Contrary to the widespread notions of an irreconcilable conflict between the classical and avant-garde, the author argues that both dispute the basic idea of modernity: the idea of progress. The ...author concludes that it is necessary to repeatedly renew the debate of the "classics'" continuous referral to the authority of the past and the "moderns'" call for change, breakthrough, cessation. Art remains vital as long as it stays within the limits of that dispute, while with its eventual discontinuation, art would be forced to fade away. Otuda nema nikakve protivrecnosti u tome sto pojava avangardi ide ruku pod ruku sa rastom potrebe za klasicnim.
A Cultural History of the Avant-Garde in the Nordic Countries 1925-1950 is the first work to consider all the arts and to discuss the role of the avant-garde not only in aesthetic terms but in its ...cultural and political context.
Special Issue of Arts: “Slavic and Eastern-European Visuality: Modernity and Tradition” is focused on researching interactions of art and literature, of philosophy and visual poetry, and generally on ...theoretical aspects of cultural analysis.
In the decades following World War II, the creation and expansion of massive domestic markets and relatively stable economies allowed for mass consumption on an unprecedented scale, giving rise to ...the consumer society that exists today. Many avant-garde artists explored the nexus between consumption and aesthetics, questioning how consumerism affects how we perceive the world, place ourselves in it, and make sense of it via perception and emotion. Delirious Consumption focuses on the two largest cultural economies in Latin America, Mexico and Brazil, and analyzes how their artists and writers both embraced and resisted the spirit of development and progress that defines the consumer moment in late capitalism. Sergio Delgado Moya looks specifically at the work of David Alfaro Siqueiros, the Brazilian concrete poets, Octavio Paz, and Lygia Clark to determine how each of them arrived at forms of aesthetic production balanced between high modernism and consumer culture. He finds in their works a provocative positioning vis-à-vis urban commodity capitalism, an ambivalent position that takes an assured but flexible stance against commodification, alienation, and the politics of domination and inequality that defines market economies. In Delgado Moya’s view, these poets and artists appeal to uselessness, nonutility, and noncommunication—all markers of the aesthetic—while drawing on the terms proper to a world of consumption and consumer culture.
Children's Literature and the Avant-Garde Druker, Elina; Kümmerling-Meibauer, Bettina
Children's literature, culture, and cognition,
2015, 2015-07-29, Letnik:
5
eBook, Book
Odprti dostop
This chapter addresses what an avant-garde for children might look like, and what it might do. It is called "Surrealism for Children: Paradoxes and Possibilities" because the very notion of an ...avant-garde for children strikes the author as both paradoxical and not, and as both possible and impossible. In making this claim, the author argues with - and revises - his own analysis in The Avant-Garde and American Postmodernity: Small Incisive Shocks (2002), which took for granted that an avant-garde for children was both possible and critically viable. What he once accepted as a certainty, he now thinks of as an intriguing question. The answer resides among the three main (and overlapping) areas around which the paradoxes and possibilities of a Surrealist children's literature circulate: knowledge, experience, and audience.
This article describes the short but remarkable sociopolitical life of the Russian rock group Pussy Riot. The group became famous in 2012 not only for the political content of its performances but ...for its transgressive performativity: its violation of established public settings and its creation of disturbing anti-authoritarianism images of today’s official Russia. The analysis aims to establish Pussy Riot as part of an avant-garde movement and as a radicalization of the very idea of the avant-garde against the familiarity of the public aspect of everyday life. Public ‘normalcy’ reveals itself to be complicit in that what should be criticized is instead taken for granted, and legitimized. Pussy Riot is a new art avant-garde in terms of both how it relates to activism, social justice, feminism, and art, and to the general public, not only to the art world.
In 1960, when World War II might seem to have been receding into
history, a number of artists and writers instead turned back to it.
They chose to confront the unprecedented horror and mass killing ...of
the war, searching for new creative and political possibilities
after the conservatism of the 1950s in the long shadow of genocide.
Al Filreis recasts 1960 as a turning point to offer a
groundbreaking account of postwar culture. He examines an eclectic
group of artistic, literary, and intellectual figures who strove to
create a new language to reckon with the trauma of World War II and
to imagine a new world. Filreis reflects on the belatedness of this
response to the war and the Holocaust and shows how key works
linked the legacies of fascism and antisemitism with American
racism. In grappling with the memory of the war, he demonstrates,
artists reclaimed the radical elements of modernism and brought
forth original ideas about testimony to traumatic history.
1960 interweaves the lives and works of figures across
high and popular culture-including Chinua Achebe, Hannah Arendt,
James Baldwin, Amiri Baraka, Paul Celan, John Coltrane, Frantz
Fanon, Roberto Rossellini, Muriel Rukeyser, Rod Serling, and Louis
Zukofsky-and considers art forms spanning poetry, fiction, memoir,
film, painting, sculpture, teleplays, musical theater, and jazz. A
deeply interdisciplinary cultural, literary, and intellectual
history, this book also offers fresh perspective on the beginning
of the 1960s.
