scholarly journals Emilio Adolfo Westphalen, un surrealista a medias

2021 ◽  
Vol 21 (2) ◽  
pp. 61-68
Author(s):  
Linda Urbancová
Keyword(s):  
Political System ◽  
Literary Critic ◽  
Avant Garde ◽  
Surrealist Poetry

Emilio Adolfo Westphalen, a Semi-Surrealist. This work aims to establish similarities between surrealist poetry and the poetry of the Peruvian poet Emilio Adolfo Westphalen. The first part of the text is aiming to outline main characteristics of avant-garde literature in Peru between the years 1920 and 1930 and the process of implantation of a surrealist movement born in Europe. The mentioned process of implantation was hard and complex, especially, because it clashed with the local political system and partial renunciation of the previous movements such as Modernism, Symbolism, and Romanticism. Also, French surrealism had to face literary Peruvian critics who were not ready for the arrival of something new. Consequently, Emilio Adolfo Westphalen expressed his discontent over the fossilized literary critic and his poet friends in his correspondence and essays. Westphalen was not only interested in the surrealism of others, but he was also interested in surrealism for his poetry. Our study is based particularly on the following sources: the essays of Emilio Adolfo Westphalen, the surrealist theory included in the Manifestoes of Surrealism, and the critical works by Mirko Lauer, Américo Ferrari, etc.

Symons, Arthur William (1865–1945)

2018 ◽  
Author(s):  
Kostas Boyiopoulos
Keyword(s):  
Short Story ◽  
Fin De Siecle ◽  
Literary Critic ◽  
Avant Garde ◽  
French Symbolism ◽  
Fin De Siècle ◽  
Story Writer

Arthur Symons was a British poet, art and literary critic, memoirist, playwright, short story writer, and editor. He was born in Milford Haven, Wales, on 28 February 1865, the son of Cornish parents: Reverend Mark Symons (1824–1898), a Wesleyan Methodist minister, and Lydia Pascoe (1828–1896). Symons was the foremost exponent of Decadence and the leading promoter of French Symbolism in Britain. An enthused socialite, he manoeuvred successfully through London artistic circles and the Paris avant-garde. In 1901 he married Rhoda Bowser (1874–-1936) and in his later years he retreated to Island Cottage, Wittersham, Kent. In 1908–1910 he suffered a mental collapse in Italy, moving in and out of asylums; he chronicles this experience in Confessions: A Study in Pathology (1930). He recovered and resumed his literary career until his seventies, mainly regurgitating themes of his fin-de-siècle period. He died on 22 January 1945.

Shklovsky, Viktor (1893–1984)

2018 ◽  
Author(s):  
Angeliki Spiropoulou
Keyword(s):  
Scientific Study ◽  
Poetic Language ◽  
Literary Critic ◽  
Vladimir Mayakovsky ◽  
Russian Formalism ◽  
Avant Garde ◽  
Epic Theater ◽  
Political Function ◽  
Alienation Effect

Born in St Petersburg, Russia, Victor Borisovich Shklovsky (or Shklovskii; Ви́ктор Бори́сович Шкло́вский) was a literary critic, autobiographical novelist, and a leading figure of Russian Formalism (1910–30). A charter founder of OPOYAZ (The Society for the Study of Poetic Language, 1917), he was also associated with the Moscow Linguistic Circle, and contemporary avant-garde writers, such as the Serapion Brothers and the Russian Futurists, especially the poet Vladimir Mayakovsky (1893–1930), all of whom similarly emphasized literature as language against the moralizing idealism of Symbolist poetics and Impressionist criticism prevalent in pre-Revolution Russia. However, Formalism was later attacked as "decadent" aestheticism, and Shklovsky was forced to compromise. In his much quoted essay "Art as Device" (1917), a "manifesto of the Formalist method" (Eichenbaum 1965: 113), Shklovsky posits the autonomy of literature and affirms the Formalist pursuit of the immanent, scientific study of the "literariness" of literature derived from its distinctive language and techniques instead of its content, resonating with modernist aesthetics. Here he develops the concept of "estrangement" or "defamiliarization" ( ostraneniye ) as both the aim and method of all art, self-reflexively impeding the automatism of our perception. Renamed as the "alienation effect" or "distancing effect" (Verfremdungseffekt) and endowed with a political function, "estrangement" became the foundational technique of Bertolt Brecht‘s epic theater.

The Practical Economics of Walter Bagehot

1996 ◽  
Vol 18 (2) ◽  
pp. 229-249 ◽  
Author(s):  
Gregory C. G. Moore
Keyword(s):  
Significant Role ◽  
Political System ◽  
Economic Thought ◽  
The Other ◽  
Literary Critic ◽  
Other Hand

Walter Bagehot is an excellent example of the mid-Victorian polymath. He was a banker, journalist, editor, biographer, literary critic, economist and political analyst. The educated reader of today remembers him as the author of The English Constitution, which, though published in 1867, remains one of the best introductions to the workings of the Westminster political system. Economists, on the other hand, vaguely recall him as the monetary commentator who wrote Lombard Street (1873b) and edited The Economist (1861–1877). Only a few historians of economic thought cite Bagehot for his participation in the English Methodenstreit. He played a significant role in this largely forgotten Victorian debate between the historical and orthodox economists. He was one of the first orthodox economists to respond to the historicist challenge, and, in doing so, he articulated a highly controversial relativist interpretation of the orthodox doctrines. Specifically, in response to the historicist claims that recent evidence gathered from custom-bound societies falsified the orthodox

scholarly journals Imre József Balázs and the Romanian Culture

2017 ◽  
Vol 9 (1) ◽  
pp. 33-47
Author(s):  
Ingrid Tomonicska
Keyword(s):  
Research Area ◽  
Literary Critic ◽  
Main Subject ◽  
Avant Garde ◽  
Literary Anthologies ◽  
Romanian Literature

Abstract Imre József Balázs is a Hungarian poet, literary critic, editor and literary historian from Romania. His main subject of interest and research area is the Hungarian avant-garde from Romania. His research and work prove his attachment to Romanian literature as well - especially with the avant-garde. For example, he deals with Gellu Naum’s poems for children and their translation. Thus, he fulfils the role of a mediator between Hungarian and Romanian literature not only through his studies and academic papers written in Romanian, but also through his contributions to the appearance of Hungarian poets in literary anthologies written in Romanian language. Furthermore, he plays an important role in publishing the Hungarian translations of Romanian poetry, thus becoming a mediator between the Hungarian and Romanian cultures.

Can Xue 殘雪 (pen name of Deng Xiaohua 鄧小華) (1953–)

2018 ◽  
Author(s):  
Frederik Green
Keyword(s):  
Literary Critic ◽  
Main Interest ◽  
Literary Responses ◽  
Avant Garde ◽  
Can Xue ◽  
Individual Existence

Can Xue (pen name of Deng Xiaohua) is a Chinese writer and literary critic whose work has gained a following for its avant-garde themes and style. Resisting compartmentalization as a feminist writer, or interpretations of her often nightmarish tales as straightforward literary responses to the violence and political excesses of the Mao period, Can Xue imperatively denied that her work is rooted in China’s socio-historic condition. ‘There is no political cause in my work’, she said in an interview in 2002, maintaining instead that hers is a ‘literature of the soul’ and that its main interest lies in the metaphysical aspect of individual existence.

scholarly journals A Unifying Field in Logics - Book Review

2014 ◽  
Vol 43 ◽  
pp. 48-59
Author(s):  
Adrian Nicolescu ◽  
Mirela Teodorescu
Keyword(s):  
Political System ◽  
Neutrosophic Set ◽  
The Political ◽  
Avant Garde ◽  
New Concepts ◽  
Neutrosophic Logic ◽  
Neutrosophic Statistics ◽  
Art Philosophy ◽  
Set Up

Paradoxism is an avant-garde movement in literature, art, philosophy, science, based on excessive use of antitheses, antinomies, contradictions, parables, odds, paradoxes in creations. It was set up and led by the writer Florentin Smarandache since 1980's, who said: "The goal is to enlargement of the artistic sphere through non-artistic elements. But especially the counter-time, counter-sense creation. Also, to experiment." Paradoxism = paradox + ism, means the theory and school of using paradoxes in literary, artistic, philosophical, scientific creations. "Paradoxism started as an anti-totalitarian protest against a closed society, Romania of 1980's, where the whole culture was manipulated by a small group. Only their ideas and their publications counted. We couldn't publish almost anything. Later, I based it on contradictions. Why? Because we lived in that society a double life: an official one - propagated by the political system, and another one real. In mass-media it was promulgated that 'our life is wonderful', but in reality 'our life was miserable'. The paradox flourishing!” (Florentin Smarandache). The new theory generalizes the fuzzy logic and introduces also two new concepts: “neutrosophy”, the study of neutralities as an extension of dialectics and its derivative “neutrosophic”, such as “neutrosophic logic”, neutrosophic set”, “neutrosophic probability”, and “neutrosophic statistics” opening in this manner ways of research in four fields: philosophy, logics, set theory and probability/statistics. According to this new theory is also available Albers Einstein’s statement: “Not everything that can be controled counts and not everything that counts can be counted “

Is Aida an orientalist opera?

1993 ◽  
Vol 5 (2) ◽  
pp. 133-140 ◽  
Author(s):  
Paul Robinson
Keyword(s):  
Chamber Music ◽  
Intellectual History ◽  
Classical Music ◽  
University Of California ◽  
Edward Said ◽  
Literary Critic ◽  
Avant Garde ◽  
European Tradition ◽  
The University

Among the more remarkable events of recent intellectual history is that Edward Said, famous avant-garde literary critic, passionate advocate for the Palestinian cause, has begun to write about music. Moreover, not just about any kind of music, but about classical music in the élite (and canonical) European tradition – the symphonies of Beethoven, the operas of Wagner, the chamber music of Schubert and Brahms. Several years ago Said took over the music column in The Nation magazine, and more recently he has published a book, Musical Elaborations, based on a series of invited lectures at the University of California at Irvine.

scholarly journals Lithuanian Literature in 1918–1940: The Dynamics of Influences and Originality

2019 ◽  
Vol 23 (2) ◽  
pp. 340-353
Author(s):  
Gitana Vanagaitė
Keyword(s):  
Political System ◽  
Political Freedom ◽  
The Political ◽  
Literary Field ◽  
Cultural Traditions ◽  
Avant Garde ◽  
Cultural Centers ◽  
Political Status ◽  
The Social ◽  
The Relationship

Lithuanian independence (1918–1940), which lasted for twentytwo years, and its symbolic center, the provisional capital Kaunas, have been very important for the country’s political, social, and cultural identity. In 1918, changes in the social, economic, and political status of an individual as well as transformations in the literary field followed the change of the political system. In what ways the relationship between the center and the periphery and the spheres of literary influences were altered by the new forms of life? Lithuania, the former geographic periphery of tsarist Russia, after the change of the political system became a geographical and cultural periphery of Europe. Nevertheless, political freedom provided an opportunity to use the dichotomy of center-periphery creatively. Lithuanian writers, who suddenly found themselves living in Europe with old cultural traditions, tried to overcome the insignificance of their own literature, its shallow themes and problems by “borrowing” ideas and ways to express them. In fact, the imitation was not mechanical, so the new influences enabled writers to expand significantly the themes and forms of Lithuanian literature. The article examines the development of new cultural centers in independent Lithuania. It also discusses the avant-garde movement which emerged under the influence of Russian futurists and German expressionists. In addition, it focuses on individual authors, such as Antanas Vaičiulaitis, Kazys Binkis and Petras Cvirka, and the influence that affected their works.

Media Art in Argentina: Ideology and Critique “Después Del Pop”

ARTMargins ◽  
2012 ◽  
Vol 1 (2–3) ◽  
pp. 152-175
Author(s):  
Karen Benezra
Keyword(s):  
Conceptual Art ◽  
The Novel ◽  
Literary Critic ◽  
Media Art ◽  
Late Capitalism ◽  
Symbolic Form ◽  
Avant Garde ◽  
Political Stance ◽  
Group A ◽  
The 1960S

This article examines the rise and reception of conceptual art in Argentina. Against dominant readings of the 1960s' and 70s' visual avant-gardes in Latin America, I reconsider the stakes of art's so-called “dematerialization” and its unique claim on ideology critique in the work of the Grupo Arte de los Medios [Media Art Group], a collective of young artists led by the philosopher and literary critic Oscar Masotta. Arguing for a re-historicization of the 1960s avant-garde as one that emerges as a self-reflexive reaction to the novel articulation of late capitalism in Argentina, I trace a critical continuity between the Grupo Arte de los Medios and the avant-gardist claims on the fusion of art and militant politics among its immediate successors. I suggest that the Argentinean avant-garde defined its radical political stance through a reflection on the immanent relation of structural cause to symbolic form, probing and pointing to the limits of the operation of estrangement.

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