Introduction: Avant-Garde Possibilities — B.S. Johnson and the Sixties Generation

Author(s):  
Julia Jordan
2014 ◽  
Vol 39 (4) ◽  
pp. 6-11
Author(s):  
Thomas Crombez

The research project Digital Archive of Belgian Neo-Avant-garde Periodicals (DABNAP) aims to digitize and analyse a large number of artists’ periodicals from the period 1950–1990. The artistic renewal in Belgium since the 1950s, sustained by small groups of artists (such as G58 or De Nevelvlek), led to a first generation of post-war artist periodicals. Such titles proved decisive for the formation of the Belgian neo-avant-garde in literature and the visual arts. During the sixties and the seventies, happening and socially-engaged art took over and gave a new orientation to artist periodicals. In this article, I wish to highlight the challenges and difficulties of this project, for example, in dealing with non-standard formats, types of paper, typography, and non-paper inserts. A fully searchable archive of neo-avant-garde periodicals allows researchers to analyse in much more detail than before how influences from foreign literature and arts took root in the Belgian context.


2018 ◽  
Vol 6 ◽  
pp. 1-17
Author(s):  
Geula Elimelekh

ʿAbd al-Sattār Nāṣir (1947–2013) belonged to the group of Iraqi writers and intellectuals called Jīl al-Sittināt "the Sixties Generation", which dominated the cultural scene at the time. This article examines Nāṣir as a driven writer, who initially wrote out of a morally induced reaction to expose the suffering and brutalization of all Iraqi peoples and ethnicities by a controlling totalitarian regime, and as a once-incarcerated author of brave novels he hoped would someday catalyze a popular overthrow of the lawless, abusive leaders, thereby ending the fears and violence possessing Iraq’s body politic. Two themes -- the destruction wreaked by those with extraordinary power and their use of lies and deception to control the people –- are central to the three novels chosen as representative of Nāṣir’s oeuvre: Abū al-Rīsh (2002), Niṣf al-Aḥzān 'Half Sorrows' (2000) and Qushūr al-Badhinjān 'Eggplant Peels' (2007). In these three novels, Nāṣir exposes the unimaginable terror, violence and cruelty of Saddām Ḥusayn and his henchmen, as well as their propaganda, which consisted of lies and deception. Saddām is depicted as a ruler who presents himself as an inspiring revolutionary, but in fact is a tyrant who deceives the citizens, subjecting them to brutal control and leading them into deadly wars.  Following George Orwell’s 1984, Nāṣir’s literary corpus attempts to rip the masks from the faces of the dictator and his lackeys, who oppress the people, deny them any freedom of thought and keep them under constant surveillance.


Social Forces ◽  
1990 ◽  
Vol 69 (2) ◽  
pp. 635
Author(s):  
William R. Beer ◽  
Jack Whalen ◽  
Richard Flacks

2004 ◽  
Vol 20 (4) ◽  
pp. 303-304
Author(s):  
Elaine Turner

The death on 1 July 2004 of the playwright Peter Barnes robbed the British theatre of one of its most individual and richly imaginative yet shamefully neglected writers. Although his best known work for the theatre – which included The Ruling Classes, The Bewitched, Laughter, Red Noses, and Dreaming – won widespread admiration, and his later radio and television work brought him before a wider public, he remained a theatrical outsider, his plays transcending the conventions of critical labels and movements – the singe discernible influence that of Ben Jonson, whose eccentric genius he championed throughout his life. Here we include three personal tributes: the oration delivered at Barnes's funeral by the stage and screen actor Alan Rickman; recollections from the avant-garde director Charles Marowitz of his association with Barnes's early career at the Traverse and his own Open Space Theatre in the 'sixties; and the impressions of a personal friend, the lecturer and writer Elaine Turner. An analytical assessent of Peter Barnes's work will appear in a later issue.


Author(s):  
Yasmine Ramadan

The book concludes with a discussion of the continued importance of this generation beyond the decade of the sixties. It traces the transformation of the sixties generation from an emerging group of writers to established members of the literary and cultural sphere in Egypt, who came to occupy positions of prominence in the field. It presents the career trajectories of the figures at the heart of this book including; the reception of their fiction; the conferral of awards; and the translation of their works. In doing so it also explores the impact of the sixties generation upon contemporary writers, particularly the nineties generation in Egypt. Despite the differences in political and ideological positions, the struggles of the writers of the sixties generation are not wholly divorced from those of their successors. Both were generations contending with the aftermath of revolutionary change, the realities of the failings of democratic projects, and the role of artists and intellectuals in confronting the injustices of the state. As the chapters of this book show, with the sixties generation came the disappearance of the idealised Egyptian nation in the novel. The works of their successors continue to grapple with its aftermath.


Author(s):  
Noni Geiger

The presence of the written element in cinema goes back to the early silent movies era, to express meanings that were not enough comprehensible just through images. The use of text charts as means to support and to implement narrative almost invariable consisted of black cards with centered white type (rarely the opposite, i.e., black type on white boards), occasionally utilizing graphic features as ornaments.These letterings inserted between scenes, either before or after to which they referred, sometimes had a deranged narrative effect because of interrupting the action flow. But words, when added to the cinematographic image, can indeed communicate certain abstract concepts such as date time lapse, local; evince characters speeches; describe some action not performed in the movie.This paper aims to investigate the change of status of the written element as an accessory apparatus to a central and structural element of the movie, specifically in the experimental and avant-garde cinema, considering Marcel Duchamp’s Anémic Cinéma (1926) its inaugural example.The incorporation of textual elements can be understood within the very process of the visual arts in the first decades of the twentieth century since Braque’s Gueridon (1913) and Picasso’s Bottle of Vieux Marc, Glass, Guitar and Newspaper (1913) through the Cubist and the Dada conceptual and formal strategies.The Conceptual art of the sixties and seventies permeates expressions of film experimentalism that will be analyzed for its use of text condition, where Michael Snow’s So this is, already in early 80ies (1982) is to be highlighted.


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