The research presented the tagged (aesthetic and expressive characteristics in the works of Jean Dubuffet), so the research objective was: to know the aesthetic and expressive characteristics in the ...works of (Jean Dubuffet), and the research included four chapters. The aim of the research, the limits of the research, and the definition of terms. The second chapter included four topics. The first topic presented the aesthetic essence and style, while the second topic dealt with expressionism: approaches in concept and meaning. While the third topic was preoccupied with presenting the aesthetic and expressiveness in the drawings of modernity and beyond, while the fourth topic dealt with: Jean Dubuffet and the experience of raw art. The third chapter was devoted to research procedures. In order to achieve the aim of the research, a number of results were reached in the fourth chapter, including: 1- The aesthetic and expressive characteristics were manifested in all samples of the sample, including: instinct / emotion / mood / violence / madness / vulgarity / ugliness / distortion / rebellion / audacity / research, experimentation and innovation. 2- The value of his works and his artistic experience was embodied through his interest and fondness for raw art derived from the products of children, insane, and prisoners. He considered primitive and popular art as a source of aesthetic value for him at the expense of all aesthetic and philosophical concepts, as shown in Model (1 and 3).
According to many researchers, Russian formalists do not want to recognize the influence of German expressionism on their work. This statement leads to a distinction between both theories in many ...fields, such as the field of cinema. In this sense, it is common to read nuanced definitions of expressionism and formalism. The present article tends to verify the truthfulness of these definitions and to show that formalism could be an extension of expressionism through an analysis of two reference works:
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) (1926) by Rudolf Kurtz et
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) (1927).
This collection, for the first time, explores women’s self-conceptions and representations of women’s and gender roles in society in their own Expressionist works. How did women approach themes ...commonly considered to be characteristic of the Expressionist movement, and did they address other themes or aesthetics and styles not currently represented in the canon? Women in German Expressionism centers its analysis on gender, together with difference, ethnicity, intersectionality, and identity, to approach artworks and texts in more nuanced ways, engaging solidly established theoretical and sociohistorical approaches that enhance and update our understanding of the material under investigation. It moves beyond the masculine, “New Man,” viewpoint so firmly associated with German Expressionism and examines alternative, critical, and divergent interpretations of the changing world at the time. This collection seeks to broaden the theorization, scholarship, and reception of German Expressionism by—much belatedly—including works by women, and by shifting or redefining firmly established concepts and topics carrying only the imprint of male authors and artists to this day.
The article is an essay that reflects on representations of Per Lange in recent literary historiography, and moderates Aage Jørgensen’s point of view (presented in his article ”Per Lange’s poetry: ...Reception history”) that Lange has been banished from recent literary history. The article then takes a closer look at selected Lange poems, including ”Nattergal”, and draws parallels to Per Højholt’s poetry. The lyrical qualities in the Lange poems, ”St. Antonius’ fiskeprædiken”, ”Vaar” and ”Bakkantinderne” are brought forward. Lange’s poetry is compared to Tom Kristensen’s and in conclusion, the question is asked whether ”Bakkantinderne” can be called both a feminist nightmare vision and a nightmare vision (but paradoxically in solidarity) of feminism?
Artiklen former sig som et essay, der reflekterer over fremstillinger af Per Lange i den nyere litteraturhistorieskrivning, og modererer Aage Jørgensens synspunkt (jf. hans bidrag til dette bind af Nordica, ”Per Langes lyrik. Receptionshistorien”) om, at Lange er forvist fra nyere litteraturhistorie. Artiklen ser herefter nærmere på udvalgte Lange-digte, blandt andet ”Nattergal”, og drager paralleller til Per Højholts digtning. Der peges på de lyriske kvaliteter i Lange-digtet, ”St. Antonius’ fiskeprædiken”, ”Vaar” og ”Bakkantinderne”. Der drages linjer til Tom Kristensens digtning, og der spørges afslutningsvis, om ”Bakkantinderne” kan kaldes en på samme tid feministisk mareridtsvision og en mareridtsvision (men paradoksalt solidarisk) af feminisme?
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