scholarly journals Agustín Espinosa, espectador del espacio insular: la influencia del cine en Lancelot, 28°-7° (1929)

2021 ◽  
pp. 159-176
Author(s):  
Alberto García-Aguilar ◽  
Keyword(s):  
Silent Cinema ◽  
Avant Garde ◽  
Poetic Imagery ◽  
Film Stars ◽  
The Way

The avant-garde description of the island of Lanzarote that Agustín Espinosa developed in Lancelot, 28°-7° (1929) proves that the writer shared the same interest in cinema that other young writers had expressed in their works during the 20s. However, the interartistic relation between cinema and literature in Lancelot has not been examined carefully yet. For this reason, this paper tries to study the different ways the cinema has influenced Lancelot, which includes not only references to film stars from the Amercian silent cinema, but also using certain film techniques. Thus, Espinosa offers new images of the island, now merged with universal artistic movements. To analyze this particular use of Espinosa’s cinema background in Lancelot, this paper will study the interest in cinema that the writer showed along his life, the way he uses different film techniques, the poetic imagery related to cinema, and the references to film stars included in the text.

scholarly journals B.S. Johnson’s Liberatic Cityscape in Albert Angelo

2020 ◽  
Vol 4 ◽  
pp. 99-110
Author(s):  
Katarzyna Biela
Keyword(s):  
Everyday Life ◽  
Literary Work ◽  
Visual Sensitivity ◽  
Material Object ◽  
Literary Genre ◽  
Crucial Aspect ◽  
Avant Garde ◽  
Post War ◽  
The Way

For Bryan Stanley Johnson, a British post-war avant-garde author, space was a crucial aspect of a literary work. Inspired by architects and film makers, he was convinced that “form follows function” (“Introduction” to Aren’t You Rather Young to Be Writing Your Memoirs) and exercised the book as a material object, thus anticipating liberature – a literary genre defined in 1999 by Zenon Fajfer and Katarzyna Bazarnik, which encompasses works whose authors purposefully fuse the content with the form. The goal of this paper is to analyse the cityscape theme in Johnson’s second novel, Albert Angelo (1964), in which London is presented as space that accompanies the character in his everyday life and becomes a witness of the formation of his identity. The protagonist is an architect by profession, so special attention is paid to his visual sensitivity and the way the cityscape is reflected in his memories. Furthermore, Johnson’s formal exploitation of the book as an object and its correspondence to the content is analysed with reference to the metaphor of “[t]he book as an architectural structure” discussed by Bazarnik in Liberature. A Book-bound Genre.

Scelsi, Giacinto (1905–1988)

2018 ◽  
Author(s):  
Eric Drott
Keyword(s):  
Musical Training ◽  
Twelve Tone ◽  
Early Music ◽  
Avant Garde ◽  
Piano Lessons ◽  
The 1950S ◽  
To Come ◽  
The Way

Giacinto Scelsi was an Italian avant-garde composer best known for the single-note style he developed during the 1950s and 1960s, which minimizes harmonic and melodic activity in order to allow microtonal fluctuations and subtle transformations in timbre, intonation, dynamics, and articulation to come to the fore. Although his works were little known and infrequently performed during his lifetime, they gained considerable acclaim in the 1980s. Scelsi’s œuvre has proven extremely influential, and is generally regarded as a precursor to the spectral movement. Many of the elements of Scelsi’s biography remain uncertain, due in part to the composer’s penchant for self-mythologization. His family belonged to the southern Italian nobility, and it was in their ancestral chateau in Irpinie that Scelsi’s interest in music first manifested itself. He had little in the way of formal musical training, apart from receiving private piano lessons in his youth. Scelsi spent much of the 1920s and 1930s abroad, principally in France and Switzerland. It was during this period that he composed his first pieces, most notably Rotativa for pianos, strings, brass and percussion (1930). His early music was stylistically eclectic, embracing post-impressionist, neo-classical and twelve-tone idioms at various points in his life.

Automatism

2018 ◽  
Author(s):  
Hazel Donkin
Keyword(s):  
Visual Artists ◽  
Marcel Duchamp ◽  
Psychological States ◽  
Avant Garde ◽  
Tristan Tzara ◽  
Automatic Writing ◽  
Philippe Soupault ◽  
Poetic Imagery ◽  
Psychic Automatism ◽  
Francis Picabia

Both Dada and Surrealist writers and artists experimented with "automatic" creative production. Dadaists including Francis Picabia, Tristan Tzara, Hans Arp, and Kurt Schwitters wrote "automatic" poems from 1918, so called because they were transcribed without delay, serious consideration, or revision. Dada visual artists, including Arp, Sophie Tauber, and Marcel Duchamp also relinquished creative control of their works by employing chance. At the same time a group of writers in France around André Breton experimented with automatic writing as a new method of exploring the unconscious. In 1919 Breton and Philippe Soupault published Les Champs magnétiques, the result of their first experiments with automatic writing that tried to tap new poetic imagery through uncontrolled outbursts of imagination. In the period 1922–4 dream accounts were added to automatism. In the First Manifesto of Surrealism (1924) the movement is defined by Breton as "pure psychic automatism by which it is intended to express, either verbally or in writing, the true function of thought." Surrealist visual artists also explored automatism. Surrealist automatism was influential in the development of modernist visual art. Robert Matta’s (1911–2002) concerns with psychological states in the late 1930s set a precedent for American abstraction. CoBrA (1948–51), an avant-garde collective established in Europe, favored automatic techniques and influenced developments in European abstraction.

scholarly journals (Re)framing Movement in Stan Brakhage’s Visions in Meditation N°1

2013 ◽  
Vol 6 (1) ◽  
pp. 35-48
Author(s):  
Emőke Simon
Keyword(s):  
Visual Experience ◽  
Avant Garde ◽  
Short Films ◽  
The World ◽  
Way Of Thinking ◽  
The Spectator ◽  
Stan Brakhage ◽  
The Way

Abstract Considered as one of the main figures of the avant-garde lyrical cinema, Stan Brakhage questions perception. His language of inquiry constantly confronts the spectator with the limits of visual experience of the world and the multiple possibilities of their transgression. Critically addressing one of his short films, Visions in Meditation n°l (1989),1 this analysis aims to discuss the way movement may become a principle of perception, that is to say, according to Gilles Deleuze’s definition - a mode of transgressing the frame of representation. Reappropriating the cinematographic grammar and submitting it to a vibrating movement, Brakhage invents a rhythm which paves the way for a transcendental experience, meanwhile proposing a reflection on the meditative possibilities of the film in terms of the image in meditation. Gilles Deleuze’s way of thinking of cinema in Cinema 1: Movement-image, as well as Slavoj Žižek’s writings on cinema, allows one to consider movement in its cinematographic and philosophical meaning, a project which in Brakhage’s case seems to be primordial

scholarly journals Senses of Echo Lake: Michael Palmer, Stanley Cavell, and the Moods of an American Philosophical Tradition

Humanities ◽  
2019 ◽  
Vol 8 (2) ◽  
pp. 98
Author(s):  
Richard Deming
Keyword(s):  
Ralph Waldo Emerson ◽  
Henry David Thoreau ◽  
Philosophical Tradition ◽  
Stanley Cavell ◽  
Avant Garde ◽  
Ethical Implications ◽  
American Philosophy ◽  
Active Reading ◽  
Moral Perfectionism ◽  
The Way

This essay explores a philosophical tradition that Stanley Cavell has traced out and which he emphasizes as being American inasmuch as it is arises out of the thinking of Ralph Waldo Emerson and Henry David Thoreau. It then investigates how the poems of the avant-garde poet Michael Palmer link with, overlap with, this strain of American philosophy in terms of how it enacts an understanding of what we might call “philosophical mood,” on outlook based on the navigation of representation, generative self-consciousness, and doubt that amounts to a form of epistemology. The essay does not trace the influence—direct or otherwise of Cavell and his arguments for philosophy on the poems, despite a biographical connection between Cavell and Palmer, his former student. Instead it brings out the way that one might fruitfully locate Palmer’s work within an American literary/philosophical continuum. The article shows how that context opens up the work to a range of important existential and ethical implications. I endeavor to show that Notes for Echo Lake, Palmer’s most important collection, locates itself, its language, within such a frame so as to provide a place for readerly encounters with the limitations of language. These encounters then are presented as an opportunity for a deeper understanding of subjectivity and for attuning oneself to the role that active reading and interpretation might play in moral perfectionism.

Richard Hooker: Invention and Re-invention

2019 ◽  
Vol 21 (2) ◽  
pp. 137-152
Author(s):  
Diarmaid MacCulloch
Keyword(s):  
Nineteenth Century ◽  
Church Of England ◽  
Oxford Movement ◽  
Avant Garde ◽  
The Church ◽  
The Way

This study traces the way in which a typical Elizabethan Reformed Protestant became something slightly different during a ministerial career prematurely terminated by death in his forties, and what he became in the centuries that followed. It explains the background of divided theologies in the national Church of Elizabethan and Jacobean England, the emergence of ‘avant-garde conformism’, and the way in which Hooker was used by opposing sides to justify their positions, particularly after the Restoration of 1660, when the term ‘Anglicanism’ first becomes fully appropriate for the life and thought of the Church of England. As the Church moved from national monopoly to established status, Hooker became of use in different ways to both Tories and Whigs, though in the nineteenth century the Oxford Movement largely monopolised his memory. His views on the construction of authority may still help Anglicanism find its theological way forward.

The Many Facades of Edith Sitwell

2017 ◽  
Keyword(s):  
British Modernism ◽  
Public And Private ◽  
Important Place ◽  
Avant Garde ◽  
Central Figure ◽  
Literary Expression ◽  
The Many ◽  
Historical Discourses ◽  
The Way

Edith Sitwell was a key figure in the establishment of a British avant-garde “scene” and in the development of a unique literary expression. Taken together, each of the contributors gives body to a serious reconsideration, even resurrection, of Sitwell's important place in British modernism. Overall, this book makes a place for the lost story of Sitwellism in modernist history. It shows how her place in that history depends on a continual public and private remaking of self. Further, this book gives substance to the type of avant-garde that she (and her brothers) worked to craft—ornamental and baroque—by exploring the affective traces it produced in melancholic camp and her notion of female poetry. Finally, it demonstrates some ways in which that effect also includes and even invites engagement with socio-historical discourses of class, gender, and empire. Altogether, this volume opens the way for a long and rich reconsideration of this crucial, central figure of British modernism.

A Feminist Still

2020 ◽  
Vol 35 (3) ◽  
pp. iv-29
Author(s):  
Lakshmi Padmanabhan
Keyword(s):  
Women's Rights ◽  
The Political ◽  
Women’S Rights ◽  
New Delhi ◽  
Avant Garde ◽  
Feminist Politics ◽  
Community Organizer ◽  
Visual Artist ◽  
Feminist Historiography ◽  
The Way

What can photographic form teach us about feminist historiography? Through close readings of photographs by visual artist and documentary photographer Sheba Chhachhi, who documented the struggle for women’s rights in India from the 1980s onward, this article outlines the political stakes of documentary photography’s formal conventions. First, it analyzes candid snapshots of recent protests for women’s rights in India, focusing on an iconic photograph by Chhachhi of Satyarani Chadha, a community organizer and women’s rights activist, at a rally in New Delhi in 1980. It attends to the way in which such photographs turn personal scenes of mourning into collective memorials to militancy, even as they embalm their subjects in a state of temporal paralysis and strip them of their individual history. It contrasts these snapshots to Chhachhi’s collaborative portrait of Chadha from 1990, a “feminist still” that deploys formal conventions of stillness to stage temporal encounters between potential histories and unrealized futures. Throughout, the article returns to the untimeliness of Chhachhi’s photography, both in the multiple temporalities opened up within the image and in its avant-garde critique of feminist politics through experiments with photographic form.

scholarly journals Onkel-Toms-Hütte i Am Fischtal settlements in Berlin, as a reflection of the relation between avant-garde nad continuation trends in German architecture of the twenties of the XXth century in the field of housing

2011 ◽  
Vol 9 (2) ◽  
pp. 087-111
Author(s):  
Hubert Trammer
Keyword(s):  
Twentieth Century ◽  
Public And Private ◽  
Xxth Century ◽  
Private Space ◽  
Avant Garde ◽  
The Way

Onkel-Toms-Hütte i Am Fischtal settlements had been built side by side in Berlin in the twenties of the twentieth century. Together they create the example of the coexistence of the avant-garde and continuation tendencies in architecture. The shape of the settlements and their architecture show both the differences in the opinions of their authors, mainly concerning using flat or steeped roofs, as well as influences coming in both directions. Both settlements create interesting reference in many fields. Especially interesting is the way of incorporation of green into the space of settlements and the relation between public and private space. The Onkel-Toms-Hütte is an interesting example of placing shopping in the settlement.

scholarly journals THE RUSSIAN COMPOSER EDISON DENISOV – FAR OR CLOSE TO THE WESTERN CULTURE

2020 ◽  
Vol 18 (1) ◽  
pp. 94-108
Author(s):  
Angelina-Ogniana GOTCHEVA
Keyword(s):  
Western Culture ◽  
Global Culture ◽  
Avant Garde ◽  
Pierre Boulez ◽  
Religious Perspectives ◽  
Innovative Thinking ◽  
Edison Denisov ◽  
And Performance ◽  
Russian Composers ◽  
The Way

19 marks the 90th anniversary of the birth of the Russian avant-garde composer Edison Denisov. He belongs to the second generation of Soviet avant-garde composers, whose work is famous for its innovative thinking and techniques: serialism, aleatory, sonorism and the use of electronics. The most progressive composers among them are Edison Denisov, Sofia Gubaidulina and Alfred Schnittke, who form a group later called “The Moscow Triad”. This article explores the ways in which Eastern and Western culture meet, specifically within works pertaining to the religious perspectives of the three authors – Gubaidulina’s meditative concept, the mystic beliefs of Schnittke, the sublimity of art in Denisov’s works and their different spiritual insight into art. The article also gives specific evaluation of the connection between the members of the Moscow Triad and the way they perceived each other’s personalities and work through a series of their own quotations. Their difficulties in communication with foreign Western composers and the wish to bring their work to the knowledge of the younger generation of Russian composers is observed, as well as the friendship between Denisov and another legendary French avant-garde composer Pierre Boulez. It briefly explores the effect of the contemporary political situation that led to the prohibition of the distribution and performance of the music of the three composers. The article addresses the way the art of Denisov was perceived in the past and today, the reception of his music in the West and in his homeland, his legacy and the future of his music in the context of the global culture.

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