In its beginnings, Zenitism was close to the after However, since a wealth of material has been second generation of Italian Futurists and their machine cult, rediscovered, both in the literary and artistic field. Also in the ideas of dynamic movement and belief in progress were evident in domains of music, theatre, architecture and applied arts many new Zenitist manifestoes, poems, theatre pieces and in the typographic names are being brought to the surface, year after year.
The Futurist interest in merging the two spheres of art and life Zenitism was very receptive to industrial and mechanical meant that Futurist literature obtained a great deal of inspiration innovations, such as railways, machines, photographic cameras, from the rapidly changing social environment.
In the theatre, and consequently experimented with photography, film, industrial cooperation with well-known actors from the variety and music- design etc. The genres of a distinctly popular mould. Both ideologies were founded on a critique of a decadent, conservative and agonizing Europe. Polemics about the origins of Zenitism and its Futurist connections continued until the late s. Also politically, he never agreed with the political choices of Futurism. Leftist and radical, they perceived Pan-Futurism, like principles, such as aggressive opposition to Realistic literature.
In their publications, the Ukrainians responded later. The short period of the Democratic Republic of Georgia to Futurist events in Western and Central Europe and tried to - , followed by Russian annexation and integration into create links between Futurism and Dada. The repeated colonization of the country comparison to their Russian colleagues? Modernist culture was announced as being hostile to Soviet interests, and avant-garde authors, including all H2SO4 members, were forced to renounce their cultural identity. Diulgheroff designed villas, restaurants, residential Fried elte. Later on, she became a dramatist, writer means of expression.
Diulgheroff responded with enthusiasm to and translator. This composition of images. At the same time, day. Although he was educated in prestigious art about Futurism — something rare for her age — to having been institutions in Europe, his artistic activities during the s an important go-between between Hungarian intellectuals and — mainly design and advertising — were no longer discussed in Marinetti. Artists with multiple national identities often face difficulties in finding recognition in conventional historical narratives.
At the beginning of the twentieth century, the Slovenian cultural Nicola or Nicolay? Dyulgerov, Diulgheroff, Djulgheroff or even field was highly attentive to new artistic movements in Italy. Consequently, many writers Emilia David established personal contacts with Italian Futurists. My paper will present the main phases, was only published in the s. Alongside other important aesthetic programme of Italian Futurism. A particular emphasis will towards the Italian movement became rather ambivalent.
However, he ceased to write poetry The second part of my paper will discuss the opposite and turned towards ultra-leftist political positions. For a short political choices made by the Futurists and the Romanian avant- while, he managed to lead a small artistic group, and his ground- garde in the s. But his followers soon turned against him, nevertheless acted as Left-wing antifascists, with some being accusing him of authoritarianism and haughtiness. After , members of the Communist Party. Communist path. Nothing new and Ann Stephen seems to be the order of the day.
Perhaps this is because the University of Sydney determinant critique of art has prevailed for so long. To say that a. One consequence has been perception. Contemporaries —in order of a concerted challenge to bring down the division. It leaves the to achieve art-life reconciliations or utopian harmonies, cross- question of whether the sun might still shine on the nothing new? Second, this session will l.
This panel therefore seeks to explore the complexity of such oppositions; The intervention is situated in the field of architecture and critical their permutations and variations in contemporary art; and positions developed by artists: an always renewed criticism of whether and how these terms have been transformed or the modern architecture, by means of a return to realism and to transmuted in the context of contemporary art practice and theorization. It is more ambiguous concerning its materiality. The scripts of the two videos are derived and of realism plans diving into the rocks, exposing the concrete from roundtable discussions originally published in Playboy walls to climatic chances of the sea.
As the title in their work. We will focus on high-low in terms of materials. To further complicate the dissonance of high and low, from or New buildings for Berlin in reference to Mies van the settings for these two works are elegant examples of mid der Rohe , Isa Genzken realizes sculptures in a critical approach twentieth-century modernist architecture. The architectural toward Bauhaus architecture and design. Goulding Summerhouse built in phase, we will establish the difference in terms of their differing Enniskerry near Dublin by the Irish architect Ronnie Tallon is the intentions.
By the use of poor materials, implemented by attention away from the dialogue of the videos to the tone of the traditional assemblage techniques, sculptures and installations interactions between the participants and to the ideas and ideal oscillate between ideality and radical realism. We shall then analyze a theoretical continuation of the refusal of expressive subjectivity. New development arisen from this context of ceaseless contemporary Sexual Lifestyles is more engaging than and Beyond and criticism of modernity: the concept of altermodernism developed demonstrates not only the existence of conflicting positions and by Nicolas Bourriaud.
Thea Djordjaze, by mixing various cultures perspectives, but also the way these conflicting views enter into in poor materials installations, participates to this aesthetics. We debate. In other words, perspectivism enables and facilitates shall then define new approaches in architecture generated by this debate, rather than supporting the kind of self-expressive identity concept and inspired by the aesthetics of these two artists.
Even in some works of an eminent Polish modernist masters to the followers, acolytes and appropriators. Needless to exhibited in Paris between and Among this pivotal say, Hasior was no ardent Catholic; he just produced convincing group of exiles was the Australian expatriate John W. Power who, metaphors of an irrational jump from real and unbearable world. In Poland, the continuing appeal for a decorative and yet critical modernism.
A war about representation of AIDS has been waged quite illness of a common man though an artist - a representation of recently. Now, after all these campaigns, we know much more helplessness and powerlessness. I do not know, however, any analysis of alcoholism represented in Polish art under Communism and after it. Alcohol overuse has been long perceived as almost natural within autonomous artwork because of a transgressive reading. He locates began to photograph and video people, everyday objects and the political significance of these artistic movements in their rituals that she encountered in and around her hometown.
In the last decade or so, her documentary type works, formulations, with a dual focus on how her work connects with a which choreograph fragments of post-Soviet life, have garnered history of realist practice, and participates in refiguring realism in the attention of the international art world. Part of this interest contemporary times. Wood open. In or as inimical to symbolic artifice or modernist technique. The relativists won, however, activities of contemporary Russian life with overtly aestheticising and by the end of the 20th century, and the first decade of the techniques and high art references.
Her video The Train , 21st, it had become a commonplace that modernism itself was for example, montages observational video footage of travelers many, not one. The received wisdom on the latter is that is not supposed to be there. All of Avantgarde-Literatur und -Film im this is far removed from the terms of the modernist canon. It also means looking at the some of the karoly. What sustains or subtends the expanded category now? Aber auch compensation or a trinket.
So…my paper can be seen as asking a question: und damit antikapitalistisch, emanzipatorisch und gegen den is aesthetic autonomy a dead letter or all we have left? Krieg eingestellt. Die die Session verbindende Hypothese ist, dass diese etwas erdige Popularisierung von vielen seiner Zeitgenossen in Zentraleuropa aufgegriffen und auf verschiedene Art und Weise weiterentwickelt worden war — am Ende oft durchaus highbrow, also hochintellektuell. Es wurde in der Fotografie experimentiert, im Film, durch den direkten Eingriff, durch Handarbeit, bzw.
Deutlich ist dieser Ansatz auch in gabriele. Der Gedanke, reproduktive Medien in aufgegriffen wird Dietmar Unterkofler. Ende der 20er Jahre waren einige hochinteressante der er Jahre wurde auch dem neuen Medium Film Volkslied-Adaptationen im Zeichen des Surrealismus entstanden. Aufmerksamkeit gewidmet. The process visually represented in the poem previously Diskussionen innerhalb der Avantgarde. I would like to zoltan. Anhand einer detaillierten abstraction and emigration. Jahren gewidmet werden, denn aller Wahrscheinlichkeit nach spielt die als abrupt empfundene Hinwendung zur Bildarchitektur Dietmar Unterkofler und zur Abstraktion eine zentrale Rolle in der ablehnenden Univerzitet u Novom Sadu Rezeption durch das ungarische Publikum und durch die dietmar.
Konzepkunst ca. Die Bildungeinrichtungen und Akademien radomska amu. Inspiriert von Bauhaus, is anchored to the notion of a horse to something which sense Paul Klee oder auch Joseph Beuys formulieren sie eine harsche is transient and fleeting birds.
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The general University of Copenhagen strategy of cultural policy which came to bear from the early tania hum. The general to all social and geographic parts of society. During the s unexpected viewed democratization as a question of distributing high art to synergies between avant-garde art, popular genres and cultural all social layers and geographic corners of society.
The elitist policy emerged, producing what is nowadays recognised as a and monocultural bias of the new cultural policy was, however, specific Nordic model of cultural policy. Avant-garde artists, however, different concepts of popular neo-avant-gardes in Scandinavia often found popular culture fascinating and inspiring in their own experimental work. This was related to political cultural policies and new kinds of institutional practice as well circumstances in occupied Denmark and later ideas of the aesthetics as in experimental art adopting impulses from popular culture of the welfare-state.
The paper will discuss different conceptions or trying to reach out to a broader audience by incorporating of the use of popular material in avant-garde-production by Asger elements of commercial culture. He produced a large number of manuscripts and University of Helsinki sketches, which were never realized, but are a key to his aesthetic harri.
My examples will be taken from 1. These movements reached their peak at the end of the decade with the occupation of the Old Student House in Helsinki The avant-garde of the 50s and 60s developed a wide range of by left-wing students, the court cases against the writer Hannu intermedia forms, on which the aesthetics of performativity had Salama and the painter Harro Koskinen and the emergence of a great impact.
Consequently, the main focus shifted from the underground artistic movements in Turku and Helsinki. This politically in electro-acoustic studios, as well as in events performed in real paradoxical situation, with the crisis of the Prague occupation space.
Similar tendencies occurred in avant-garde music, which in as a dominant element, was a motivating factor in the developed new genres and forms: concrete and electronic music, development of a new poetics and rhetoric in literature. In Sweden, musicians, poets and painters were involved in both theoretical discussions and experiments of crossing the boundaries between arts and media. It is significant that in his poetry, as new values into poetry, music and the visual arts. Modernists tended to view a displacement of the distinction between high and low cultural popular culture as a kind of commercial brainwash.
Avant-garde forms and expressions. More specifically, it will explore how artists, however, often found popular culture fascinating and mass media and new media technologies were employed inspiring in their own experimental work. The painter Per Kirkeby to question this divide. What is between high and low and made room for interaction with the of special interest in this context is how young experimental public, avant-garde visions of democratic access to art and public artists, partly due to cultural policy in Sweden during the postwar communication channels made a lasting impact on the cultural decades, were invited to participate in mass media production as policy in the Nordic countries.
At the same time, these artists would subvert, in an innovative way, the expected output of these media productions. Such strategies would not only affect the status of former low culture expressions — pop music, folk art, comics, pornography — but also transform artistic practice, and pave the way for later hybridizations during the decade. In this paper some of the contradictions and tensions involved in this mass media oriented art practice will be discussed.
For example, at what point will a tactics of appropriation and intervention loose its critical edge and get absorbed by its target? Soon, online news sites and bloggers latched on technologies help bring to focus the complex interplay between to the painfully-earnest production and series of spoof videos aesthetics and politics common to all modern community quickly spread throughout the web. One of the versions features a interaction.
Historically speaking, few other media formats have Torrenting party while other includes a parody in which someone transformed social frameworks as acutely as contemporary online bleeps out references to Windows 7, making the whole thing networks have; the diverse communities and social aggregates sound dirty. But other than the obvious wish to make subject, re-imagining voice and identity as collective formations fun of Microsoft while parodying their promotional video hidden to be culled from the cultural and political margins of the state.
These videos excavate between individual and collective modes of agency that has historical counterculture practices while supporting and dominated ideologico-political argument for the past century. New technologies of unqualified knowledge construction, cultural progress and were considered as the carriers of centralized bureaucracy, economic prosperity.
How is it then that with itself, to radical thought. Recalling the views of social theorists the emergence of the personal computer and the Internet, like Suzanne Gaschke, for whom the practice of digitization technological tools were conceptualized as the symbols of a remains foremost an instrument of rationalization, the session utopian transformation, as an idea amplifier subjected to personal will organise dialogues into how information and network desires and associated with concepts of a more authentic self?
Although the common problematic cohesion between instrumental and aesthetic conception is that the new technology assimilated into our relationships to production. Focusing on television. What remains interest. Yet what is of greater interest are his efforts to explore a unclear is how to answer the question: if Big Brother is dead, then broader field of televisuality: the epistemological frame proper to who is out there watching?
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This presentation focuses on his work as an art critic tradition and an international vocation, to critique stale and to elucidate how the categories of high and low modernism may conservative positions and to examine the impact of a dramatic apply to his aesthetic writings. But what we will argue here is — , Lorca — , Chacel — and that his stance in the contested territory of high modernism needs Zambrano — , will lead us to establish a genealogy further appraisal.
In a fundamentally meanings to art, the condemnation of materialism and the search innovative way, the work of these intellectuals ranges from fiction for the spiritual in art. Our approach also aims at situating the experience into their work. The governing principle behind his aesthetic was explored the figures of both the clown and the histrion.
For described by the poet as the desire to make life art and art life, Zambrano, the figure of the clown is ingrained on the popular with no gulf between the artist and the people. Melania Stancu University of Bucarest melania. Ida y vuelta faithfully puts into practice the principles of the dehumanized literature and also takes the lyrical prose much further on the path of the existential novel.
Millington vuw. We survey since the opening of the Walter-Rheiner-Archiv in Berlin, the ubiquitous Berliner Illustrirte Zeitung, where this practice with the most recent of four collections of his work appearing begins in , to proceed to the Czech magazine for pet lovers, as recently as In doing so, we stress the intricate relations of a high—low dialectic involving varying types and degrees of between images and accompanying texts in these sources.
Absurd figurativeness. We argue that this practice War, Rheiner cultivated an image of himself as representing a reaches beyond entertainment in attempting to subvert the concept high-cultural elite in rebellion against a low-cultural bourgeois of veracity in journalistic language. Finally, we touch upon the establishment, with the former paradoxically dependent upon question of whether this kind of photomontage had any impact the latter in both ideological and economic terms.
Further, one of on post European avant-gardes. Of course, war predates photography; however, soon after the camera was invented it was employed to record the atrocities of military conflicts. Even if today one may have doubts as to the documentary and objective status of photography, yet, each photograph acts as witness and itself bears witness. Furthermore, stylistically, a photograph can suggest a meaning that transcends mere reportage.
It is exactly this stylistic element, which replaces the axiomatic authenticity of the picture with a premeditated construction. Jazz and its was associated with the artistic avant-garde and progressive presence in European Avant-gardes. The research done in the field of the studies on the that she herself applied in Poland.
Photomontage was only rarely first recognition of jazz in Europe reffered mostly to the avant- adapted for political objectives in America but rather was used on garde circles of Paris. The papers prepared to this session are a much limited scale and predominantly in advertisement. Around concentrated on the other parts of Europe where the impact of jazz the time when the USA officially entered World War II December is not so widely known and studied.
The first Part will be devoted to the presence of Jazz in Warsaw, and a memorial to the loss and the ongoing suffering of Avant-gardes of Central and Eastern Europe Germany, Czech the occupied Poland. By creating The Defense of Warsaw series and Poland. The second Part will be devoted to the presence of the artist gave testimony against military aggression.
The discussion will be provided after each part of the follow the well-established tradition of both high and low art. By session. Jed Rasula is proposing to take a closer look at several periodicals of the s in order to estimate the precise role of jazz in the culture complex mapped out by the German Der Querschnitt; the review of the Prague Devetsil group, ReD, and Das Magazin. The scholar will refer to some benedihj hi. Wie bei Schuler The paper prepared by Dr. Auf diese Weise aber transformiert Termite Fiction.
Sie bezeichnet hatte. Jahrhundert weit verbreiteten Symbolik der modernen dienlicher war und kann so eine Konkurrenzbeziehung zwischen Esoterik beschreiben. Transmutation deuten. Also in the context of the avant-garde, plagiarism in the art and literature of the avant-garde of the 20th they often are seen as such, in particular since originality, both century and reflect upon plagiarism and originality as concepts as property of the artistic genius and as essential feature of the that need reconsideration not least in the wake of post-modernism, avant-garde artist, who claims to be at the forefront, heralding in which the plagiarism lost its meaning at large.
Sometimes plagiarism and piracy seem Avant-Garde Art obvious, as in the case of the Dutch poet Herman van den Bergh, who was seen as leading man of Dutch modernist poetry close During the s, the Russian avant-garde, including Pavel to Expressionism, until his copying of French examples became Filonov, Kazimir Malevich, Mikhail Matiushin, and Vladimir obvious. Likewise, in several respects, the originality of some Tatlin, initiated a major research program to study the basic Polish Futurists can be and was doubted.
Polish reasons for changes in the behavior of the organism. Culture, Material Culture, and the Experimental Department, the Next to this secretive and conscious or rather supposed artists, together with their students, concentrated on the systematic plagiarism, as a form of intellectual theft, open plagiarism and investigation of artistic styles, materials, and techniques, studied piracy constituted also main strategies and practices in avant- the current scientific theories of the perception of color, form, garde art and literature, not least to overcome the profound gap and sound, and also applied the principles of Taylorism, i.
In Partly this plagiarism and piracy can be observed as conscious series of experiments, they attempted to establish the formal copying of forms and features of everyday culture. Visnapuu participated in the same practices to the artistic process in order to create the art of the workshop group and was assigned to be an opponent of Kivikas future. The paper will explore the various ways in which avant- by Suits. Plagiarism In Estonian avant-garde poetry at the beginning In my paper I will discuss this problem more precisely in the of the 20th century.
The case of Igor Severjanin — Henrik context of Russian and Estonian futurism and try to answer to the Visnapuu question what is the originality of the plagiarism. Estonian literature is a typical East-European literature which first steps were taken at the beginning of the 19th century by Dorthe Aagesen translations, borrowings, and adaptations which were interpreted Statens Museum for Kunst, Copenhagen as originals.
The turning point in the attitudes towards borrowings Dorthe. Aagesen smk. In both cases, the exhibited in their second manifesto in All of them were reworked by Jorn who at the University of Tartu. He and his students studied mostly had added semi-abstracts figures painted with thick strokes of borrowings in the 19th century Estonian literature.
At the same clear colours in his characteristic expressionist idiom - in marked time he used the same idea in analyzing the Estonian avant-garde contrast to the brownish colours and meticulous style of the and modernist literature. The two dimensions seem to co-exist with no attempt to merge In his workshop on modern Estonian literature he gave the one into in the other, the result being often disturbingly grotesque first work to young prose writer Albert Kivikas who had become compositions.
Erni Hiir in Here he stressed the necessity of as postmodern turn. A dimension of black humor is evidently also involved, internationality and a spiritit of collectivity in the avant-garde charging the works with a critical-satirical aspect. Often, avant-garde artists did not envisage the changes they In a longer historical perspective, the modifications are pursued in terms of individual originality or uniqueness, but strongly indepted to early 20th century avant-garde practices, rather as recreation and modification of existing works as part of a in particular the strategic appropriation of low-cultural socially orientated more universal shift.
The accusation came from the eminent Francis Picabia to his museum in Silkeborg. In the final Siewierianin and Wladimir Majakowski, which were translated analysis, the intention is to disclose the conceptual implications by the Polish futurists. How should they be understood? And in himself, even asserted that he was not sure, whether he was which way do they relate to the heritage from the historical avant- not simply returning into Russian, what once had been Russian gardes?
The according to him — copied contemporary fashionable French Debate on Plagiarism in the Avant-Garde Turns in Polish existentialist literature in an unreflected, almost automatic and Literature rather unsophisticated way. This question might not come up, if associated an apparent Polish lack of artistic originality with there had not been discussions in Polish literary criticism on the historical conditions.
Session 17 The same argument, detached from its previous contexts, obviously simmered on in the Polish critical subconscious up till High, Low or Middle-Brow? Photography in the last decade of the past century, when the assumed dependency and against Modernism and the Avant-garde of contemporary Polish poetry on the New York School of Poetry became once more a topic of critical debate on the originality of Polish verse and the apparent urge to import poetical novelties Chair: Elena Gualtieri from abroad.
My paper will focus on early photographers, only to become a debased, commercially- this issue, in particular in the context of the recent discussions that inflected art in the later nineteenth century. Then, in a typically flared up at the end of the previous century. Different histories have been told about this participation, with a marked divergence between US accounts and European ones.
In fact, while the identity of US photography across the twentieth century has long been established through the concerted efforts at memorialisation both of photographers and of historians, the history of twentieth-century European photography is still being written along individual national lines. Yet the critical discourses that have emerged around photography from the early twentieth century are insistently cross-national, with a particular emphasis on the Franco-German exchange. In this paper, I will explore more specifically how the diverse Caroline Blinder and interdisciplinary network of artists and intellectuals of the Goldsmiths, University of London Budapest Sunday Circle faced the loss of connectivity in light of c.
Europe to North America. By looking at the quintessential Parisian chair of the subject. This early interest in the cultural and imaginative possibilities of instantaneous photography considerably predates what is Katarzyna Ruchel-Stockmans normally considered to be the advent of popular photography in Katholieke Universiteit Leuven the late s.
This is apparent in the work of artists using photography Thomas Demand, Luc Delahaye, Gustav Metzger , but equally plays a role in less obvious tactics of recycling or imitating of photographs in other media. Elena Gualtieri University of Sussex e. He is known as the inventor of the pistolgraph, a brass-made portable camera which he tirelessly publicised in the late s. Art and theory in naderluiza gmail. Chair: Luiza Nader In my paper I will investigate the problem of modernist theory Warsaw University and affect, the phenomenon of cracked langauge and testimony, naderluiza gmail.
We would war theory of the artist, concepts of testimony and shame affect. How the theories elements: documentary photograph from the ghetto and death of affect and trauma could challenge the image of modernism in camps, or the faces of Jews sentenced to death, supplemented Central Eastern Europe? It was conceived in and donated, particular geographical context? Thus, I will address the following questions: how shame is produced both by historiography and museum culture in Central implicated in the representation?
Imagining the Avant-Garde in the three perspectives on the Romanian avant-garde and to point out Communist Romania. Their historical context has often been left aside as it The ongoing reconsideration of the avant-garde in Central and still is politically sensitive. However, every instance of this initial Eastern Europe, which occurred after , not only challenges stage in the reconsideration of the avant-garde was decided by the Western history of art, but it also entails a process of self- both ideological and personal factors, being thus a combination recovery.
In order to reconfigure the canonical narrative of of retrieval and omission. For the low, and again to high. The lacunae, the oblivion, the intended effacement, the scattered Margaret Tali information compose the heritage of a political regime which Tallinn University, Amsterdam School of Cultural Analysis had not encouraged the study of avant-garde.
Although the margarettali yahoo. During four decades acquired in the recent developments of the national art museums , the ideological attitude toward avant-garde art and avant- in the Central Eastern Europe, particularly in Germany and garde studies has undergone a series of changes ranging from Hungary.
Drawing on concepts such as heritage high and obliteration to controlled acceptance. I argue Romania faced a long and repressive Stalinist and post- that in transitionary periods of the museums, the private patronage Stalinist period during which the avant-garde was totally silenced. On the one hand, these culture. In both cases, cultural scene. In the time of socialist Yugoslavia that event was s.
Using reading of exhibitions as a system. Thus the aim of this paper is to examine, in the given context, mechanisms by which a new trauma that is Watching the old exhibition layout of memorial museum yet too acute to be publicly discussed about or to be represented Jasenovac Croatia , which dates from period of Yugoslavia, in the museums is incorporated into the symbolical process of the getting replaced with a new one, one gains a clear insight into the reconstruction of the old trauma.
The new exhibition layout , which provoked controversies within professionals and broader public, explicitly renounces use of monumental discourse by abandoning high, heroic approach to the theme field that directly aimed at inducing in visitors a strong emotional reaction in the name of individual approach to the victims and a documentary way instead a narrative of exhibiting. Sixty years later the elected government of an independent and Anne Reynes-Delobel Estonia voted to shift it to the more peripheral setting of a military University of Provence cemetery.
This action was greeted by two nights of rioting that anne. In , Bob Brown proposed in The Readies an electric reading Two years later the Bronze Soldier returned to its place of machine and strategies for reparing the eye for mechanized origin, only this time in the form of a miniature, gold-coloured reading.
His machine fit neatly among other experimental model of the statue. Mass production was filled with at the military cemetery. Norman went on to produce a full-scale version of the The panel seeks to illuminate specific reading experiments statue again in gold and erected it at the city-centre site. This and apparatus as well as general theoretical investigations into unauthorized and officially unwelcome memento mori was swiftly avant-garde and modernist reading as distinct from traditional taken away by the police.
The panel of At the centre of the display was the Gold avant-garde context s. Soldier, suspended horizontally between video screens showing the inauguration, desacralization and reinvestiture of the monument. After-War is advertising sloganeer, stock trader, cookbook writer, and fully deserving of such attention, representing as it does a pre- impresario Bob Brown invented a reading machine eminent example of the interplay of trauma, memory and affect in sometime during the first two decades of the twentieth century. The Blind Man brought together the in making exchanges happen between lowbrow popular culture explosive visual wits of Duchamp and Brown for the first time, and avant-garde art on the one hand, and publishing and writing but their individual preoccupations with sight, sightlessness, on the other.
Increasingly, these respective interests became mediated by machinery, and by the conjoined languages of mass production Barrett Watten and advertising. By tracing the careers of Brown and Duchamp Wayne State University from and , this paper explores how these modernists b. The first is the mariasolina. The to human perception.
The processes and of their relation to the world. The origin of these fortuitous juxtaposition of typewriter and newsprint focuses on ideas that Vertov applies to cinema is partly found on a barely a third area of concern: the importance of material textuality for known aspect of his education: he had attended Betcherev Institute conceptual art movements of the s, as seen in artists such as of Psychoneurology in Petrograd between and , before On Kawara and Vito Acconci. In the same period, Jackson Mac he became a filmmaker. Supposedly universal language turns out University of Tampere to be subjective and autoreferential and new logos proves to be antti.
University of Helsinki Besides the paper focuses on a range of onomatopoeic sami. The medieval and early modern mysticism outside the institutions onomatopoeic act of fusing direct material representation with the of religion, particularly in language-critical philosophy and conceptual structure marks the dissection of the signified-signifier literature. Also the European and Russian avantgarde movements convention, thus symbolically pointing out the possibilities of from futurism to post-war experimental poetry were inspired by language that would represent interpenetration of human and new the critique of language fostered by the traditions of negative technological reality.
However dominance of the referent over the theology, medieval mysticism Roman or Greek Catholic , or sign constitutes the ambivalence of a futurist word that inevitably Kabbalism. These dialogues between old and new notions of and explicitly reflects dehumanized technological universe.
The Antinomies of Jewish Inspirations the Avant-Garde Language Experimentation Lazar Mordukhovich Lisitsky, known also as El Lissitzky, The language experiments of the European as well as Russian is one of the most recognizable figures of the Soviet avant- historical avant-garde emerged almost simultaneously appearing garde of the beginning of the 20th century. International Fraction of Constructivists.
The But he is less known as an ardent champion of Jewish Art, early modern Spanish mystics Theresa of Avila and John of as an energetic member of the Kultur Lige, and the author of the Cross — studied by de Certeau in La fable mystique — were splendid books inspired by Jewish literary culture and avant-garde among the mystics that most influenced Bataille. Inspired by de in spirit. He accompanied I. I consider two intertwined along the Dnieper River, and he devoted himself to the creation of aspects in particular: the violent, disruptive character of volo a national Jewish Art.
I intend to point other. At a slightly different level: depicting the theme of a wedge being stuck into a wheel. I will elaborate on is relevant for the Soviet revolutionary interpretation, but also the undecidability of the last question with the help of Jacques refers to the roots of the Jewish mysticism and the cabalist idea Derrida and also with reference to some remarks by Bataille on of division which is a prerequisite of creation.
In the paper, I the necessary betrayal of language. Georges Bataille, Early Modern Mysticism and the Radical Performative The newly rekindled theoretical interest in mysticism and mystical languages has largely focused on the apophatic tradition of negative theology and its deconstructive as well as, possibly, creative potential. De Certeau situates volo in the absence of metaphysical certainties, characteristic of the historical ruptures of early modernity. For, indeed, we find in these comics and cartoons iconography very similar to that used by Jarry. Hilmes lingua. At a narrative level, his adventures ein Medium, dessen Erscheinungsformen eine beachtenswerte after Ubu Roi suggest no specific order, i.
Er manifestiert sich in der Auslegung der Welt darstellt. In ihrer Synthese von ikonischen Hinwendung zur Autobiographie als einem narrativen Modus, und sprachlichen Zeichen schafft die Autorin eine Reihe von der die Selbstpositionierung der Comic-Autoren im Kunstbereich selbstinterpretierten Variationen zum Thema des carmen neu definiert und das Medium direkt in aktuelle literatur- und figuratum. Brigitta Falkner keineswegs als Waisen- bzw.
Einzelkind in der deutschsprachigen Literaturlandschaft da. Auf diese Weise entstehen anagrammatische, lipogrammatische, palindromische Comics, quasi zur Zeichnung gewordene Schriften, eine Gegen-Ekphrasis, durch Montage filmisch gestaltete Bildgeschichten. Starting with a close reading Chaplin of these shorts, this paper will examine an array of self-reflexive slapstick attitudes, as well as their changing methods and goals.
Chaplin by reconnecting its premises with the available historical material. We ask: Is it possible to find — Hero es of Modern Times: Charlie Chaplin and the Serbian or even stage — a meaningful dialogue between Chaplin and the Avant-garde avant-garde? In what sense was Chaplin an agent of purity This paper discusses the various ways work by the most and of perversity? In what sense was he inter- or trans-national?
Different ideological, theoretical, literary, artistic stage and the subsequent exploitation of his persona in both and visual aspects of the Chaplin phenomenon will be utilised popular and vanguard culture? What manner of links do we find between Chaplin, the movements. Is it right to consider Chaplin an index of a larger event? Proclaiming the demise of literary Expressionism, he published a number of theoretical essays that promote his vision In his very first week on the job at the Keystone Studios, of a new literature inflected by other creative media.
Bru UGent. The Images of to 20th-century avant-garde poetics as that between literary Charlie Chaplin in Polish Literary and artistic circles between and everyday language. Given its experimental nature, avant- the wars garde writing by definition displays awareness about literature as a particular form of language akin to yet different from After the international success of The Kid Charlie Chaplin everyday language.
Yet what precisely makes both forms of become a well-recognised film-star icon in Poland. Artists and language different is always to be negotiated. For this reason, journalists created a legend that Chaplin was a descendant of the distinction between the everyday and the literary has been inhabitants of the Polish city, Czaplin.
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Angehrn, Emil. In: Angst. Zwischen Befreiung und Erschaffung. In: Die Metaphysik des Aristoteles im Mittelalter. Rezeption und Transformation. Der Kreis des Lebens und die Zukunft des Vergangenen. In: Regress und Zirkel. Hamburg, pp. Zur Zeitlichkeit der menschlichen Existenz. In: Die Kunst des Hoffens. Freiburg im Breisgau, pp. Theologische Zeitschrift, 72 2. Arlt, Veit and Schmid, Pascal.
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