Revolutionary Preoccupations: Or, Transatlantic Feeling in a Radical Sense

2016 ◽  
Author(s):  
J. Michelle Coghlan
Keyword(s):  
Key Words ◽  
Critical Locus ◽  
Avant Garde ◽  
Adventure Fiction ◽  
Gender Trouble ◽  
Political Pamphlets

Chronicling the Commune’s returns across a surprisingly vast and visually striking archive of periodical poems and illustrations, panoramic spectacles, children’s adventure fiction, popular and canonical novels, political pamphlets, avant-garde theater productions, and radical pulp, this book argues that the Commune became, for writers and readers across virtually all classes and political persuasions, a critical locus for re-occupying both radical and mainstream memory of revolution and empire, a key site for negotiating post-bellum gender trouble and regional reconciliation, and a vital terrain for rethinking Paris—and what it meant to be an American there—in U.S. fiction and culture. For Americans felt Paris to be curiously their own long before the Moderns made it their hometown. This introductory chapter explores the key words at the heart of the book, and offers a taste of its material terrain. It concludes with an overview of its subsequent chapters.

The reciprocity between art and architecture

2019 ◽  
Vol 6 (4) ◽  
pp. 112-116
Author(s):  
Hakan Saglam
Keyword(s):  
Twentieth Century ◽  
Key Words ◽  
Contemporary Art ◽  
Modern Architecture ◽  
First Century ◽  
The Other ◽  
Arts And Crafts ◽  
Avant Garde ◽  
The Enlightenment ◽  
Art And Architecture

The concept of ‘Art’ in the modern meaning, evaluates within the Enlightenment’s seminal World of philosophy. Before the Enlightenment architecture and craft were instinctively united fields of creating, almost impossible to detach one from the other. From the beginning of twentieth century the avant-garde of modern architecture were aware of the growing schism between art and architecture and vice versa. The pioneers were writing manifestos, stating that art and architecture should form a new unity, a holistic entity, which would include all types of creativity and put an end to the severance between “arts and crafts”, “art and architecture”.  Approaching the end, of the first decade of the twenty first century, as communicative interests in all fields are becoming very important, we should once more discuss the relation/ interaction / cross over of art and architecture; where the boundaries of the two fields become blurred since both sides, art and architecture, are intervening the gap between. The aim of this paper is to discuss the examples of both contemporary art and architecture, which challenge this “in between gap.” Key words: Architecture, art, interaction, in between.

Ugliness, Underground, Queer Difference

2018 ◽  
pp. 1-25
Author(s):  
Yetta Howard
Keyword(s):  
Twentieth Century ◽  
Cultural Production ◽  
Literary History ◽  
Gertrude Stein ◽  
Avant Garde ◽  
Claude Mckay ◽  
Early Twentieth Century ◽  
The Aesthetic ◽  
Theoretical Overview

The introductory chapter of Ugly Differences provides a theoretical overview of the book and its central interventions on the concepts of ugliness and the underground. It turns to early-twentieth-century examples by Gertrude Stein and Claude McKay to frame genealogical connections between ugliness and queer female difference. This literary history highlights the roles that avant-garde, experimental, primitivist, and vernacular approaches to cultural production play in reflecting nondominant subjects whose differences are routed through de-privileged sites of the aesthetic.

Fragmented Memories and Activist Archives

Loft Jazz ◽  
2016 ◽  
Author(s):  
Michael C. Heller
Keyword(s):  
Dense Network ◽  
Public Performance ◽  
Art Galleries ◽  
Avant Garde ◽  
Industrial Buildings ◽  
Jazz History ◽  
Lower Manhattan

This introductory chapter provides an overview of New York's so-called “loft jazz era,” one of the least-understood periods in jazz history. Spanning from the mid-1960s until about 1980, the jazz lofts were a dense network of musician-run performance venues established in and around the former industrial buildings of lower Manhattan. The majority of these spaces were also musicians' homes, a factor that allowed them to operate with minimal overhead costs. In various contexts, lofts acted as rehearsal halls, classrooms, art galleries, living quarters, and meeting spaces. Their most visible role, however, was as public performance venues, especially for younger members of the jazz avant garde. At a time when few commercial nightclubs were interested in experimental styles, the lofts became a bustling base of operations for a growing community of young improvisers.

Introduction

2020 ◽  
pp. 1-34
Author(s):  
Rebecca A. Sheehan
Keyword(s):  
Friedrich Nietzsche ◽  
Ludwig Wittgenstein ◽  
Ralph Waldo Emerson ◽  
Gilles Deleuze ◽  
Henry David Thoreau ◽  
Stanley Cavell ◽  
Cinema Studies ◽  
Avant Garde

The book’s introductory chapter situates its study of American avant-garde cinema in the context of the field of film-philosophy and the post-theory debates within cinema studies. The chapter rectifies influential misreadings of American avant-garde films by film-philosophers, and goes on to trace philosophy’s influences on the avant-garde, laying the groundwork for putting their films in conversation with the philosophies of Gilles Deleuze, Stanley Cavell, Ralph Waldo Emerson, Henry David Thoreau, Friedrich Nietzsche, and Ludwig Wittgenstein. This chapter outlines the various kinds of dimensional, conceptual, and material in-betweens at work in American avant-garde cinema, and explains the various ways in which American avant-garde filmmakers have used this figure to advance a philosophy that promotes behaviors of re-encounter and review applicable to the off-screen world.

Introduction

2017 ◽  
Author(s):  
William Solomon
Keyword(s):  
Twentieth Century ◽  
World War Ii ◽  
Cultural Transformation ◽  
Cultural Practice ◽  
Film Genre ◽  
Avant Garde ◽  
Underground Film ◽  
Cultural Entity ◽  
To Receive

This introductory chapter traces a process of cultural transformation that, beginning in the early decades of the twentieth century, led to the rise after World War II of the phenomenon called slapstick modernism. Manifesting itself in literature, (underground) film, and popular music, the rise of slapstick modernism signaled the coalescence in cultural practice of the artistic experimentation associated with high modernism, and the socially disruptive lunacy linked to the comic film genre. However, the concept of slapstick modernism has yet to receive adequate theorization; this is partly due to the insufficiency of the terms initially used to capture the specificity of this new, hybrid cultural entity. Slapstick modernism had no manifesto of the sort that mobilized the various avant-garde ventures of the early decades of the twentieth century.

The Notation of the 20th and 21st Century Choral Music

2020 ◽  
Author(s):  
Ágnes Török
Keyword(s):  
Key Words ◽  
21St Century ◽  
Choral Music ◽  
Vocal Music ◽  
Graphic Representation ◽  
Historical Background ◽  
Avant Garde ◽  
Musical Notation ◽  
Graphic Elements

The Avant garde schools required a notation style different from the traditional one both in instrumental and vocal music. This study points to the historical background of contemporary notation and the interdependence of the graphic representation of sound and notation. The illustrations are primarily quotes selected from the Hungarian choir literature and further material is used to introduce the authentic elements used for modes of expression. Key words: choral music, contemporary musical notation, graphic elements, chance

ПОНЯТІЙНО-КАТЕГОРІАЛЬНЕ «ЗАБЕЗПЕЧЕННЯ» ФУТУРИСТИЧНОЇ ТЕОРІЇ ЯК АВТОРСЬКЕ НАДБАННЯ М. СЕМЕНКА

2020 ◽  
Author(s):  
Admink Admink
Keyword(s):  
Key Words ◽  
The Other ◽  
Concepts And Categories ◽  
Logical Validity ◽  
Avant Garde ◽  
Other Hand ◽  
New Concepts ◽  
Categorical Framework ◽  
The One

Відтворено процес «прирощування» нових понять і категорій у теоретичних напрацюваннях М. Семенка, котрий опікувався необхідністю створення самостійного понятійно-категоріального апарату задля формально-логічної обґрунтованості футуристичної естетико-художньої платформи. Осмислено введення в ужиток понять «деструкція», «конструкція», «фактура», що вимагало, з одного боку, їх обґрунтування та поступової концептуалізації, а з іншого, – співвіднесення із загальноприйнятою системою естетико-мистецтвознавчих означень художнього твору, а саме: зміст, форма, образ, стиль, композиція. Зазначено необхідність розрізнення сучасного погляду на поняття «фактура» та того його значення, яке існувало за часів М. Семенка. Виявлено суперечності в теоретичних «побудовах» М. Семенка. Ключові слова: авангардизм, український футуризм, деструкція, конструкція, фактура. The process of new concepts and categories application in M. Semen’ko’s theoretical works is recreated. The author protected the necessity of creating independent conceptual and categorical framework for formal and logical validity of futuristic aesthetic and artistic platform. Introduction of concepts ‘destruction’, ‘texture’ and ‘construction’ is reflected on. It required, on the one hand, their justification and gradual conceptualization, on the other hand, correlation with widely accepted system of aesthetic and arts definitions of fiction work, i.e. contents, form, image, style, composition. Key words: avant-garde, Ukrainian futurism, destruction, construction, texture.

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