The Neo-Futurists

2021 ◽  
Author(s):  
Kirill Korchagin
Keyword(s):  
Twentieth Century ◽  
Political Agenda ◽  
Vladimir Mayakovsky ◽  
The Sixties ◽  
Russian Futurism ◽  
Radical Transformation ◽  
Literary Circles ◽  
Formal Features

Interest in the Russian Futurist poetry of the first two-and-a-half decades of the twentieth century was revived in Soviet literary circles in the mid-1950s. Initially focused on the work of Vladimir Mayakovsky, interest spread to other writers. At the turn of the fifties and sixties, this revival resulted in regular “unsanctioned” poetry readings at the Mayakovsky monument in Moscow, which were eventually banned by the authorities. Against this backdrop, several young poets tried to build on the creative strategies of the Futurists. Gennady Aigi, who debuted as a Chuvash-language poet, was the first of these poets to arrive on the literary scene. Vladimir Kazakov and Vadim Kozovoy, poets who came onto the literary scene in the sixties, consciously established their styles at the intersection of the Russian and international avant-gardes, trying to overcome the isolationism of Soviet poetry. In the seventies, poems by their elder contemporary, Elizaveta Mnatsakanova, claiming to complete the project of a revived Futurism, were published abroad. All four poets borrowed numerous formal features of their work from Russian Futurism and sought to see themselves as its successors, while setting aside the avant-garde’s socio-political agenda and its desire for a radical transformation of culture and society.

Mayakovsky, Vladimir (1893–1930)

2018 ◽  
Author(s):  
Natalia Krylova
Keyword(s):  
Twentieth Century ◽  
Formative Period ◽  
World War ◽  
Vladimir Mayakovsky ◽  
Russian Art ◽  
Bolshevik Revolution ◽  
The First World War ◽  
Russian Futurism ◽  
The Face ◽  
First World

Vladimir Mayakovsky (МАЯКОВСКИЙ, ВЛАДИМИР) was a leading Russian poet of the twentieth century and representative of Russian Futurism, a modernist trend that emerged as an attempt to approximate the utopian future through art. Mayakovsky brought experiment and innovation to poetry, drama, cinematography and graphic design, thus changing the entire palette of Russian art. He made his literary debut in 1912 as a co-author of the scandalous Russian Futurist Manifesto A Slap in the Face of Public Taste (Poshchechina obshchestvennomu vkusu). His concern with the flagrant social injustices of the time aggravated by the First World War led him to write a trilogy of early programmatic poems culminating in A Cloud in Trousers (Oblako v shtanakh, 1915). During this formative period, Mayakovsky met and fell in love with Lili Brik, a woman who would become his life-long muse and the personification of love, faith, and revolution in his oeuvre. The new aesthetic discourse he developed subsequently facilitated the poet’s passionate acceptance of the Bolshevik Revolution of 1917 that promised to solve all of the tragic controversies of the past. After thirteen years of devoted service to the revolutionary ideals, he gradually became disappointed with the actual social and ethical outcomes of the Revolution.

“A Page from the History of Marxism”: Gefter’s Edevours to Read Marx Anew

2021 ◽  
Vol 13 (3-1) ◽  
pp. 11-34
Author(s):  
Svetlana Neretina ◽  
Keyword(s):  
Twentieth Century ◽  
Ussr Academy ◽  
Strategy Development ◽  
Early 20Th Century ◽  
Historical Science ◽  
Historical Process ◽  
The Sixties ◽  
History Of ◽  
The Subject ◽  
Academy Of Sciences

The purpose of this paper is to show how the thought and speech of people holding and defending directly opposite positions affect the change in the thought and speech of people of their own and subsequent generations, with different life orientations, and to find ways of this influence. The author describes the situation that arose at the end of the sixties of the twentieth century, known as the ideological dispersal of philosophical, historical and sociological trends that ran counter to the policy of the CPSU, which became especially fierce in the fight against opponents after the USSR’s invasion of Czechoslovakia in August, 1968. One of the results of such an ideological battle was the defeat of the sector of the methodology of history of the Institute of General History of the USSR Academy of Sciences, headed by M. Ya. Gefter, who published a series of books in which the so-called laws of historical development (formational approach) were questioned and the fundamental provisions of the classics of Marxism-Leninism were criticized. The subject of analysis is Gefter’s article “A Page from the History of Marxism in the Early 20th Century”, published in the book “Historical Science and Some Problems of the Modernity”, dedicated to the analysis of Lenin’s tactics and strategy development which changed the views of many, especially young, historians on the historical process, and most importantly - on the methods of seeking and expressing the truth. The differences were expressed primarily in the fact that the proponents and defenders of the Soviet regime, which was based on their own established norms of Marxism-Leninism, fearlessly used all means of pressure on unwanted opponents. Professionals, however, who tried to understand the true sense of the historical process, the sense of judgments about it, especially the sense of the revolutionary struggle against the autocracy, unfolding at the beginning of the twentieth century, were forced to use the Aesopian language, which also provoked a distortion of this sense in many ways: due to the nebulous and veiled expressions, which give the impression of theoretical blackmail, causing such consequences as speech irresponsibility.

Carmelo Bene e la decostruzione delle arti del secondo Novecento

2018 ◽  
Vol 4 (1) ◽  
Author(s):  
Cosetta Saba
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Interdisciplinary Practice ◽  
The Arts ◽  
The Sixties ◽  
First Results ◽  
Extended Field ◽  
The Subject

This essay collects the first results of a reflection launched in the context of the Conference "The Arts of the 1900s and Carmelo Bene" curated by Edoardo Fadini and based in Turin, at the Gallery of Modern Art, between 24 and 26 October 2002. The intent is to focus on how in the first phase of the interdisciplinary practice of Carmelo Bene, between the Sixties and the Seventies, an aesthetic reflection and a deconstructive attitude emerge that involve questions (such as the subject, subjectivity and singular / plural dimension of art) that were being defined in the philosophical field and in the extended field of art during the second half of the twentieth century.

Border Blurs

2019 ◽  
Author(s):  
Greg Thomas
Keyword(s):  
Twentieth Century ◽  
Social Reconstruction ◽  
Scottish Literature ◽  
Concrete Poetry ◽  
Artistic Style ◽  
Early Twentieth Century ◽  
Counter Culture ◽  
The Sixties ◽  
The 1960S ◽  
The Relationship

This book presents the first in-depth account of the relationship between English and Scottish poets and the international concrete poetry movement of the 1950s-70s. Concrete poetry was a literary and artistic style which reactivated early-twentieth-century modernist impulses towards the merging of artistic media while simultaneously speaking to a gamut of contemporary contexts, from post-1945 social reconstruction to cybernetics, mass media, and the sixties counter-culture. The terms of its development in England and Scotland also suggest new ways of mapping ongoing complexities in the relationship between those two national cultures, and of tracing broader sociological and cultural trends in Britain during the 1960s-70s. Focusing especially on the work of Ian Hamilton Finlay, Edwin Morgan, Dom Sylvester Houédard, and Bob Cobbing, Border Blurs is based on new and extensive archival and primary research. It fills a gap in contemporary understandings of a significant literary and artistic genre which has been largely overlooked by literary critics. It also sheds new light on the development of British and Scottish literature during the late twentieth century, on the emergence of intermedia art, and on the development of modernism beyond its early-twentieth-century, urban Western networks.

Tudorism in English Music, 1837–1953

Tudorism ◽  
2011 ◽  
Author(s):  
STEPHEN BANFIELD
Keyword(s):  
Twentieth Century ◽  
Case Studies ◽  
National Culture ◽  
New Music ◽  
Musical Composition ◽  
Political Agenda ◽  
Musical Culture ◽  
Early Music ◽  
General Picture ◽  
English Music

Between the early nineteenth and mid-twentieth centuries, a cultivated relationship with the music of a favoured period in the distant national past was a pervasive aspect of high, and sometimes lower, musical culture in England. This chapter first sketches a general picture of that relationship before presenting some particular case studies. It addresses the following questions: to what extent does Tudorism in music refer to the revival of music itself, to what extent to its stylistic emulation in nineteenth- and twentieth-century English compositions? Was it a matter of appealing to the Tudors to set a political agenda for music? Tudorism in English music was many things but also one very definite thing — a conscious modelling of style or atmosphere in musical composition on that of a perceived golden age of national culture. It was in some respects part of the early music movement that Harry Haskell identified as beginning in 1829 with Mendelssohn's revival of J. S. Bach's St Matthew Passion, yet not the same thing insofar as that movement was about reviving discarded old music and Tudorism was about creating new music in an earlier image.

Introduction

2021 ◽  
pp. 1-6
Author(s):  
John Skorupski
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Early Modern ◽  
French Revolution ◽  
Critical Study ◽  
The Political ◽  
Ethical Thought ◽  
East European ◽  
The Sixties ◽  
Late Modern

This is a critical study of late modern ethical thought in Europe, from the French Revolution to the advent of modernism. I shall take it that ‘late modern’ ethics starts with two revolutions: the political revolution in France and the philosophical revolution of Kant. The contrast is with ‘early modern’. Another contrast is with ‘modernism’, which I shall take to refer to trends in culture, philosophy, and politics that developed in the latter decades of the nineteenth century, and lasted into the twentieth century—perhaps to the sixties, or even to the collapse of East European socialism in the eighties....

Lejárraga, María de la O (1874–1974)

2018 ◽  
Author(s):  
Rebecca Bender
Keyword(s):  
Twentieth Century ◽  
Women's Movement ◽  
Early Twentieth Century ◽  
Gregorio Martinez ◽  
Literary Circles

María de la O Lejárraga was a Spanish playwright, novelist, essayist, and feminist intellectual of the early twentieth century. She published under her married name, María Martínez Sierra, and also pseudonymously under the full name of her husband, the modernist writer, theater artist, and publisher Gregorio Martínez Sierra. Scholars have recently shown that many works originally attributed to him were actually penned by Lejárraga. She was a strong and unique feminist voice in literary circles and the burgeoning women’s movement in early twentieth-century Spain.

Practices of Aesthetic Self-Cultivation: British Composer-Critics of the ‘Doomed Generation’

2013 ◽  
Vol 138 (1) ◽  
pp. 85-128 ◽  
Author(s):  
Sarah Collins
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Historical Inquiry ◽  
The Creation ◽  
The Aesthetic ◽  
Scholarly Attention ◽  
Literary Circles

AbstractThe spectre of music as a transcendent artistic ideal figures prominently in the literary criticism of Victorian aestheticism, though the extent to which aestheticism of the movement actually influenced the thinking of British composers has received only marginal scholarly attention. By the first decades of the twentieth century, aestheticism had become decidedly unfashionable even in literary circles, so it is unsurprising that composers of the time would choose to distance themselves from its rhetoric. The prevalence of a certain type of metaphysical conception of the creative act of the artist and intuitive act of the critic, however, may suggest an important remnant of aesthetic influence. Drawing from new critical trends which themselves mirror those of aestheticism, this article posits a revised conception of aesthetic discourse as an activity of self-cultivation, and examines its role in shaping the lives of selected British composer-critics from the early part of the twentieth century. By casting the aesthetic ethos not as a doctrine but as a set of internal practices that inform the creation and subversion of doctrine, the article demonstrates how a ‘relational musicology’ can act as a tool for historical inquiry.

A Memoir on The Life and Poetical Works of Maliku’L-Shu‘arȃ’ Bahȃr

1972 ◽  
Vol 3 (2) ◽  
pp. 140-168
Author(s):  
M.B. Loraine
Keyword(s):  
Twentieth Century ◽  
Persian Poetry ◽  
Long Time ◽  
Literary Circles

Persian poetry in the twentieth century is undergoing changes that would have been scarcely imaginable a century or even half a century ago. The dispute of ancients and moderns rages in Persian literary circles, and exponents of both traditional and modern styles are regarded as traitors by both sides. I should be foolhardy to join battle in this domestic struggle, and the purpose of this memoir is only that of setting on record the outlines of the life and poetical works of a poet generally regarded as the greatest Persia has seen for a long time.

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