The American Avant-Garde’s Landscape Philosophy

2020 ◽  
pp. 87-144
Author(s):  
Rebecca A. Sheehan
Keyword(s):  
Recent Work ◽  
Historical Time ◽  
Avant Garde ◽  
The World ◽  
The Subject ◽  
A Site

This chapter considers how the American avant-garde utilizes landscape as a site in-between the subject and the world, one which negotiates skepticism’s dilemma of the perceiving subject’s simultaneous distance from and conflation with the world. Examining the films of James Benning, Sharon Lockhart, David Gatten, and Ernie Gehr, as well as Phil Solomon’s machinima and the figure of the border in Chick Strand’s work and recent work by Peggy Ahwesh, the chapter argues that these cinematic takes on landscape forge multiplicity within a singularity of space, staging a paradoxical plurality of encounters with the “same.” Taking up the figure of geological strata prevalent in Benning’s and Gatten’s work, the chapter theorizes the function of the interstitial where re-encounters invited by extreme long takes (Lockhart, Benning) or the obsessive review of “missable” details (Gatten, Solomon) yield forking conceptions of historical time and meaning rather than linear ones. Similarly, the chapter turns to how films by Benning, Gatten, Strand, and Ahwesh use the figure of the in-between to undermine the authority of man-made borders.

scholarly journals Children of an Epoch or a Slave of His Time (about the System of Images and the Image of an Epoch in Literature)

2021 ◽  
Vol 4 (2) ◽  
pp. 10-19
Author(s):  
Albina Fedorovna Myshkina ◽  
Inessa Vladimirovna Iadranskaia
Keyword(s):  
Subject Matter ◽  
Historical Time ◽  
Philosophical Work ◽  
The People ◽  
The World ◽  
Ancient Times ◽  
The Subject ◽  
Artistic Image ◽  
Time Continuum ◽  
Historical Epoch

In human culture, since ancient times, fiction has developed as a mirror of time. Therefore, a dual understanding of time is reflected in the poetics of the work: firstly, it is the time that is connected with the narrative and is developed in the plot of the work (artistic time), and secondly, it is the time, the epoch of writing the work itself (historical time). The artistic image of the time is reflected not only in historical genres, but also in all other genres and styles of literature. The historical era of writing a work can be captured in the thoughts and worldview of the characters, in the conflict being developed, the subject matter and the problems involved. The relevance of the study is related to the fact that the tragic periods of history depicted in the work must be analyzed through the worldview and moral standarts of the people. In this regard, the purpose of this article is to identify the philosophical and aesthetic connection between the artistic time continuum and the historical epoch. The subject of the research in this article is the novelette of the literary scholar and prose writer Georgy Fedorov “Ai, mantaran hir mulkaci” ("Oh, poor hare »). In the course of the study, the following results were obtained: in an artistic and philosophical work, the category of time becomes both a method of deepening the character's personality, and an indicator of the figurative model of the world, and the subject of research.

The Russian Futuristic Experiment: the Language of the Poetic Resistance

2020 ◽  
Vol 29 (2) ◽  
pp. 261-272
Author(s):  
Magdalena Kostova-Panayotova
Keyword(s):  
Nineteenth Century ◽  
20Th Century ◽  
Artistic Expression ◽  
Poetic Language ◽  
Creative Mind ◽  
Avant Garde ◽  
The World ◽  
Poetic Text ◽  
The Subject ◽  
The Mind

The main Avant-garde trend in the first third of the 20th century, Futurism, through its various groups and creative personalities, upholds its own conception of art and creator, strives to give a contemporary image of the world, to reveal the hidden essence of things, the inner relation of the elements. According to Futurism, art is meant to change lives, but not as it seems in the writings of nineteenth-century realists: by influencing the rational and changing the mind of the reader. The development of a new artistic expression, in a new poetic language, the use of contemporary forms of artistic conditionality have become major tasks for the generation of poets and artists from the 1910s. Poet futurists reduce the language of literature to its traditional understandings, neglect its inherent rules and laws, because they accept it as something external to the subject, which impedes the expression of its essence. From the depiction of the object to its expression - this is how the break in the creative mind of the futuristic author can be characterized. The linguistic revolution, effected with poetic means by the futurists, is a desperate and utopian attempt to acquire the organic integrity of the world, thirsting for its transformation. Thanks to futurism, the register of poetic techniques was expanded in the 20th century and directions were created for the creation of new expressive means of writing poetic text.

From Figures of Paradox to a Philosophy of Review

2020 ◽  
pp. 206-254
Author(s):  
Rebecca A. Sheehan
Keyword(s):  
Fractal Theory ◽  
Film Theory ◽  
Incompleteness Theorem ◽  
Stanley Cavell ◽  
Avant Garde ◽  
The World ◽  
The Subject ◽  
The Spectator ◽  
Zeno's Paradox

This chapter examines the role of paradox in the films and film theory of Ken Jacobs, Hollis Frampton, and Michael Snow. Paradoxes such as Zeno’s paradox, Gödel’s incompleteness theorem, and Benoît Mandelbrot’s fractal theory of geometry, which inform the work of these filmmakers, propose and repeat the unresolvable gap between subject and world that informs skepticism. This chapter argues that the skeptical encounters these films invite, which entice the spectator to work toward solving a riddle or problem of incompleteness, also provide a model for overcoming skepticism by prompting re-encounters with the images on screen and the world to which they refer. These re-encounters occur in the same way that Stanley Cavell imagined the images of mainstream cinema could overcome problems of philosophical skepticism by drawing the subject closer to the world. The author argues, however, that these avant-garde meditations on mises en abyme are possibly more effective than Hollywood filmmaking for overcoming skepticism because of their more immediate emphasis on cinema’s very ability to engage and stage re-encounters between the subject and the limits of the world, rather than their reference to the world through images.

Beacon on the Ridge. Rock Carvings at Kasen Lövåsen, Bohuslän, Sweden

2006 ◽  
Vol 72 ◽  
pp. 319-339 ◽  
Author(s):  
John Coles
Keyword(s):  
Bronze Age ◽  
Recent Work ◽  
Sea Level ◽  
The Subject ◽  
A Site ◽  
The Bronze Age ◽  
And Sea Level

This paper discusses the rock carvings at Kasen Lövåsen, a site which now lies 5 km inland but, during the Bronze Age, looked out over a sea in process of withdrawal by the isostatic rise of the land. The site carries eight panels of carvings that have been the subject of several surveys and descriptions. Recent work has clarified the nature of some of these and revealed more. Carvings include discs, numerous boats, human figures (some explicitly male), including helmeted individuals, spear and swordsmen and paddle or torchbearers, duck figures, boots, dog-like creatures, and horse-riders. Composition and siting are discussed in relation to the quality and preservation of carving, dating, and to aspects of topography, communication routes, and sea level recession. The reasons and mechanisms behind transformations in the imagery are explored in terms of changing social symbolism and ideology in response to a rapidly changing land- and seascape.

scholarly journals The Feminine, The Poetic, And The Sacred In BPNichol's The Martyrology And Journal

2021 ◽  
Author(s):  
Natalya Androsova
Keyword(s):  
Human Experience ◽  
The Other ◽  
Contemporary Society ◽  
Poetic Language ◽  
The Feminine ◽  
The World ◽  
The Subject ◽  
Poetic Practice ◽  
Mode Of Being ◽  
A Site

My goal is not to analyse the sacred – to analyse it is to kill it. The objective is only to explore different ways of approaching the sacred through looking deeply at the nature of poetic language. In our contemporary society, the sacred is the other. And so is the feminine. Our culture often rejects these modes of experience, but poetic practice gives them both a time and a space. My overall argument is that poetic practice creates an approach, a site and a possibility for the sacred to manifest itself phenomenologically by breaking through from the other realm into human experience. Poetic practice holds an intention, creates a direction, a dimension, a state that can approach the experience of the sacred and honour it, be open to it, invite it and allow the subject to suspend the habitual control and instead adopt a surrender mode. Thus, poetic practice itself becomes a sacred activity that teaches us about different kinds of knowledge, experience and insight and invites us to experience a different mode of being in the world, in language, with ourselves, and with each other. Instead of detachment and alienation that permeate our culture, instead of separation from and the resulting objectification of nature, poetic consciousness offers us a more primal mode of being that pre-modern man used to call sacred.

The Reader as Witness in Contemporary Global Novels

2021 ◽  
Vol 21 ◽  
pp. 225-242
Author(s):  
Cassandra Falke ◽  
Keyword(s):  
Literary Criticism ◽  
Civil Wars ◽  
Jacques Derrida ◽  
Literary Text ◽  
Phenomenological Description ◽  
The World ◽  
The Future ◽  
The Subject ◽  
The One ◽  
A Site

Phenomenological literary criticism has long taken the one-on-one exchange with an other as the model for thinking about the reader-to-text relationship. However, new novels portraying genocides and civil wars are more likely to position readers as witnesses. Drawing on Jean-Luc Marion’s description of the subject as witness as well as works by Kelly Oliver and Jacques Derrida, this article offers a phenomenological description of the reader as witness. As witness, the reader is situated both by the literary text and also by his or her particular embodied and intersubjective relations to the world. Constituted and no longer constituting, the reader/subject as witness finds herself a site in which other’s decisions have already been made, and her responsibility arises from the decisions she makes possible for others in the future.

Crisis and Avant-Garde

2020 ◽  
pp. 19-24
Author(s):  
Willy Thayer
Keyword(s):  
Avant Garde ◽  
The World ◽  
The Subject ◽  
New Form

This chapter focuses on the avant-garde and how it is a question of performatively exceeding the form of the world, its relations of production, appropriation and expropriation. It describes the historical interface that makes opinions possible, and whose conflict and multiplication confirm the world that nourishes its form. No given form should interfere with new matter. The chapter points out that avant-garde does not propose the production of new vignettes within the same form, but rather the production of a new form whose vignettes are formally incompossible with the old form. It emphasizes that if the avant-garde event were to take place, then the rhetorics of the debacle, the cut, of rupture, revolution, change, of the incursion into unknown territories would be interrupted because the subject itself would become desubjectivized.

scholarly journals Augusta Cesarca (nie)realistyczny portret przygłuchej Tonki

2020 ◽  
pp. 173-193
Author(s):  
Krystyna Pieniążek-Marković
Keyword(s):  
World War I ◽  
Small Town ◽  
Social Realism ◽  
Historical Time ◽  
World War ◽  
Avant Garde ◽  
The World ◽  
The Disabled ◽  
The Aesthetic

In the centre of the article’s interest, there are the expressionist ideas present in the work by Croatian writer from the inter-war period (1893–1941). The mini-novel/novella in question entitled Tonkina jedina ljubav (1931) is considered the work belonging to the epoch of the new/social realism which dominated in the 1930s, however, the author, as is shown on the basis of the article’s research, did not managed to free himself from influence of expressionism that shaped the most Croatian consciousness as for the avant-garde historical time (1910–1930). Focusing attention on a disabled woman along with her small-town environment of Zagreb before the World War I, the author draws her exaggerated, cartoonish portrait which has little to do with the realistic and mimetic reflection of reality. The work is a kind of aesthetic and ethical provocation, and serves as unmasking the idyllic image of Zagreb which turns out to be a city inhabited by intolerant and narrow-minded society convinced, however, of its civilisation superiority. The titular character is a victim of this society, and at the same time she remains its part. The aesthetic and ethical provocation concerns the disabled woman together with „inefficient” society living in the terrifying city.

Art historical time in the works of Ivan Сankar

2019 ◽  
pp. 383-399
Author(s):  
Tatyana Chepelevskaya
Keyword(s):  
World War I ◽  
Literary Texts ◽  
Historical Time ◽  
World War ◽  
Historical Processes ◽  
The World ◽  
Historical Episode ◽  
The Subject ◽  
Folk Poetry

In the article on the example of the work of the biggest Slovenian writer Ivan Cankar (1876-1918) the subject of art historical time is studied. It raises the question of the place and role of historical time in the literary texts whose authors use it to organize plot, characters and art space. I. Cankar, as a rule, does not give expanded descriptions of one or another significant event. The historic time is presented in his works in the form of digressions, in the memories of the characters. Sometimes it refers to very recent history, presciently anticipating the importance of a phenomenon for the destinies of individuals and of entire peoples. Such events form thematic nodes, motifs, storylines of his works. Three themes dominate in the prose of I. Cankar: the peasant uprising, the World War I, and the theme of exile. Many times would he address the plots and topics of folk poetry. However his view on it and on the important for the Slovene culture folklore and mythical characters sometimes differs a lot from the views of many of his contemporaries. This was specifically reflected in his work on the drama on peasant uprisings. He dedicates special attention to those periods of the national history that underwent sacralization in the folk consciousness (“The Golden Age”). His favorite creative method is the staging of a historical episode through folklore and folk mythology, among other, to its characters. For some historical processes (the exile) he introduces the topic of the rupture of a man from their homeland.

scholarly journals Poetology of Vyktor Ivaniv

Litera ◽  
2020 ◽  
pp. 116-126
Author(s):  
Aleksandr Zhitenev
Keyword(s):  
Gottfried Wilhelm Leibniz ◽  
Comprehensive Analysis ◽  
Genetic Affinity ◽  
Universal System ◽  
Avant Garde ◽  
Nicholas Of Cusa ◽  
The World ◽  
Different Types ◽  
The Subject ◽  
Critical Writings

The subject of this research is the corpus of auto-reflexive texts of the contemporary poet Vyktor Ivaniv – his research, essayistic, literary-critical writings. The goal consists in reconstruction of V. Ivaniv’s poetology, which implies the system of representations on ultimate characteristics of poetry, poeticity, and poetic. It is established that poetological system of V. Ivaniv can be described as an example of radicalization of “magic” intentions of historical avant-garde. The novelty of V. Ivaniv consists in reassessment of the ideas of transformation of the world using such term as “utopic”. Having determined the genetic affinity of the constructs of Russian avant-gardists with the ideas of Nicholas of Cusa, Rene Descartes and Gottfried Wilhelm Leibniz, Ivaniv highlights their rootedness in the traditions of European rationalism. The novelty of the research lies in the comprehensive analysis, which allows restoring a universal system of representations on poetry based on the comparison of texts belonging to different types of discourse. Formulation of aesthetic principles in Ivaniv’s works is inseparable from philological reflection over the nature of symbol and its typology. Analyzing the principles of the construction of image at different stages of the establishment of avant-garde mentality, V. Ivaniv creates the concept of iconic symbol as a substitute of the event and a semantic operator, which replaces false meanings with true ones. According to Ivaniv, transgressive introduction to the truth of being – ecstatic and dangerous – comprises the essence of the poetic.

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