This article sheds light on the place of avant-gardism in socially engaged art and how it is reformulated in practice, through critically examining the art practices of the Yangdeng Art Cooperatives, ...a socially engaged art project in a rural area of Southwest China, where artists create various collaborative artworks and site-specific projects with the local people. I argue that the project contributes to an avant-garde mode of socially engaged art through aestheticizing the ordinariness of the everyday. I term this process ‘ordinary aesthetics’. This term demonstrates potential connections in our everyday lives and redefines the relationship between aesthetics and politics by regarding aesthetics as a perceivable sensate and a distribution of the sensible. In aiming to promote the ordinary, artists engage in local residents’ everyday lives by transforming their ordinary objects, spaces, and incidents into works of art. It is art that makes their ordinariness extraordinary. Technically, the artists blur the boundary between the real and the fictional to aestheticize the everyday lives of local residents. In their practices, ordinary aesthetics consequently becomes a means to rediscover the avant-gardism of socially engaged art.
The purpose of the article is to discuss the perception of Kafka's The Castle (Das Schloss, 1922) in the novels The Peaches Killers (Die Pfirsichtöter, 1972) by Alfred Kolleritsch, Among the Bieresch ...(Bei den Bieresch, 1979) by Klaus Hoffer and Into the Castle (Ins Schloss, 2004) by Marianne Gruber. The reference to the writers and their works is no coincidence; preference is given to the artists whose creative manner reflects the most fashionable trends in Western European literary process - from avant-garde to postmodernism. The authors of the article deliberately arrange the analysed works in chronological order to follow the stages in the development of German postmodernism which originates from modernist literature. The universal Kafkaesque discourse suggests the existence of direct and inverse connections between the author and the reader, the extra-textual tradition and reality. The article focuses on the narrative strategies of Austrian avant-garde (Kolleritsch), analyses postmodern discourse (Hoffer, Gruber) in the Austrian literature of the second half of the 20th and early 21st centuries, reveals signs of typological similarity between the novels by Kafka, Kolleritsch, Hoffer, and Gruber, which seems productive for understanding the influence of modernist literature on the development of the postmodern paradigm in the German-language literary space. Austrian literature, to a greater extent, is fraught with the search for new forms of self-expression rather than with the artistic “overcoming the past” - the awareness of collective guilt. It brought to the forefront the authors in whose works the age of change was reflected. Literary avant-garde has been replaced by authors who skillfully “play” with the previous culture and establish a dialogue with the present. The comparative methodology is to reveal the perception of "Kafkaesque discourse" in modern Austrian literature and to draw conclusions about the ways authors treat ontological questions.
Esta investigación pretende demostrar que la significación textual del poemario Ande (1926) de Alejandro Peralta contiene una configuración que es homóloga a la estrategia poética y política del ...vanguardismo indigenista del grupo Orkopata. Para tal efecto, utilizamos las categorías de la semiótica de las prácticas elaborada por Jacques Fontanille y el concepto de cosmismo. Estas categorías permiten delimitar una tensión, propia de la instancia de la enunciación del poemario, entre el respeto de los lineamientos estratégicos del grupo y su cuestionamiento. Esto es así porque, si bien existe una correspondencia entre poética y proyecto político, la temática de la sexualidad femenina en el poemario rompe con
esa armonización utópica y permite visibilizar una subjetividad enunciativa dividida que, por un lado, se solidariza con la propuesta grupal, pero que, por el otro, no puede tramitar lo que para él resulta una anomalía ingobernable, la del goce femenino.
Although the term “critical composition” was paradigmatically used by Nicolaus A. Huber in his text “Kritisches Komponieren” from 1972 (Huber 2000), one can argue that the early atonality and ...dodecaphony of the Second Viennese School — and their theorization by Adorno — laid the foundation for following generations of composers who perceived their work as a product of critical thinking. Following an Adornian rationale, early atonal composition would be viewed as an immanently negative and aesthetically indrawn last bastion against the historical tendency of the material in Western societies, only pre-conceptually connected to society, whereas many post-war composers turned toward analytical or politically committed forms of composition that introduced music as a means of critically reflecting on the interrelations between musical and social spheres. By outlining the emancipatory potential of John Cage’s music philosophy, I want to counterpoint the conventional notion of “critical composition” as a phenomenon within the post-war avant-garde, which is deeply rooted in the European intellectual tradition of a sovereign subject. Against this background, the critical potentials of contemporary conceptions of composition “as an expanded field of artistic practice encompassing a range of different media and symbolic relationships” (Barrett 2016) can be grasped beyond the ideals of work autonomy and material progress.
Until late in the twentieth century Apollinaire’s war poems have been underestimated by the majority of French literary critics. After having briefly passed in review the principal reasons for this ...hostile attitude, the present article proposes a succinct characterization of Apollinaire’s war poetry, by means of an analysis of “Merveille de la guerre” (Wonder of War), one of the most criticized and misunderstood poems.
Situating Anna Mendelssohn within the nineteenth-century, highly feminised genres of floral poetry, anthologies, and dictionaries, this essay argues that flowers become a means by which Mendelssohn ...performs feminist oscillations between sentimentality and sublimity. Through genetic criticism and close reading, the essay attends particularly to Mendelssohn's archived and published instantiations of tulips from 1974 to 1995, culminating in her great poem 'Silk & Wild Tulips' (1995). By tracking floral motifs in Mendelssohn's work, the essay unearths the thorough labour of her editorial processes, as well as some innately conservative strands of her artistry and ideology. At their most ideal, Mendelssohn's flowers stand for an inarticulable, as-yet-unattainable, and distinctly feminised form of communication, and in this guise, they are a catalyst by which Mendelssohn strives to redefine her masculinist avant-garde inheritance. Numerous unpublished archival materials are referenced, among them, Mendelssohn's prison diaries, marginalia, pamphlets, prose typescripts, and poem manuscripts.
Gabriel Miró con «El Sepulturero» (1910) opta deliberadamente por una escritura que lo sitúa en la corriente del humorismo negro que pronto van a celebrar los mismos surrealistas. Le asigna a la ...Literatura una misión de ludismo, lo que, sin embargo, no le quita su poder de crítica sarcástica de lo coercitivo que resalta de la sociedad española de la época.
The purpose of the paper is to follow the reception of F. Kafka's “The Castle” in contemporary Austrian literature based on the following novels: “The Peaches Killers” (“Die Pfirsichtöter”, 1972) by ...Alfred Kolleritsch, “Among the Bieresch“ (“Bei den Bieresch”, 1979) by Klaus Hoffer, and “Into the Castle” (“Ins Schloss”, 2004) by Marianne Gruber. The attention has been focused on the writers, whose creative manner reflects the tendencies in contemporary Western European literary process – from avant-gardism (A. Kolleritsch) to postmodernism (K. Hoffer, M. Gruber). The intertextual links between the works under the consideration and F. Kafka's novel have been established. The “Kafkaesque discourse” suggests that there exist direct and inverse links between the author and the reader, the extra-textual tradition and reality. The comparative methodology has been used to reveal the mechanism of reception of the “Kafkaesque discourse” in contemporary Austrian literature, as well as to draw conclusions about the ways the authors treat ontological questions. Particular emphasis has been placed on the narrative strategies of Austrian literary avant-gardism, postmodern discourse of the second half of the 20th and the beginning of the 21st centuries, typological similarity of the analyzed novels, which seems productive for understanding of the influence of literature during the period of modernism on the emergence of a postmodern paradigm in the German-speaking literary space.
Within the combinatory poetry, the palindrome reactivates the debates regarding the pertinence of the interpretative theories of translation. In the Russian literature the palindrome has been known ...ever since the 17th century. It began to draw the specialists’ attention at the same time as the experiments of the Russian futurists, especially those of Velimir Hlebnikov. Starting from certain theoretical patterns, the present paper synthesises the reasons why the palindrome is deemed to be an example of untranslatability and illustrates some non-equivalence situations by text excerpts from the modern Russian poetry. Moreover, it tries to establish whether the palindrome is a completely aleatory composition aiming at poetic entertainment, or a complex structure imposing a hermeneutic act the translator cannot ignore in the transposition process.
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