scholarly journals Walter Benjamin, taiteen toinen tekniikka ja avantgarden kulttuuripolitiikka

2018 ◽  
Vol 3 (1) ◽  
pp. 38-50
Author(s):  
Aleksi Lohtaja ◽  
Taneli Viitahuhta
Keyword(s):  
Walter Benjamin ◽  
The Political ◽  
Avant Garde ◽  
Mechanical Reproduction

This article provides a fresh look into Walter Benjamin’s famous essay, “Artwork in the Age of Mechanical Reproduction” (1936). Following Benjamin scholar Esther Leslie, we claim that Benjamin’s lesser-known concept of “second technique” is integral for understanding both the meaning of essay as well as mapping the political and artistic aims of the 1920’s avant-garde movements in general. The article is structured around two cases of avant-garde, both of which are central already for Benjamin, but remain somewhat under-theorized in connection to Benjamin. These are the Soviet constructivist film and the idea of glass construction in Weimar-era German architecture. Keywords: Walter Benjamin, second technique of art, avantgarde, film, architecture

scholarly journals La politización de la estética y la dialéctica del arte moderno en el pensamiento de Walter Benjamin

2015 ◽  
pp. 49-69
Author(s):  
Mijael Jiménez
Keyword(s):  
Walter Benjamin ◽  
Social Function ◽  
Political Organization ◽  
The Political ◽  
Experimental Production ◽  
Work Of Art ◽  
Avant Garde ◽  
Critical Action ◽  
Industrial Societies ◽  
Critical Project

The purpose of this paper is to understand the place of the theses of Walter Benjamin on the mechanically reproducible work of art in his critical project of politicizing aesthetics. We analyse the characteristics of art produced in industrial societies in order to comprehend its social function during the processes of political organization in totalitarian States and in the critical or revolutionary thought. We propose a particular interpretation of Benjamin’s theory of aura to identify a form of experience that remains in the reception of modern artwork, which help us explain the political organization through the figure of a distracted examiner. We also present two ways critical action could be shaped in: the project of politicizing aesthetics and the experimental production of the avant-garde work of art. The former is the possibility of philosophical thought, while the latter represents the revolutionary action into the process of production and the experience of the artwork.

scholarly journals SPLIT ENDS? LITERATURE AND POLITICS AT THEFIN DE SIECLE

2007 ◽  
Vol 35 (2) ◽  
pp. 697-709
Author(s):  
Jock Macleod
Keyword(s):  
Victorian Literature ◽  
Cultural Landscape ◽  
Modern Literature ◽  
The Political ◽  
Literature And Politics ◽  
The Real ◽  
Avant Garde ◽  
Split Ends ◽  
Bourgeois Culture ◽  
Long Course

AS AN UNDERGRADUATE IN THE1970s, my introduction to the 1890s was perfunctory. Squeezed into a couple of weeks in the middle of a year-long course on “Victorian and Modern Literature,” the literature of the decade was reduced to aestheticism and decadence and presented as something of a preliminary to the real business of modernism. Such a focus reflected the scholarship of the time, in which thefin de sièclewas constructed as a moment of transition, one in which the political and socio-ethical dimensions so central to high Victorian literature were evacuated, as arguments for the autonomy of art came to dominate the literary cultural landscape. The organising principle was one of bifurcation: the separating out ofavant gardefrom bourgeois culture, the high from the low and, of particular relevance to this essay, literature from politics.

The avant-garde’s visual arts in the context of Santayana’s idea of vital liberty

Human Affairs ◽  
2012 ◽  
Vol 22 (2) ◽  
Author(s):  
Krzysztof Skowroński
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
The Other ◽  
Political Life ◽  
The Political ◽  
Human Beings ◽  
Political Dimension ◽  
Avant Garde ◽  
Other Hand ◽  
The Universe

AbstractIn the present paper, the author looks at the political dimension of some trends in the visual arts within twentieth-century avant-garde groups (cubism, expressionism, fauvism, Dada, abstractionism, surrealism) through George Santayana’s idea of vital liberty. Santayana accused the avant-gardists of social and political escapism, and of becoming unintentionally involved in secondary issues. In his view, the emphasis they placed on the medium (or diverse media) and on treating it as an aim in itself, not, as it should be, as a transmitter through which a stimulating relationship with the environment can be had, was accompanied by a focus on fragments of life and on parts of existence, and, on the other hand, by a de facto rejection of ontology and cosmology as being crucial to understanding life and the place of human beings in the universe. The avant-gardists became involved in political life by responding excessively to the events of the time, instead of to the everlasting problems that are the human lot.

The Eye of the Expert: Walter Benjamin and the avant garde

Art History ◽  
2001 ◽  
Vol 24 (3) ◽  
pp. 401-444 ◽  
Author(s):  
Frederic J. Schwartz
Keyword(s):  
Walter Benjamin ◽  
Avant Garde

scholarly journals Katherine Mansfield and Periodical Culture

2019 ◽  
Author(s):  
Chris Mourant
Keyword(s):  
Social Contexts ◽  
Woman Writer ◽  
The Political ◽  
Katherine Mansfield ◽  
Avant Garde ◽  
Literary Journal ◽  
Depth Study ◽  
New Perspective ◽  
Story Writer ◽  
The Many

Katherine Mansfield’s contemporaries knew her primarily as a contributor to magazines and periodicals. In 1922, for instance, Wyndham Lewis described her as ‘the famous New Zealand Mag.-story writer’. This book provides the first in-depth study of Mansfield’s engagement in periodical culture, examining her contributions to the political weekly The New Age, the avant-garde little magazine Rhythm and the literary journal The Athenaeum. Reading these writings against the editorial strategies and professional cultures of each periodical, Chris Mourant situates Mansfield’s work within networks of production and uncovers the many ways in which she engaged with the writings of others and responded to the political, aesthetic and social contexts of early twentieth-century periodical culture. By examining Mansfield’s ambivalent position as a colonial woman writer working both within and against the London literary establishment, in particular, this book provides a new perspective on Mansfield as a ‘colonial-metropolitan modernist’ and proto-postcolonial writer.

scholarly journals Grażyna Bacewicz – The Polish Sappho

2019 ◽  
Vol 16 (1) ◽  
pp. 65-102
Author(s):  
Małgorzata Gąsiorowska
Keyword(s):  
String Quartet ◽  
Women Composers ◽  
The Political ◽  
String Orchestra ◽  
Limited Extent ◽  
Avant Garde ◽  
Political Transformations ◽  
New Type ◽  
Nadia Boulanger ◽  
Artistic Career

Abstract The paper is an attempt at a synthetic presentation of the Polish composer Grażyna Bacewicz’s (1909–1969) musical output and artistic career, presented against the background of events in her personal life, and of major events in Polish and European history in the first seven decades of the 20th century. Bacewicz was called ‘the Polish Sappho’ already in the years between World Wars I and II, when there were very few women-composers capable of creating works comparable to the most eminent achievements of male composers. Her path to success in composition and as a concert soloist leads from lessons with her father, the Lithuanian Vincas Bacevičius, to studies at the Łódź and Warsaw Conservatories (violin with Józef Jarzębski, composition with Kazimierz Sikorski), and later with Nadia Boulanger at the École Normale de la Musique, as well as violin lessons with André Tourret. Her oeuvre has for many years been linked with neoclassicism, and folkloric inspirations are evident in many of her works. Her crowning achievement in the neoclassical style is the Concerto for String Orchestra of 1948, while influences from folklore can distinctly be heard in many concert pieces and small forms. The breakthrough came around 1958, under the influence of avant-garde trends present in West European music, which came to be adapted in Poland thanks to the political transformations and the rejection of socialist realism. In such pieces as Music for Strings, Trumpets and Percussion of 1958, Bacewicz transforms her previously fundamental musical components (melody, rhythm, harmony) into a qualitatively new type of sound structures, mainly focused on the coloristic aspects. Grażyna Bacewicz also applied the twelve-note technique, albeit to a limited extent, as in String Quartet No. 6 (1960). Her last work was the unfinished ballet Desire to a libretto by Mieczysław Bibrowski after Pablo Picasso’s play Le désir attrapé par la queue.

scholarly journals Robespierre y el humanismo cívico.

2021 ◽  
Vol 137 (137) ◽  
pp. 47-62
Author(s):  
Alfredo Pizano Ferreira
Keyword(s):  
Political Theory ◽  
Walter Benjamin ◽  
Italian Renaissance ◽  
The Political ◽  
Civic Humanism ◽  
Oxford University ◽  
Princeton University ◽  
Palabras Clave ◽  
Republican Liberty ◽  
Real Academia

 La distinción entre el lenguaje del humanismo cívico y el republicanismo resulta una aclaración conceptual adecuada para comprender las acciones de Robespierre ante la apertura de una nueva concepción de la política. En el humanismo cívico es posible encontrar elementos que responden a los presupuestos del comunitarismo, en tanto problemas que se circunscriben a una región limitada, y el republicanismo responde a exigencias que son susceptibles de universalidad. Ahora bien, esta distinción no es clara, ya que, durante la Revolución francesa, en especial en el caso de Robespierre, encontramos una mezcla entre la exigencia de la virtud cívica clásica con la búsqueda de un fundamento de legitimidad política con un enfoque social. Así, la anomalía ideológica de Robespierre solo puede esclarecerse a través de la comprensión de las peculiaridades del lenguaje de la virtud y el universalismo moral  Palabras clave Republicanismo, comunitarismo, lenguaje político, mentalidades. Referencias Baron, H. (1966). The crisis of the early Italian Renaissance. Civic humanism and republican liberty in an age of classicism and tyranny. Princeton, Estados Unidos: Princeton University Press.Benjamin, W. (2013). Über den Begriff der Geschichte. En R. Tiedemann (Ed.).Walter Benjamin. Sprache und Geschichte. Philosophische Essays (pp. 141-154). Stuttgart, Alemania: Reclam.Bergeron, L., Furet, F. y Koselleck, R. (2012). La época de las revoluciones europeas, 1780-1848. Ciudad de México, México: Siglo xxi.Bernal, R. (2016). Fraternidad y democracia en el origen de nuestra modernidad política. En G. Ambriz Arévalo y R. Bernal Lugo (Coords.). El derecho contra el capital. Reflexiones desde la izquierda contemporánea (pp. 36-71). Chilpancingo, México: Contraste.Castro Gómez, S. (2019). Republicanismo transmoderno. En El tonto y los canallas. Notas para un republicanismo transmoderno (pp. 161-220). Bogotá, Colombia: Editorial Pontificia Universidad Javeriana.Dubiel, H., Frankenberg, G. y Rödel, U. (1997). El dispositivo simbólico de la democracia. En La cuestión democrática (pp. 137-192). Madrid, España: Huerga y Fierro Editores.Gauthier, F. (2005, 23 de julio). Robespierre: por una república democrática social. Sin Permiso. Recuperado de http://www.sinpermiso.info/textos/robespierre- por-una-repblica-democrtica-y-social.Gaytán, F. (2016). Hacia los nuevos testamentos jacobinos: los decálogos normativos para la laicidad. En Manual de redentores: laicidad y derechos, entre populismo y neojacobinismo (pp. 57-101). Ciudad de México, México: Universidad Nacional Autónoma de México-Instituto de Investigaciones Jurídicas.Gilroy, P. (2014). El Atlántico negro. Modernidad y doble conciencia. Madrid, España: Akal.James, C. L. R. (2003). Los jacobinos negros. Toussaint L’Overture y la Revolución de Haití. Ciudad de México, México: Turner-Fondo de Cultura Económica.Kant, I. (1900 s.). Kant’s Gesammelte Schriften (Editado por la Real Academia Prusiana de las Ciencias). Berlín, Alemania: Reimer [hoy De Gruyter]. Koselleck, R. (2017). Erfahrungsraum und Erwartungshorizont zwei historischen Kategorien. En Vergangene Zukunft. Zur Semantik geschichtlicher Zeiten (pp. 349-375). Fráncfort, Alemania: Suhrkamp Verlag.Mandeville, B. (1983). La fábula de las abejas. Ciudad de México, México: Fondo de Cultura Económica.Maquiavelo, N. (2015). Discursos sobre la primera década de Tito Livio. Madrid, España: Alianza.McPherson, C.B. (1962). The political theory of possessive individualism: Hobbes to Locke. Nueva York, Estados Unidos: Oxford University Press.  

Looping Sensations

Ricanness ◽  
2019 ◽  
pp. 135-168
Author(s):  
Sandra Ruiz
Keyword(s):  
Real Time ◽  
The Political ◽  
Video Screen ◽  
Avant Garde ◽  
Self Injury ◽  
The Senses ◽  
The Spectator ◽  
Narrow Space

This chapter shares the archive of the late queer Rican avant-garde multimedia artist Ryan Rivera by examining his experimental videos. Less than a minute each, these abstract videos draw the spectator’s attention to the psychical states of self-injury and suffering. Through close-ups, looping, a manipulation of real time, and overexposure, Rivera pushes the spectator to endure a series of grotesque actions; he repeatedly bangs his head, places his fist down his throat, holds his breath, retches, and punches and slaps his face. The author explicates the political and aesthetic consequences of waiting in the seat of sensation with and for a bodiless Rican subject who compels us to wait in dissonance through the exploitation of the senses. As a way to engender a type of queer calling, the author urges the reader to sit with the artist as he beats his head against the never-quite-postcolonial, creating new forms of Brown and Rican intimacy. The author reformulates the Cartesian split by showcasing the narrow space of a video screen in which the artist bangs his queer postcolonial head against the fast-paced heteronormative world.

Leituras do Sublime : Lyotard e Derrida

2002 ◽  
Vol 10 (19) ◽  
pp. 131-154
Author(s):  
Ana Anahory ◽  
Keyword(s):  
The Political ◽  
Avant Garde ◽  
Political Experience ◽  
The Sublime ◽  
The Gift ◽  
Political Model ◽  
Way Of Thinking ◽  
Kantian Philosophy ◽  
Negative Representation

In the 80’s, the situation after the reception of kantian philosophy was suddenly shaken by Jean-François Lyotard’s and Jacques Derrida’s approaches to the Critique of Judgement. These were so massively decisive that they reorganized the bounderies of modernity in projecting the Analytique of the sublime as the ground of legitimation of our aesthetical, ethical and political experience. For Lyotard, the sublime subject contained not only the necessary categories to think the avant-garde art but it could also offer kernels of resistance towards the political model of neocontractualism. Derrida changes the topic of negative representation of the impossible into the theorical coordinates of a new way of thinking such different themes as the hospitality, the responsibility, the justice, the decision, the gift or the death. In both authors, Kant becomes too close, so close that he is almost out of focus, especially regarding what can be unthinkable in his work.

Encounter Three: Art and the Socialist State

2019 ◽  
pp. 55-68
Author(s):  
Jan Bryant
Keyword(s):  
Free Market ◽  
Socialist Realism ◽  
The Political ◽  
Political Climate ◽  
Avant Garde ◽  
Western Art ◽  
Socialist State ◽  
Political Views ◽  
Free Market Capitalism ◽  
Market Capitalism

This chapter traces the tactics used by the art Slovenian collective, Neue Slowenische Kunst (NSK), specifically the art section, Irwin and the music group, Laibach, to criticise the socialist state of Yugoslavia. The chapter offers a brief overview of the political climate at the time leading up to and during the Yugoslavian wars (1980s and ‘90s). Closely analysed is NSK’s use of ambiguity and parody to hold a mirror up to authoritarianism and Irwin’s appropriation of early Russian avant-garde motifs to criticise socialist-realism and the State’s ‘misuse’ of art. As protection against retaliation by the state, NSK never prescribed their intentions, so audiences and viewers needed to bring their own context and perspective to events. Once Slovenia left the Yugoslavian Federation to enter into free-market capitalism, NSKs tactics seemed far less potent, flowing neatly into a 1980s western art context (a moment in history) that embraced ambivalence and indeterminacy. As an approach that hides a work’s political intent, allowing its viewers to have their own political views affirmed, it is argued that such a tactic fails to shake the political aesthetic. [181]

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