DAV (The Crowd) – Slovak left-wing avant-garde group of interwar period

2021 ◽  
Author(s):  
Lukáš Perný
Keyword(s):  
Interwar Period ◽  
Left Wing ◽  
Avant Garde

Historia leksemu "badylarz" (na marginesie prac nad "Wielkim słownikiem języka polskiego PAN")

Język Polski ◽  
2020 ◽  
Vol 100 (3) ◽  
pp. 100-112
Author(s):  
Jakub Bobrowski
Keyword(s):  
Popular Culture ◽  
19Th Century ◽  
Interwar Period ◽  
Digital Libraries ◽  
Cultural Memory ◽  
Left Wing ◽  
Lexical Unit ◽  
Use Of Data ◽  
Polish Language ◽  
The 19Th Century

The article explores the semantic and pragmatic evolution of the lexical unit "badylarz" (‘vegetable gardener’). The author challenges the generally accepted opinions about its history, making use of data from dictionaries, digital libraries and corpora of the Polish language. It is commonly believed that the word came into existence during the PRL era and belonged to the typical elements of the discourse of communist propaganda. An analysis of the collected data showed that the word "badylarz" existed as far back as the second half of the 19th century. Originally, it was a neutral lexeme, but in the interwar period it became one of the offensive names of class enemies, often used in left-wing newspapers. After the war, negative connotations of the word were disseminated through literature and popular culture. Nowadays, "badylarz" functions as the lexical exponent of cultural memory of communist times.

scholarly journals FROM ŁÓDŹ TO LEIDEN – ON INTERNATIONAL CONNECTIONS OF THE POLISH INTERWAR AVANT-GARDE

Muzealnictwo ◽  
2018 ◽  
Vol 59 ◽  
pp. 203-210
Author(s):  
Michał Wenderski
Keyword(s):  
Interwar Period ◽  
Avant Garde ◽  
Art And Literature ◽  
Archival Documents ◽  
De Stijl

This article is dedicated to international connections between selected representatives of Polish and Western avant-gardes in art and literature of the interwar period. Both the nature and the scale of such relations have been exemplified by a number of artists from the “a.r.” group – Katarzyna Kobro, Władysław Strzemiński, Henryk Stażewski and Jan Brzękowski, as well as their relationships with the representatives of Dutch and Belgian formations, inter alia “De Stijl” group. The origin of those connections has been briefly presented, along with their nature, dynamics and an impact they made on artworks and theories of chosen artists. Their description is based on archival documents and publications, from which a picture of direct relationships between the leading artists of the European avant-garde emerges – some of them personal, some correspondence-based; they have also been presented in form of a diagram that illustrates the text.

Scotland in the 1930s

2020 ◽  
pp. 20-33
Author(s):  
Fraser Raeburn
Keyword(s):  
Civil War ◽  
Interwar Period ◽  
Spanish Civil War ◽  
Left Wing ◽  
Political Crises ◽  
Political Cultures ◽  
Industrial Decline ◽  
Scottish Politics ◽  
Interwar Era

Scotland suffered acutely from the economic and political crises of the interwar period, with industrial decline, mass unemployment and cultural uncertainty in evidence by the early 1920s. This chapter explores the consequences of this economic and social dislocation for Scottish politics in the lead up the late 1930s. Particular emphasis is given to left-wing politics and anti-unemployment activism, suggesting that the roots of a distinctively Scottish response to the Spanish Civil War lay in older radical political cultures that had survived and evolved into the interwar era.

Senghor, Léopold Sédar (1906–2001)

2018 ◽  
Author(s):  
Phyllis Taoua
Keyword(s):  
Interwar Period ◽  
Aime Cesaire ◽  
African Culture ◽  
Black African ◽  
Avant Garde ◽  
Philosophy Of Culture ◽  
African Spirituality ◽  
European Thought ◽  
Modern Era ◽  
Cultural Theorist

Léopold Sédar Senghor is one of the most influential African poets of the modern era. He also left his mark as a controversial cultural theorist and president of his native Senegal from 1960 until 1981. The poet and statesman participated with Aimé Césaire and Léon Gontran Damas in founding the négritude movement during the interwar period in Paris. Négritude was a cultural revolution that affirmed black African culture across geographical borders, combining a political vision of social justice for all peoples of African origin with an innovative poetic idiom. Senghor’s distinctive contribution to this avant-garde effort was a set of inter-related concepts with which he developed his theory of black African culture. The first was a notion of cross-cultural creativity entailing an interpenetration of African and European cultures. The second was a selective assimilation of certain aspects of French culture into an African conceptual framework. The third was an African version of socialism that integrated a community-centred ethics with a traditional African spirituality. Senghor believed that African culture had unique contributions to make to European thought, and worked to define a theory of culture based on dialogue, reciprocity and an inclusive humanism, which would pave the way for Africa’s integration into a civilization of the universal. His philosophy of culture is unsystematic; it appears as a collection of insights derived from various sources on the central theme of négritude.

From Political Theater in Yugoslav Socialism to Political Performance in Global Capitalism: The Case of Slovenian Mladinsko Theater

2016 ◽  
Vol 24 (1) ◽  
pp. 72-82
Author(s):  
Marko Juvan
Keyword(s):  
Interwar Period ◽  
Performing Arts ◽  
Identity Crisis ◽  
Global Capitalism ◽  
Political Theater ◽  
Nation State ◽  
Late Capitalism ◽  
Avant Garde ◽  
Political Performance ◽  
Dramatic Practice

Political theater is a trend that, during the avant-garde 1920s, emerged at the intersection of efforts to liberate artistic forms and oppressed groups in society. It was an influence on Slovenian theatrical artists at the Workers’ Stage (Delavski oder) already in the interwar period. A trend towards ‘political theater’, one of the tendencies of politicized performing arts in the period, flourished in Slovenia and other republics of the former Yugoslavia in the 1980s. Against the background of an identity crisis of the Yugoslav state and its ideology, political theater addressed great stories of History and the Revolution in a post-avant-garde manner. During the transition, political theater initially lost its edge but was reborn in the 21st century. As a post-dramatic practice associated with performance, it now parses its own politics. It is a forum for critiquing small, local stories that nonetheless evince the contradictions of a peripheral nation-state in the era of transnational late capitalism.

A Game-Theoretical Approach to the Results of Parliamentary Elections in Belgium between the Wars

1989 ◽  
Vol 13 (3) ◽  
pp. 237-254
Author(s):  
Erik Buyst ◽  
Luc Lauwers ◽  
Patrick Uvtterhoeven
Keyword(s):  
Political Parties ◽  
Interwar Period ◽  
Theoretical Approach ◽  
Political Party ◽  
Political System ◽  
Left Wing ◽  
Electoral Success ◽  
Parliamentary Elections ◽  
Game Theoretical Approach ◽  
Distribution Of Power

This paper deals with the distribution of power among Belgian political parties during the interwar period. In the 1930s Belgium, like most European countries, was confronted with the electoral success of extreme right- and left-wing parties that wanted to change the existing political system into an authoritarian one. Usually, historians draw attention to the rapidly growing share of seats in Parliament held by extreme parties as a sign of their increasing influence on Belgian politics. Among game theorists, however, it is widely accepted that the proportion of seats is a poor proxy for power relations (Schotter, 1979). It is indeed possible that a political party acquiring a higher proportion of seats in Parliament loses its capacity to influence the outcome of a vote, and vice versa.

The Bankruptcy of Left-Wing Kulturkritik: The "After the Avant-Garde" Conference

Telos ◽  
1985 ◽  
Vol 1985 (63) ◽  
pp. 168-173
Author(s):  
R. Wolin
Keyword(s):  
Left Wing ◽  
Avant Garde

scholarly journals Über Dichter, Proletarier und Apachen

2019 ◽  
Author(s):  
Gérard Raulet
Keyword(s):  
Interwar Period ◽  
French Literature ◽  
Walter Benjamin ◽  
Social Criticism ◽  
The Novel ◽  
Social Worlds ◽  
Avant Garde ◽  
The Voice ◽  
Collective Dimension

It is somewhat surprising that Walter Benjamin, who has been very much involved with French literature, has shown so little interest in the most prestigious social novelists and in the great social romance cycles. Unlike Lukács, Benjamin evaluates the form of the novel negatively: the novel is not, or no longer, the modern epic. The contemporary novelist differs from the epic narrator in that he has lost the collective dimension. Instead of complaining about this loss, Benjamin accepts it and looks critically for authors and works that experiment new narrative means and at the same time explore new social worlds. But most novels to which Benjamin attributes experimental, or even avant-garde, value have met this challenge the least. They betray their breakthrough either by a purely private social criticism (Julien Green), by a kind of “infantile disease” of commitment (Malraux), or by a mere “cry of indignation” (Céline), which at least has the merit of reintroducing the voice of the Lumpenproletariat into the realm of the novel without mobilizing the “mimicry” of belonging to the proletariat. This essay is part of a larger project on Benjamin and the French intelligentsia of the interwar period.

scholarly journals Przekład w perspektywie awangardowości

2020 ◽  
Vol 26 (49) ◽  
pp. 83-100
Author(s):  
Bożena Tokarz
Keyword(s):  
Interwar Period ◽  
Fundamental Change ◽  
Polish Literature ◽  
Avant Garde

Translation in the Perspective of Avant-garde Avant-garde is a kind of precursor that precedes some fundamental change. Translation can provoke such a change in the host literature, presenting works that have the potential to make a turn in it, or it can become revolutionary in the art of translation. The avant-garde function of Polish literature in Slovenia is fuzzy. It is present in the minds of some authors although they do not exhibit it in an explicit way. Therefore, it is not possible to assign its translations an avant-garde role in the interwar period, which abounded with stormy transformations of European art and not only. The Polish historical avantgarde was unknown to the reader, and the poetry of one of the central poetic groups, the Krakow Avant-Garde, has remained so. The translations of avant-garde prose and drama of that time are late to fulfill such a function because they only appeared after the 1970s.

scholarly journals Terrorens poetik: Revolutionen skrives med småt

2009 ◽  
Vol 37 (107) ◽  
pp. 52-73
Author(s):  
Susanne Stoltz ◽  
Anders Tønnesen
Keyword(s):  
Literary History ◽  
Aesthetic Experience ◽  
Left Wing ◽  
Situationist International ◽  
Avant Garde ◽  
Red Army ◽  
The Spectator ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Aesthetic

The Poetics of Terror: The Manifestoes of the RAF:This paper points to a ‘forgotten’ literary history of the Red Army Fraction (RAF) in order to contest a common misconception. The RAF is often perceived solely as a political phenomenon and its justification of terrorism as a political discourse. Thereby many scholars bluntly fail to pinpoint the attractiveness of the left-wing terrorism of the 1960s and 1970s. The paper argues that the writings of the first generation of the RAF also convey a ‘poetics’ of terrorism. It points to a somewhat overlooked strategy of justification in the writings, which can be formulated as follows: Both the act of terrorism and the utterance of its defence are justified as aesthetic experiences. Furthermore, this was constructed under heavy influence from groups of avant-garde artists in the tradition of the Situationist International (SI). The paper analyses the strategy of justification found in the first few RAF-statements. Beneath the political jargon of left-wing radicalism and the »credo of immediate action«, the paper locates another strategy of justification that carries the sign of avant-garde thought. According to the manifestoes of the RAF, the aesthetic experience of a terrorist act could liberate the spectator. The study concludes that the writings of RAF unveil a ‘poetics’ of terrorism. The act of terrorism is a radical transgression of reality. Hence, the terrorist act destroys the ‘mechanical’ system of cognitive oppression because it shows the possibility of another world. That is why the RAF views terror as a model of spiritual liberation. In addition to this the statements communicate a parallel concept to the ‘poetics’ of the terror act. The RAF constructed a concept of revolutionary language, ‘the armed propaganda’, which claimed to break down the barriers of ‘domination’ in the consciousness of the recipient. In doing so the statements perform what they preach; they are themselves acts of terror. The RAF’s concept of terrorism comprises both word and deed. The writings are acts and the acts are utterances. Accordingly, RAF’s ‘poetics’ of terrorism can be described as the transgression of reality in the word or deed of terror that leads to spiritual liberation.

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