second part of this thesis, I explore works which examine and question the aesthetic hierarchies and notions of aesthetic autonomy that the theories of modernism and the avant-garde explored in the first part set up. In Chapter Three, I approach by way of two cross-disciplinary works which employ literature and visual art: Marcel Duchamp’s Green Box (1934) and Andy Warhol’s a; a novel (1968). Works such as these, which slip through the gaps between literary and art history, have, I argue, important implications for literary and visual aesthetics but are often overlooked in disciplinary histories. In my final chapter, I return to the theory of the avant-garde as it emerges in the work of Jean-Francois Lyotard. I examine how his work reconfigures Adorno’s aesthetics by performing the cross-disciplinary movement that it argues is characteristic of avant-garde art works. Tracing his “post-aesthetic” response to Duchamp and Warhol, I explore how Lyotard articulates a mode of practice that moves beyond the dichotomy of “art” and “antiart” and opens out a site in which the importance of the twentieth century avant-gardes is made visible. I conclude by briefly considering the implications of the avant-garde, as I have presented it in this thesis, for contemporary debates on the twenty-first century “digital avant-gardes” and recent writing on aesthetics.
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Iddon, M. "The dissolution of the avant-garde Darmstadt 1968-1984". Thesis, University of Cambridge, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.604920.
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This dissertation is based on an examination of the decline of notions of musical avant-gardism, through a consideration of the parallel apparent decline of its most vital post-war institutional bastion, the Darmstädter Internationale Ferienkurse für Neue Musik. This represents the first study of full-scale study of the Darmstadt Ferienkurse in English. Its primary thesis is that, during the 1970s, notions of musical progress, as articulated after 1945, waned massively in their significance. The ‘big name’ composers, whose careers had been created in many cases by success at Darmstadt, increasingly found their compositional modes of thought being considered on the same level as previously marginalised composers. Indeed, I argue that, especially in the case of Karlheinz Stockhausen, the unprecedented centrality of the compositional work and ideologies of the ‘big shots’, as Feldman termed them, was directly responsible for their later fall. As a secondary argument, I suggest that the abandonment of the more famous composers by Darmstadt in the 1970s, though heavily criticised at the time, was directly responsible for the survival of the Ferienkurse in the burgeoning post-modern era. More than that, the seed sown in the 1970s led to Darmstadt’s revival as one of the most important focal points of contemporary music, under a new director, in the 1980s. A further important factor here was the revitalisation of interests in national styles. The German ‘Explosives Romantic’ and French Spectralists are examined in this context. I therefore argue that this decade has a critical significance, ordinarily marginalised by German writings on Darmstadt. The resources of the archive of the Internationales Musikinstitut Darmstadt (IMD), the convenors of the Ferienkurse, have been exhaustively utilised, integrating correspondence records, recordings of performances and lectures from the Ferienkurse and the IMD’s press archive. In addition, I have conducted a large number of interviews with composers, performers and journalists who were involved with the Ferienkurse. Since I am investing the decline of a cultural construct, rather that any clearly defined musical style, the methodology of the thesis is by necessity multidisciplinary, utilising approaches drawn from cultural studies and sociology as well as from mainstream musicology.
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Hobbs, Stuart D. "The end of the American avant garde, 1930-1965 /". The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487841975356445.
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Montero, Camacho Paulo. "Searching the Cosmos: Ripples from Avant-Garde Cosmological Probes". The Ohio State University, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=osu1562949205379439.
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Arana, Cobos Juan. "Jorge Oteiza art as sacrament, avant-garde and magic /". abstract and full text PDF (free order & download UNR users only), 2008. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3307711.
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Bederson, Aron. "New York avant-garde theatre, values, goals, and resonances". Tallahassee, Florida : Florida State University, 2009. http://etd.lib.fsu.edu/theses/available/etd-07072009-194354/.
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Thesis (Ph. D.)--Florida State University, 2009.Advisor: William Cloonan, Florida State University, College of Arts and Sciences, Dept. of Interdisciplinary Humanities. Title and description from dissertation home page (viewed on Nov. 19, 2009). Document formatted into pages; contains vii, 98 pages. Includes bibliographical references.
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Scott, Rachel Maureen. "ROMANCE PAINTING: l ' avant garde ne se rend pas". Thesis, The University of Sydney, 2016. http://hdl.handle.net/2123/17794.
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What is the framework for discussing abstract painting in 2017? Is it modernism; art history; conceptual art; contemporary art; national or regional boundaries? All of these or none of them? What would happen if all those frameworks were questioned concurrently? How could such an enquiry be navigated through the terrain of the twentieth century and beyond? By taking a selection of paintings by Francis Picabia, Marcel Duchamp, Piet Mondrian, Jacob Bendien, Sophie Taeuber-Arp, Kazimir Malevich, John Power, Hans Hartung, Asger Jørn, Karel Appel, Olle Bærtling, Maria Helena Vieira da Silva, Gene Davis, Frank Stella, Wendy Paramor and Vernon Treweeke made between 1906-1969 as a starting point for a speculative, retrospective enquiry that interprets not only these artists’ reception in art history, but the broader development of twentieth century art, this document realigns artistic judgment and conventional nomenclatures and classifications in order to place the idea of the artist and the artwork above their attendant histories and theories. It revisits the artistic avant garde in Paris and the artists engaged with the burgeoning possibilities for freedom from conventional strictures that led to the dissolution of the reliance on an object or model. By 1912 this convention had been destroyed, followed by other conventions, in order to make or constitute a new kind of painting that defied previous knowledge or viewing conditions: abstract painting. Here the artists Francis Picabia and Marcel Duchamp whose legacies currently offer the most radical intellectual possibilities for freedom and abstraction in art are reassessed in order to understand the potential for what ‘abstract painting’ can and could do.
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Sawczuk, Magdalena. "L'orphisme. Naissance, évolution et héritage d’une avant-garde oubliée". Thesis, Sorbonne université, 2018. http://www.theses.fr/2018SORUL093.
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La notion d’orphisme est née à la veille de la Première Guerre mondiale. Forgée par Guillaume Apollinaire, elle lui sert à désigner l’art nouveau et audacieux de ses amis-peintres, notamment ceux réunis autour de Robert Delaunay. Cependant, dès cette époque, le terme, utilisé de manière imprécise par le poète, pose problème. Depuis, les controverses se multiplient et durant le siècle qui nous sépare de l’invention de ce nom tout ce qui touche à l’orphisme a été remis en cause, jusqu’à son existence même. Prenant position contre cette attitude, nous proposons dans cette thèse d’envisager la production et les conceptions artistiques de l’époque sous un angle nouveau. En nous défaisant des étiquettes traditionnelles de nombreux « -ismes », nous prenons – selon la suggestion d’Apollinaire – le mythe d’Orphée comme un outil permettant de réanalyser l’art du début du XXème siècle. Cette relecture (des parcours des artistes, de leurs sources d’inspiration, des rapports entre différents centres artistiques et acteurs de la scène artistique), ainsi qu’une analyse comparative des œuvres ont pour but de démontrer que ce que nous appelons l’« orphisme » ne fut pas un concept artificiel, appliqué de manière parfaitement arbitraire à la somme des trajectoires – quelques peu accidentelles et indépendantes les unes des autres – de différents artistes, mais plutôt une évolution logique et cohérente, dont l’ampleur et l’impact sur la postérité ne furent jamais appréciés à leur juste valeur. En utilisant le mythe d’Orphée comme fil conducteur structurant notre analyse, nous mettons donc en évidence les grandes lignes de l’évolution du phénomène auquel Apollinaire a donné le nom d’orphisme : les origines et l’interprétation du terme et de la conception mêmes, le contexte historique et artistique de l’apparition et de l’évolution du mouvement, les rapports entre ses différents acteurs, les sources d’inspiration des artistes et enfin une évolution stylistico-chronologique de cette tendanceThe notion of Orphism was born on the eve of the World War II. Forged by Guillaume Apollinaire, it served him to describe a new and bold art of his friends, especially those concentrated around Robert Delaunay. However, the notion was already troublesome back then: ill-defined and unclear, it was used by the poet in a vague way. Since then, the controversies continue to mount and in a century that elapsed since the invention of the notion, everything concerning Orphism is questioned, even its very existence. Contesting this negationist approach, we propose in this thesis to analyze the artistic production and conceptions of this period under a new light. We are distancing ourselves from the traditional labels of “-isms” and we are using the Orpheus myth – as suggested by Apollinaire – as a tool which allows us to reanalyze the art from the beginning of the 20th century. This new analysis – of artists’ career paths, their fascinations, relationships between different artistic centers and between people involved in this avant-garde – and the comparative analysis of artworks serves to prove that what we call Orphism is not an artificial concept, applied in an arbitrary manner to the somewhat accidental and independent career paths of different artists. On the contrary, Orphism is a logical and consistent evolution, whose true importance and impact was never fully appreciated. By using the Orpheus myth as a guiding thread, we are bringing to light the main lines of the evolution of Orphism: the origins and interpretation of the notion and the conception, the historical and artistic context in which the movement was born and was evolving, the relationships between its actors, artists’ inspirations and, last but not least, the stylistic evolution of Orphism over the time
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Casprowiak, Katrina R. 1977. "Fashioning the Woodcut: Raoul Dufy and the Avant-Garde". Thesis, University of Oregon, 2008. http://hdl.handle.net/1794/7479.
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xi, 106 p.Raoul Dufy created woodcut illustrations for a book of poetry by Guillaume Apollinaire entitled, Le Bestiaire, au, Le Cortege d'Orphee, in 1910. Shortly thereafter, radical haute couture leader, Paul Poiret, commissioned Dufy to carve woodcuts to be printed onto fabric and used in Poiret's fashion designs. The goal of this thesis is twofold; to show how the nineteenth-century woodcut revival provided Dufy with a medium that simultaneously suggests popular French tradition and contemporary avant-garde culture and to reveal how Dufy's early employment of the woodcut led to a lifetime involvement with the decorative arts that both contributed to his success and style as a painter. These involvements mark a highpoint in the way the woodcut, which had fallen into artistic disfavor during most of the nineteenth-century, was returned by Dufy to the center of avant-garde culture and fashion.
Adviser: Sherwin Simmons
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Savasir, Gokcecicek. "Re-thinking The Limits Of Architecture Through The Avant-garde Formations During The 1960s: Projections And Receptions In The Context Of Turkey". Phd thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609369/index.pdf.
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An inquiry into the voyage of avant-garde within the domains of art and architecture makes
it evident that avant-garde is ambiguous in meaning as a word, a term, a phenomenon and a
concept. This study aims to decipher avant-garde and to offer a map for its
conceptualization in architecture. Taken not as a monolithic statement but as a unitary
concept incorporating a number of subjects and formations for granted, in this study,
architectural avant-garde is conceptualized as diverse expressions of activated energy of
various subjects that reveal completely different attitudes and productions. Unfolding the
concept in different dimensions, this study is an endeavor to delve deeper into various
layers of theoretical and historical formationsto form a framework for conceptualizing architectural avant-garde through scanning the twentieth-century avant-gardes
to focus on the avant-garde formations of the 1960s by applying this conceptual framework, and the debate on their receptions in the present architectural context of Turkey. Being on the verge of architecture, the avant-gardes during the 1960s, namely Constant Nieuwenhuys, Yona Friedman, Japanese Metabolists, Archigram, Archizoom, and Superstudio, point out that architecture is both an intellectual activity and a physical production. Projections and resonances of these avant-gardes in the Turkish architectural context of the subsequent periods are trail blazed through the expressions of a group of receiving subjects from the Turkish scene of architecture. Hence, this study offers to lay a common ground for debating on the limits of architecture by forming not only the topography of architectural avantgarde in this era, but also a &
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on architectural avant-garde.
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Papalas, Mary Laura. "A Changing of the Guard: The Evolution of the French Avant-Garde from Italian Futurism, to Surrealism, to Situationism, to the Writers of the Literary Journal Tel Quel". Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211977685.
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Franklin, Cary. "Freewoman : Dora Marsden and the politics of feminist modernism". Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.270659.
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Lewer, Deborah Claire. "Dada in Zurich 1916-1920 : ideology and practice". Thesis, Manchester Metropolitan University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.322020.
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Madrid-González, Alejandro Luis. "Writing modernist and avant-garde music in Mexico performativity, transculturation, and identity after the revolution, 1920-1930 /". Connect to this title online, 2003. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1054237342.
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Thesis (Ph. D.)--Ohio State University, 2003.Title from first page of PDF file. Document formatted into pages; contains xv, 238 p.; also includes music, graphics Includes bibliographical references (p. 218-238). Available online via OhioLINK's ETD Center
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Elliott, Deborah E. "The new architecture Iakov Chernikhov and the Russian Avant-Garde /". Connect to resource, 2006. http://hdl.handle.net/1811/6023.
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Thesis (Honors)--Ohio State University, 2006.Title from first page of PDF file. Document formattted into pages: contains 61 p.; also includes graphics. Includes bibliographical references (p. 60-61). Available online via Ohio State University's Knowledge Bank.
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Presence, Steve. "The political avant-garde : oppositional documentary in Britain since 1990". Thesis, University of the West of England, Bristol, 2013. http://eprints.uwe.ac.uk/20924/.
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This thesis explores radical left-wing documentary produced in Britain since 1990. Despite constituting a lively and diverse part of contemporary British film culture, oppositional documentary has been overlooked by film and media scholars for much of the last twenty-five years. Indeed, the last book-length study of radical British filmmaking was Margaret Dickinson’s Rogue Reels: Oppositional Film in Britain, 1945-90 (1999). The lack of subsequent research on the topic suggests that a politicised documentary film culture in Britain is now all but non-existent. Yet, on the contrary, the thesis reveals oppositional documentary to be a thriving aspect of alternative British culture, albeit one that has undergone significant changes as it has adapted to the major technological, socio-economic and political developments that have taken place since 1990. As well as recovering this history, this thesis also suggests some reasons for its neglect in the first place. Asserting an admittedly problematic yet necessary distinction between the aesthetic and the political avant-garde, I claim oppositional documentary as a manifestation of the latter: an explicitly partisan and committed kind of filmmaking in which the need for aesthetic innovation is subordinate to the communication of political ideas. The legacy of a trend dominant in political film theory since the 1970s, I argue that the values and priorities of the aesthetic avant-garde have become the benchmark of political film practice such that the very existence of the political avant-garde has been effaced altogether. Exploring both the video-activist and feature-length efforts of oppositional documentary filmmakers over the last two decades, this thesis re-claims the political avant-garde as an important part of contemporary radical filmmaking in Britain.