Weltabgewandter Sprachspieler oder »radikaler Realist«? Fremd- und Selbstzuschreibung gehen in Bezug auf den Autor Ror Wolf weit auseinander. Dies gründet auf einer nur scheinbaren Paradoxie: In ...Wolfs vielgestaltigem Werk vollzieht sich der Zugriff auf Wirklichkeit gerade im Modus der Sabotage, Unterbrechung, Irritation oder Verzerrung - kurz: im Modus der Störung. Ausgehend von der langen Prosa fragt Barbara Bausch nach möglichen Formen literarischer Referenzialität. Dabei konturiert sie Ror Wolfs experimentelle und zugleich engagierte Poetik des ästhetisch produktiven Störens als Kreuzungspunkt verschiedenster Suchbewegungen des Prosaschreibens in den 1950er bis 1980er Jahren.
Giorgio Manganelli and Achille Bonito Oliva draw a productive and luminous theoretical and textual constellation of conceptual intersections, guided by joining the Gruppo 63 which marks the broad ...orbit of a common operational space - the incipit of an itinerary covered from different locations «through the avant-gardes». The oblique, cross-eyed and mannerist gaze that nourishes the critical operations of Bonito Oliva - Don Giovanni of Italian art criticism of the last half century - is reflected by the elusiveness and histrionics, the ambiguity and the artifice of the Manganelli’s works. The essay, reflecting on some theoretical nodes that attract the two writers - mannerism, falsehood, metamorphosis, nomadism, to name a few - tries to set up a «parallel reading» that allows the echo of Manganelli's literary research to emerge in the «criticism ad art» by Bonito Oliva.
Based on reading and interpreting the key texts on the topic, the article explores the parallels and divergences between Matko Meštrović’s theory of the Neo-Avantgarde art practices of the New ...Tendencies and the Marxist Humanist intellectuals of the Praxis school of thought, in relation to different Marxist approaches to art in Yugoslavia. Both currents were critical, utopian, and avantgarde in nature, advocating for radical social transformation towards a new society and a new human, which they shared with the Yugoslav experimental model of self-management socialism in its initial phase. Despite these common approaches, the article argues that there was no direct connection between Yugoslav Neo-Marxists and Neo-Avantgarde artists and theoreticians. This assertion is reinforced by their different approaches to art and art history.
Starting with the 1950s, the European context saw the emergence of various movements of cultural dissent, which involved both western and eastern countries and led to forms of literary and artistic ...protest against the cultural and political establishment. In particular, underground movement - connected with the American scenario - and Neo-vanguard groups developed in Italy, France, and Germany, while the Soviet area was pervaded by the culture clandestinely disseminated by the Samizdat circuit. This contribution offers a comprehensive view of the multifaceted forms of literary, cultural, and artistic dissent considered by the essays collected here, with special attention to the differences between Western and Eastern areas. These two contexts, in fact, are addressed separately in the following sections: Neo-vanguard and contestation: the two forms of dissent in the western area and The kaleidoscopic planet of Soviet non-conformism: into, beyond and around the Samizdat.
La definizione «nouveau roman», strettamente legata all’attività del gruppo dell’école du regard, rimanda ad un movimento di opposizione contro la tradizione romanzesca che affonda le sue radici in ...una riflessione di taglio neoavanguardistico. I suoi agitatori - scrittori tanto diversi quanto Alain Robbe-Grillet e Michel Butor -, si riuniscono nell’interrogazione sul significato della letteratura e sulle sue possibilità di azione sul reale, condotta tramite la sperimentazione sulla forma-romanzo. Il presente articolo si concentra sulla problematizzazione del tema dell’engagement letterario postulata nei saggi critici di Robbe-Grillet e Butor, e messa in atto nei nouveaux romans, come forma di opposizione alla «sclerotizzazione» che affligge le strutture del realismo.
The present study aims to examine the presence of allegory in literary works in prose, limiting the attention to a specific area of the second half of the twentieth century called ‘letteratura di ...ricerca’. After discussing the most important theories about ‘modern allegory’, and particularly the debate that has developed in the Italian literary critic around the ‘80s, a series of textual analysis are gathered, focusing on several authors, such as Manganelli, Morselli, Volponi, Malerba, Arbasino, Sanguineti, Di Marco. As we can see from the exam of these works, narrative allegories have an impact both on the formal and the content-related level: the allegorical impulse can affect the structure of a novel, its formal aspects and its diegesis, as well as its relations with literary genres.
Las primeras obras de Cecilia Vicuña, Claudio Bertoni, Juan Luis Martínez y Raúl Zurita se adscriben a las nuevas corrientes vanguardistas de los años 60 y 70 no solo por sus temáticas, sino también ...por sus características intermediales. Sin embargo, a cincuenta años del Golpe de Pinochet, todavía falta esclarecer en qué sentido estas publicaciones se vieron afectadas por la sacudida militar. Este estudio pretende complejizar lo que entendemos por experimentación poética a principios de la década de los 70 en Chile, y cómo esta experimentación hace suyo y expande el sentido de lo 'violento en lo nuevo' que describe Theodor Adorno en su Teoría estética (1970).
The first works of Cecilia Vicuña, Claudio Bertoni, Juan Luis Martínez and Raúl Zurita belong to the new avant-garde currents of the 1960s and 1970s not only because of their themes, but also for their intermedial characteristics. However, fifty years after Pinochet's Coup, the effect of the military shock upon their first publications is still to be determined. This study aims to add complexity to what we understand by poetic experimentation at the beginning of the 1970s in Chile, and how this experimentation endorses and expands the sense of the 'violence of the new' that Theodor Adorno describes in his Aesthetic Theory (1970).
El presente texto señala algunas de las categorías fundamentales de la crítica de arte de Octavio Paz entre 1950 y 1967 como aparición y poesía, para demostrar que la noción de "ruptura" se retoma en ...la década de los sesenta para realizar un cuestionamiento profundo a la modernidad mexicana, sugiriendo una teoría de la posmodernidad y de la neovanguardia local. Además del texto llamado "Tamayo en la pintura mexicana" (1950), se hará referencia a otros cinco ensayos escritos en la década del sesenta, en los que se puede encontrar un programa y una conceptualización de su crítica, sustentada en lecturas que realiza de Kant, Heidegger y del estructuralismo, entre otros, cuya influencia es evidente. Además, se señalará que la crítica de arte de Paz es constitutiva de su pensamiento general.
This article offers an overview of the main underground comix in Italy, produced thanks to the underground press during the Sixties and the Seventies. In the course of the analysis some of the main ...developmental lines of the phe-nomenon, certainly underestimated compared to the most famous American comix, are identified, and the fact is foregrounded that the comic represents a common ground of experimentation between the counter-cultural movements and the Neo-avantgarde with the purpose of opposition to commercial logic and the ideology of late capitalism.
