scholarly journals Visual text or "words-in-freedom" from Futurism through concrete poetry to electronic literature

2019 ◽  
pp. 90-101
Author(s):  
Aneta Joanna Pawłowska
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Stephane Mallarme ◽  
Filippo Tommaso Marinetti ◽  
Concrete Poetry ◽  
Avant Garde ◽  
Guillaume Apollinaire ◽  
Starting Point ◽  
In The Beginning ◽  
19Th And 20Th Century

The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. The aim of the article is to present the changes which the literary text with visual values is subjected to. As the starting point of our intellectual considerations we chose the turning-point between 19th and 20th century, when as a result of artistic actions of such avant-garde artists as Guillaume Apollinaire, Stéphane Mallarmé, dramatic changes in the perception of the semantic meaning of poety occurred, which brought about the situation in which the visual structure of the text became quite essential. In the beginning of the 20th century the need for the necessary changes within the scope of literature and visual arts, were noticed by such diverse artists connected with Futurism, as Filippo Tommaso Marinetti, who advocated in his „one-day” publications and manifestoes the slogans which were spelled out in various different languages parole in libertá – with „words-in- freedom”. In Poland a similar role was played by such artists as Brunon Jasieński (1901-1938), Stanisław Młodożeniec (1895-1959), Alexander Watt (1900-1967), Anatol Stern (1899-1968) and Tytus Czyżewski (1880-1945), who presented a multi-sensual reality, in the poetry with „mechanical instinct”. A vivid interest concerning the modern typography in the period which took place immediately after the end of the First World War and during the interwar period of the Great Avant-Garde, was shown by various artists who were closely related to Dadaism and the Polish art group called „a.r”. Here a special mention is desrved by the pioneer accomplishments in the range of lettering craft and the so-called „functional printing” of the famous artist Władysław Strzemiński (1893-1952). The next essential moment in the development of the new approach to the synesthesia of the printed text and fine arts is the period of the 1960s of the 20th century and the period of „concrete poetry” (Eugen Gomringer, brothers Augusto and Haroldo de Campos from Brazil, Öyvind Fahlström). In Poland, the undisputed leader of this movement was the artist Stanisław Dróżdż (1939-2009), the originator of the so-called „conceptual-shapes”. In the 21st century, the emanation of actions which endevour to join and link closely poetry with visual arts is the electronic literature, referred to as digital or html. Artists associated with this formation, usually produce their works only by means of a laptop or personal computer and with the intention that the computer the main carrier / medium of their work. Among the creators of such works of art, it is possibile to mention such authors of the young generation as Robert Szczerbiowski, Radosław Nowakowski, Sławomir Shuty.

scholarly journals VISUALISASI PEREMPUAN PADA LUKISAN TRADISIONAL TIONGHOA DI INDONESIA (Analisis karya-karya seni lukis Lee Man Fong dan Chiang Yu Tie)

Panggung ◽  
2017 ◽  
Vol 27 (2) ◽  
Author(s):  
Ariesa Pandanwangi ◽  
Nuning Damayanti
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Social Life ◽  
Research Method ◽  
Qualitative Method ◽  
The Social ◽  
In The Beginning ◽  
Social Area

ABSTRACT Both Lee Man Fong - a male painter - and Chiang Yu Tie - a female painter - are Chinese who migrated to Indonesia. In the beginning of the 20th century, Lee Man Fong lived in Bali while Chiang Yu Tie lived in Java. Many of their artworks were collected by the National Palace and many government officers. The questions of this research are visualization of the women as the object of paintings of both artists and gesture of the women in the paintings of both artists. The purpose of the research is to enrich the documentary infrastructure about women as object in the social area of visual arts which has not been studied much. The research method that will be used is qualitative method with purpose sampling. The result of the research will show that both artists are very familiar with a particular social life during their stay in a certain place, so that their perceptions are focused in excavating the women object in their artworks.Keywords: Chiang Yu Tie, Chinese, Lee Man Fong, Painting, Woman.ABSTRAK Lee Man Fong adalah pelukis laki-laki dan Chiang Yu Tie adalah pelukis perempuan. Keduanya adalah orang Tionghoa yang merantau ke Indonesia. Pada tahun 1900 an Lee Man Fong tinggal di Bali sedangkan Chiang Yu Tie tinggal di Jawa Barat. Karya keduanya banyak dikoleksi oleh Istana Negara juga oleh pejabat pemerintahan. Penelitian ini untuk mengetahui visualisasi perempuan yang dijadikan objek pada lukisan tradisional tionghoa dan gestur perempuan pada objek karya seni lukis kedua seniman tersebut. Tujuan penelitian ini adalah untuk melengkapi infrastruktur pendokumentasian tentang objek perempuan dalam medan sosial seni rupa yang belum banyak dibahas. Metode penelitian ini adalah metode kualitatif dengan purpose sampling. Hasil penelitian ini memperlihatkan bahwa kedua seniman tersebut sangat akrab dengan lingkungan sosial ketika mereka tinggal disuatu daerah, sehingga pengamatannya banyak di fokuskan pada penggalian objek perempuan dalam karya seni lukisnya.Kata kunci: Chiang Yu Tie, Lee Man Fong, Perempuan, Seni lukis, Tionghoa. 

scholarly journals Art as a Critique of Language: On the Continuity of the Tradition of the Avant-Garde Aesthetic in the Modern and the Postmodern

2007 ◽  
Vol 43 (2) ◽  
pp. 287-303
Author(s):  
Susanne Kogler
Keyword(s):  
20Th Century ◽  
Conceptual Knowledge ◽  
Aesthetic Experience ◽  
New Music ◽  
Avant Garde ◽  
Starting Point ◽  
Traditional Language ◽  
Art Philosophy ◽  
Language Of Music ◽  
The One

That art functions as a corrective to rational-scientific insights is one of the formative thoughts of art philosophy. The fact that artistic expression represents a corrective to linguistically-rationally affected insight also ranks among the constants of art philosophy in the 20th century. “Expression is the opponent of articulating something” can be read, for instance, in Adorno’s Aesthetic Theory with regards to the character of language in art and Jean François Lyotard wrote on aesthetic experience: “What happens to us is by no means something which we would have controlled, programmed or conceptually apprehended beforehand”. The uneducible, conceptually unattainable is also at the centre of current art production of the 21st century. On the basis of Lyotard’s and Adorno’s positions, the article shows that one should acknowledge a constancy of the topos of art as non-conceptual knowledge on the one hand as the continuing function of a tradition defined from the philosophical aesthetics of modernity to post-modernity and orientated on the artistic avant-garde. On the other hand and beyond this a continuous line of tradition of New Music becomes clear, leading to the expressionistic avant-garde of the 20th century which represented the starting point for Adorno’s music philosophy, through Lyotard’s focus on John Cage, up to the avant-garde of New Music in the era of post modernity. Specific features of contemporary art, such as rebellion against linguistic standards, an understanding of expressivity that opposes the traditional language of music and operates on the verge of silence, as well as the utopian vision of a modified reality which aims at transcendency enable a conception of art as non-conceptual knowledge, corresponding with the positions of art philosophy in modernity and post-modernity in important points. The relevance of focusing on this line of tradition for musicology lies in the fact that it sheds new light on the musical avant-garde and its further function and, last but not least, that it opens new perspectives in understanding contemporary artistic productions.

scholarly journals The avant-garde in the architecture and visual arts of Post-Revolutionary Mexico

2012 ◽  
Author(s):  
Fernando N. Winfield
Keyword(s):  
Twentieth Century ◽  
20Th Century ◽  
Visual Arts ◽  
Architectural Design ◽  
Political Context ◽  
Modern Architecture ◽  
The Political ◽  
Avant Garde ◽  
Mexican Architecture ◽  
Direct Reflection

Commenting on an exhibition of contemporary Mexican architecture in Rome in 1957, the polemic and highly influential Italian architectural critic and historian, Bruno Zevi, ridiculed Mexican modernism for combining Pre-Columbian motifs with modern architecture. He referred to it as ‘Mexican Grotesque’. Inherent in Zevi’s comments were an attitude towards modern architecture that defined it in primarily material terms; its principle role being one of “spatial and programmatic function”. Despite the weight of this Modernist tendency in the architectural circles of Post-Revolutionary Mexico, we suggest in this paper that Mexican modernism cannot be reduced to such “material” definitions. In the highly charged political context of Mexico in the first half of the 20th Century, modern architecture was perhaps above all else, a tool for propaganda. In this political atmosphere it was undesirable, indeed it was seen as impossible, to separate art, architecture and politics in a way that would be a direct reflection of Modern architecture’s European manifestations. Form was to follow function, but that function was to be communicative as well as spatial and programmatic. One consequence of this “political communicative function” in Mexico was the combination of the “mural tradition” with contemporary architectural design; what Zevi defined as “Mexican Grotesque”. In this paper, we will examine the political context of Post-Revolutionary Mexico and discuss what may be defined as its most iconic building; the Central Library at the Universidad Nacional Autónoma de Mexico . In direct counterpoint to Zevi, we will suggest that it was far from grotesque, but rather was one of the most committed political statements made by the Modern Movement throughout the Twentieth Century. It was propaganda, it was political. It was utopian.

scholarly journals Straight into the Eyes – Jacek Łumiński and the Silesian Dance Theatre(1991-2011)

2020 ◽  
Vol 3 (1) ◽  
pp. 31-46
Author(s):  
ALICJA IWANSKA
Keyword(s):  
20Th Century ◽  
Turning Point ◽  
Wide Spectrum ◽  
Educational Activity ◽  
Contemporary Dance ◽  
Educational Activities ◽  
Avant Garde ◽  
Professional Dance ◽  
In The Beginning

The fi nal decade of the 20th century was the turning-point for the development of Polish contemporary dance. In 1991 Jacek Łumiński established the Silesian Dance Theatre in Bytom. The theatre is said to be in the avant-garde of all activities related to contemporary dance development in Poland. It was J. Łumiński and his theatre who pioneered new trends in contemporary dance at the beginning of the nineties of the 20th century, at the same time they have conducted educational activity over the intervening twenty years.The aim of this article is to present the artistic and educational activity of the Silesian Dance Theatre of the recent twenty years. In the beginning the author presents a choreographic por-trait of J. Łumiński, the founder and choreographer of the Silesian Dance Theatre, and creator of the Polish contemporary dance technique. Then an analysis of J. Łumiński’s dance style is car-ried out, and the review of the Silesian Dance Theatre’s choreographic attainments is presented.The fi nal part of the article discusses the wide spectrum of educational activities under-taken in the fi eld of contemporary professional dance by theSilesian Dance Theatre, and the phenomenon of the theatre on the Polish stage.

scholarly journals Avantgarde Suomessa

2021 ◽  
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Women Artists ◽  
Early 20Th Century ◽  
Avant Garde ◽  
The Social ◽  
Role Of Women ◽  
First Time

Avant-garde in Finland is the first book to provide an overarching introduction to avant-garde art by Finnish artists. The articles in the book discuss the application and development of the cultural ideas of the avant-garde in Finnish art from the early 20th century till the present day. The book focusses on the social, political, and artistic characteristics of avant-garde art and their manifestation in Finnish avant-garde literature, visual arts, architecture, fashion, and music. The book shows the remarkable role of women artists in the development of the Finnish avant-garde. Many artists and groups are presented in the book for the first time. At the same time, the articles highlight connections between well-known Finnish artists and international avant-garde movements that have not been recognized in earlier research. A key theme of the book is the tension between the internationality of avant-garde and the nationalist elements of Finnish culture. The book is peer-reviewed, and its authors are eminent senior scholars and younger researchers.

Octavio Paz

2019 ◽  
Author(s):  
Clara Román-Odio ◽  
J. Sebastián Chavez Erazo
Keyword(s):  
New York ◽  
20Th Century ◽  
Latin American ◽  
Visual Arts ◽  
World Politics ◽  
Octavio Paz ◽  
Poetry And Poetics ◽  
Critical Thought ◽  
Starting Point ◽  
American Poets

Octavio Paz (b. 1914–d. 1998) ranks among the most influential Latin American poets and intellectuals of the 20th century. Fully engaged in the artistic experimentation and critical spirit of modernity, he wrote more than twenty books of poetry and as many book-length essays on such topics as eroticism, poetry, politics, history, anthropology, and visual arts. Paz examined world cultures from multiple frames of reference, including the movements of modernity and postmodernity, the tensions between poetry and history, the state of world politics, Eastern and Western thought, and Latin American struggles for independence and self-determination. The broad sweep of his worldview was shaped in part by experiences gained during decades of service with the Mexican diplomatic corps in Paris, New York, New Delhi, Tokyo, and Geneva. Recognized worldwide thanks to translations and awards, including the 1990 Nobel Prize in Literature, Paz’s intellectual work engenders rich, sometimes controversial scholarship. Praised by many for his remarkable contributions, others accuse him of creating an elitist, ahistorical concept of poetry as the singular resource to overcome the failures of history. The vast scholarship examining Paz’s work focuses on his poetics and critical thought, and addresses recurring themes: biography, political controversies, and the intellectual movements of the 20th century that influenced or were influenced by him. The scope and impact of Paz’s oeuvre present a substantial challenge for this concise bibliography. The comprehensive bibliography by Hugo J. Verani, covering the period 1931–2013, provided a seminal starting point for our work (see Verani 2014, cited under Bibliographies). While that collection sought to encompass any and all works alluding to Paz, our focus here is on sources of substantive merit that advance our understanding of the author. We have sought to capture major threads of research, emphasizing works published in 2014 in honor of Paz’s centenary and those that follow to the present day. Source format was taken into account, resulting in a selection that includes mostly books (in print and online), book chapters, anthologies, biographies, and peer-reviewed journals. The core of the scholarship on Paz includes analyses of poetry and poetics, comparative studies on world cultures, critiques of modernity and postmodernity, scholarship on the visual arts, Asia and orientalism, history, and politics. By selecting these topics as the organizing concepts of the bibliography, we hope to highlight crucial background materials to explore Paz’s contributions to the landscape of literature, culture, and politics in the 20th and early 21st centuries.

Marinetti, Filippo Tommaso (1876–1944)

2018 ◽  
Author(s):  
Maria Elena Versari
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Performing Arts ◽  
Filippo Tommaso Marinetti ◽  
Avant Garde ◽  
The Public ◽  
The Creation ◽  
Stage Performances ◽  
Verbal Relations ◽  
Free Word

Filippo Tommaso Marinetti was founder and leader of Futurism, the first intellectual and artistic movement that explicitly defined the codes of avant-garde practice in the twentieth century. His work extended across a multiplicity of fields: journalism, poetry, literature, theater, visual arts, politics, but it’s probably his all-encompassing activity as a cultural leader and fosterer of innovation that made him one of the preeminent intellectuals of his time. He implemented and systematized the practice of diffusing avant-garde ideas through manifestos, performances, and happenings, capitalizing on a deliberately magnified antagonistic relation with the tastes of the public at large. His experimentations in visual/verbal relations and stage performances, which led to the creation of free-word poetry and synthetic theater, were pivotal for the development of new modernist codes in poetry and the performing arts.

scholarly journals Tuwim’s Dialogues with Banality

2017 ◽  
Vol 36 (6) ◽  
pp. 219-231
Author(s):  
Tomasz Bocheński
Keyword(s):  
20Th Century ◽  
Human Being ◽  
Avant Garde ◽  
Colloquial Language ◽  
Creative Person ◽  
Original Speech ◽  
In The Beginning ◽  
20Th Century Art ◽  
Mass Form

The article examines the relation between Tuwim’s poetry and modern colloquial language. The avant-garde artists for whom in the beginning of the 20th-century art was an elite occupation, treated every-day speech as a mass form of communication. Tuwim’s poetry was frequently criticised for banality. Matywiecki presents the poet as a hero fighting with the demon of commonness. The crucial thesis of the article is that banality which is modified in a creative way says more about the epoch than elitist visions. In his poetry, satire and cabaret work Tuwim transformed triviality into dialog and a common human being into a creative person. Transition of the street talk into original speech is the defence against reducing individual being to cliché which means the fear of 20th-century killing ideologies.

scholarly journals In Anticipation of Disaster: The Beginnings of Croatian Modernism and the End of the Empire

2021 ◽  
Vol 46 (2) ◽  
pp. 10-25
Author(s):  
Nataliya Zlydneva ◽  
Keyword(s):  
20Th Century ◽  
Visual Arts ◽  
Cultural Development ◽  
Avant Garde ◽  
History Of ◽  
Balkan Region ◽  
Theoretical Issues

The essay deals with the history of the first steps of modernism in Croatian visual arts in the 1910s – beginnings of the 1920s, which took the form of expressionism. In the aspect of early expressionism, the work of the most significant Croatian painters and graphic artists (L. Babić, M. Trepse and others), as well as sculptors (I. Meštrović), considered in the context of the art of the Balkan region (Serbian and Slovenian artists) as a whole, is observed. A number of theoretical issues are touched upon – the typology of symbolism and impressionism, closely related to Croatian expressionism, as well as the problem of isomorphism of expressionism poetics as an integral part of the avant-garde to the phenomenon of explosion in culture. The research shows that the beginnings of the Croatian modernism, which coincided with the end of the empire, reflect the specifics of the Balkan model of cultural development in the 20th century, based on the convergence of extremes.

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