By Dietrich Scheunemann
This choice of severe essays explores new techniques to the learn of avant-garde literature and artwork, movie and structure. It deals a theoretical framework that avoids narrowly outlined notions of the avant-garde. It takes under consideration the range of creative goals and instructions of a number of the avant-garde routine and encourages a large and open exploration of the multifaceted and infrequently contradictory nature of the good number of avant-gardist thoughts. person essays be aware of cubist college and dadaist photomontage, on summary portray through contributors of the Dutch staff De Stijl, on verbal chemistry and dadaist poetry and on physique paintings from futurism to surrealism. furthermore, the gathering needs to open up the dialogue of the avant-garde to an intensive research of neo-avant-garde actions within the Nineteen Fifties and Nineteen Sixties. for many years the appreciation of neo-avant-garde artwork and literature, movie and structure suffered from a common and all-inclusive rebuke. This quantity is designed to give a contribution to a step forward in the direction of a extra useful and extra specified research of this study box. Contributions contain a dialogue of Warhol’s multiples in addition to Duchamp’s editioned readymades, kinds of concrete and electronic poetry in addition to the architectural “Non-Plan”. the most physique of the quantity relies on displays and discussions of a three-day study seminar held on the college of Edinburgh in September 2002. The examine workforce shaped round the Avant-Garde venture at Edinburgh will proceed with its efforts to difficult a brand new conception of the avant-garde within the coming years. Contents Preface I. Theorising the Avant-Garde Dietrich SCHEUNEMANN: From university to the a number of. at the family tree of Avant-Garde and Neo-Avant-Garde Rhys WILLIAMS: Wilhelm Worringer and the old Avant-Garde Hubert van den BERG: at the Historiographic contrast among old and Neo-Avant-Garde II. Reviewing the Autonomy of artwork Michael WHITE: Abstraction, Sublation and the Avant-Garde: The Case of De Stijl David HOPKINS: Sameness and distinction: Duchamp’s Editioned Readymades and the Neo-Avant-Garde Ben HIGHMORE: Paint it Black: advert Reinhardt’s Paradoxical Avant-Gardism III. at the Alchemy of the notice Keith ASPLEY: Verbal Chemistry and urban Poetry Anna SCHAFFNER: How the Letters Learnt to bop: On Language Dissection in Dadaist, Concrete and electronic Poetry Jacob EDMOND: American Language Poetry and the Definition of the Avant-Garde IV. physique Arts Günter BERGHAUS: From Futurism to Neo-Futurism: Continuities and New Departures in Twentieth-Century Avant-Garde functionality Olga TAXIDOU: Actor or Puppet: The physique within the Theatres of the Avant-Garde Uta FELTEN: Fragmentation of the physique in Spanish Surrealism V. the forefront in Cinema and structure David MACRAE: the skin of phantasm: Avant-Garde Apperception and Antecedence in Structural/Materialist movie Gérard LEBLANC: What Avant-Garde? Richard WILLIAMS: the boundaries of “Non-Plan”: structure and the Avant-Garde VI. Crossing the Genres Jennifer VALCKE: Montage within the Arts: A Reassessment Tania ØRUM: ability and Metaphors of swap: know-how and the Danish Avant-Garde of the Sixties Klaus BEEKMAN: Literature less than the impression of movie: On Dutch Author-Critics of the Avant-Garde and Neo-Avant-Garde record of Illustrations Index
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Extra resources for Avant-Garde Neo-Avant-Garde (Avant-Garde Critical Studies 17)
The rejection of conventional habits of thought and the advocacy of a new way of seeing, a new epistemology, were associated variously with quasi-religious conversion or political revolution. In Einstein’s language Vision was associated with the suspension of the subject-object dichotomy and characterised by “intensity” and “simultaneity”, two notions which dominate the early avant-garde. The formal distortion of African art seemed to guarantee both intensity and perspectival simultaneity. In their efforts to define the essence of man, to project the image of the new man, the expressionists had before their own eyes examples of pre-civilized, pre-rational, essentially religious existence which they called primitive, locating it indiscriminately in the world of Gothic art, in the South Seas, or in Africa.
The semblance of the autonomy of the artwork, however, has vanished forever. BIBLIOGRAPHY Apollinaire, Guillaume 1962 The Cubist Painters. New York: Wittenborn. ) 1973 Futurist Manifestos. London: Thames and Hudson. Baldassari, Anne 1997 Picasso und die Photographie. Munich: Schirmer/Mosel. Benjamin, Walter 1973a “Theses on the Philosophy of History”. In: Benjamin, Illuminations. Fontana, 255–266. 1973b “The Work of Art in the Age of Mechanical Reproduction”. In: Benjamin, Illuminations. Fontana, 219–253.
In: Lyotard, The Postmodern Condition: A Report on Knowledge. Manchester: Manchester University Press, 71–82. 1985 “Note on the Meaning of ‘Post-‘”. In: Lyotard, The Postmodern Explained: Corresponce 1982–1985. Minneapolis: University of Minnesota Press, 64–68. 1993 “The Sublime and the Avant-Garde”. In: Postmodernism. A Reader, ed. Thomas Docherty. New York: Harvester Wheatsheaf, 244–256. Marx, Karl 1960 “Der achtzehnte Brumaire des Louis Bonaparte”. In: Marx / Friedrich Engels, Werke, vol. 8.