scholarly journals The Dialogue of Stories and Pictures

2020 ◽  
pp. 62-67
Author(s):  
Mihail Nedelchev
Keyword(s):  
Fairy Tales ◽  
Avant Garde ◽  
Art Historians ◽  
Modernist Project

In Prince and Plague – a Relatively Late Avant-garde Project of 1931 Nikolay Rainov is one of the greatest experimenters of Bulgarian literature not just in terms of style but in terms of genre as well. His late modernist project Prince and Plague, with ‘fearful fairy tales’ and illustrations, is among the most daring ones of the fading Bulgarian avant-garde. Published in two carefully designed books with a thematic series of drawings and pictures, these works have not yet found their adequate interpretation. Announced as children books, they obviously seek for an audience more radical in its thoughts and senses. Art historians have often defined these works as ‘secessionist’ but no doubt they could be placed somewhere betweenthe extreme expressionism and the surrealism.

Xul Solar (1887–1963)

2018 ◽  
Author(s):  
David Fernando Cortés Saavedra
Keyword(s):  
Latin American ◽  
Visual Arts ◽  
Buenos Aires ◽  
Italian Renaissance ◽  
American Modernism ◽  
Avant Garde ◽  
Long Period ◽  
Semiotic Systems ◽  
San Fernando ◽  
Modernist Project

Associated with the most important figures of the literary and artistic avant-garde of Buenos Aires, the Argentinean painter and polyglot Xul Solar was key in connecting European movements like Expressionism, Constructivism and Dadaism to Latin American modernism. He contributed to the modernist project via the convergence in his work of depurated (simplified) flat colorful figuration and a complex iconography of pre-Columbian and religious derivation. Xul Solar lived during his youth in San Fernando, Argentina, and was equally inclined towards music and the visual arts. During a long period of travel throughout Europe, he encountered several artistic movements—from the Italian Renaissance to die Brücke—and studied linguistics and theosophy. Enthralled by his experiences abroad, Xul Solar returned to Argentina in 1924, joining the artist group Martín Fierro and elaborating on projects begun in Europe such as the creation of his artificial language, Panlingua. His fascination with elaborate semiotic systems also led him to create the game PanChess. Xul Solar’s visual works varied throughout his career from geometric abstraction to schematic figuration, from fantastic paintings to symbolic portraits. Xul Solar remains one of the most influential Latin American artists of the modern period.

scholarly journals At school with the avant-garde: European architects and the modernist project in England

2018 ◽  
Vol 47 (4) ◽  
pp. 544-563 ◽  
Author(s):  
Ian Grosvenor ◽  
Angelo Van Gorp
Keyword(s):  
Avant Garde ◽  
Modernist Project

Ghostly Effects: Orientalist Translation in Pound and the Yasusada Text

2001 ◽  
Vol 29 (2) ◽  
pp. 234-248
Author(s):  
Jeffrey Twitchell-Waas
Keyword(s):  
Fundamental Problem ◽  
Ezra Pound ◽  
Easy Access ◽  
Chinese Poetry ◽  
Free Verse ◽  
Avant Garde ◽  
Particular Solutions ◽  
Poetic Translation ◽  
The Look ◽  
Modernist Project

AbstractT.S. Eliot famously remarked that Ezra Pound was "the inventor of Chinese poetry for our time." The nature of this invention is examined within the context of Pound's larger modernist project: his transformation of classical Chinese poetry into Imagist free verse and his projection of a vision of China as a utopian counter-image to the failure of the contemporary West. Although Pound clearly enough was consciously appropriating Chinese poetry according to his own poetic concerns, his particular solutions have had a pervasive impact in determining the look and sound of classical Oriental poetry in English ever since. The fundamental problem raised by this very influential tradition of poetic translation is the illusory desire for easy access to the foreign. In the early 1990s there began to appear the hoax texts purportedly by the previously unknown avant-garde Japanese poet Akiri Yasusada. Although a simulation rather than a translation proper, the Yasusada text will here be considered as a forceful questioning of the usual assumptions of translation's faithfulness and obligations to the foreign original. The elaborate construction of the Yasusada texts, including their initial public presentation as a hoax and the subsequent controversy, puts the reader in a disquieting and self-reflective position with respect to the desire for the authentic foreign.

scholarly journals Reading Ray: Avant-Garde and Transnationalism in Interwar Britain

2021 ◽  
Vol 16 (2) ◽  
pp. 216-241
Author(s):  
Matthias Somers ◽  
Sami Sjöberg
Keyword(s):  
Interwar Period ◽  
Arts And Crafts ◽  
Text And Image ◽  
Avant Garde ◽  
Modernist Studies ◽  
Modernist Project ◽  
Interwar Britain

The British modernist little magazine Ray: Art Miscellany (1926–1927) pioneered the combination of text and image in the vein of the Continental avant-gardes. Amid the surge of interest in periodicals within modernist studies, Ray has managed to escape broader attention. Its editor, Sidney Hunt, was an enigmatic figure and the magazine itself also eludes categorization, as it did not conform to the standards of English modernism, which were in the process of crystallising at the time of its publication and then dominated the scholarly consensus on artistic innovation during the interwar period. Focusing on the specificities of the magazine form and on Ray's explicitly interartistic and transnational ethos, this article locates Ray within the spectrum of British ‘modernisms’, while interpreting its manifest effort to introduce various European avant-garde movements to a British audience as part of a strategy to establish an alternative modernist project grounded in the ideals of the moribund Arts and Crafts tradition.

scholarly journals The Romantic Fairy Tale and Surrealism: Marvelous Non-Sense and Dark Apprehensions

Romantik ◽  
2016 ◽  
Vol 3 (1) ◽  
pp. 33
Author(s):  
Karin Sanders
Keyword(s):  
Twentieth Century ◽  
Fairy Tales ◽  
Fairy Tale ◽  
Video Art ◽  
Visual Media ◽  
First Century ◽  
Avant Garde ◽  
Salvador Dali ◽  
Hans Christian Andersen ◽  
Selection Of

Romanticism and surrealism shared a fascination with the fairy tale. Yet each was beholden to specific historical moments and particular aesthetic demands. What they wanted were not the same. This article considers  how the romantic fairy tale nevertheless functions as a ‘seed’ for surrealists. Contagions, commonalities, and contrasts between the two movements are briefly outlined. A selection of fairy tales by Hans Christian Andersen is used to demonstrate how a host of visual reinterpretations including lithographs, photo-collages, and video art by twentieth-century surrealists like Salvador Dalí and Max Ernst, and twenty-first-century avant-garde artists like Åsa Sjöström, have reinterpreted the latent possibilities of non-sense in the fairy tale: the marvelous, the absurd, and the dream-like. The article demonstrates that by evoking the dark-romantic sides of Andersen’s works these avant-garde reconceptualizations in visual media predominantly point to shock, violence, war, and ecological disasters.

scholarly journals The stages of modernism in Serbian music

Muzikologija ◽  
2006 ◽  
pp. 93-116
Author(s):  
Melita Milin
Keyword(s):  
World War Ii ◽  
New Music ◽  
Compositional Techniques ◽  
World War ◽  
German Expressionism ◽  
Avant Garde ◽  
Progressive Development ◽  
Third Stage ◽  
Musical Modernism ◽  
Modernist Project

In order to consider this topic, it was first necessary to discuss certain problems of terminology and periodisation relating to musical modernism in general. It is already familiar the extent to which the terms "new music", "modernist", "contemporary" and "avant-garde" music have been used interchangeably, as synonyms. For this reason, it was first important to outline the period of musical modernism as almost generally accepted, which is regarded as an epoch comprising three different periods: (I) period of early modernism (1890?1918), announced by a break with later romanticism and a turn towards French Impressionism, Austro-German Expressionism and Russian "folkloric Expressionism"; (II) period of "classical modernism"(1919?1945) that witnessed a diffusion of neo-classicism and serialism; (III) period of "high modernism" (1946?1972) characterized by highly experimental compositional techniques such as integral serialism and aleatoricism. In relation to this, avant-garde movements are seen as radically innovative and subversive tendencies within this modernist epoch, and while certain postmodernist ideas can be recognized as early as the 1950s, postmodernism as a movement hadn?t gained its full potency until the 1970s. Since then, it has assumed different forms of existence as well as having assimilated a continued form of ?modernist project?. The second part of the article proposes a periodisation of Serbian musical modernism, which is divided into four stages. The first stage (1908?1945) was a period where elements of Impressionism and German expressionism were creatively introduced into the works of several leading composers (Petar Konjovic, Stevan Hristic, Miloje Milojevic, Josip Slavenski, Marko Tajcevic). The second stage (1929?1945) was marked by a group of composers who studied in Prague and assimilated certain progressive compositional techniques such as free tonality, atonality dodecaphony, microtonality and athematicism (Mihovil Logar, Predrag Milosevic, Dragutin Colic, Ljubica Maric, Vojislav Vuckovic, Milan Ristic). The third stage (1951?1970) followed immediately after the era of Socialist Realism, which involved the rediscovery of the pre- World War II Western modernism and prepared the ground for contemporary avant-garde developments almost non-existent before 1961 (Milan Ristic, Dusan Radic, Dejan Despic Vladan Radovanovic, Enriko Josif, Stanojlo Rajicic, Vasilije Mokranjac Aleksandar Obradovic, Ljubica Maric, Rajko Maksimovic). The fourth stage (1956?1980) was the period during which the post-World War II avant-garde developments found their home amongst Serbian composers, some of them conceived almost simultaneously with but independent of the current progressive development in the rest of the world (Vladan Radovanovic Aleksandar Obradovic, Petar Ozgijan, Petar Bergamo, Srdjan Hofman, the group Opus 4).

scholarly journals CONTEXTUAL FEATURES OF THE IRREAL MODALITY IN THE RUSSIAN LANGUAGE

2021 ◽  
Vol 10 (34) ◽  
Author(s):  
E.V ASTASHCHENKO ◽  
Keyword(s):  
Fairy Tales ◽  
Russian Language ◽  
Second Person ◽  
Avant Garde ◽  
Old Russian ◽  
Subjunctive Mood ◽  
Contextual Features ◽  
Alternate Reality ◽  
The Aesthetic ◽  
Imperative Mood

The paper attempts to build a system of functions of the Russian subjunctive mood and irreal comparison constructions. The purpose of the article is to analyze the multi - level text modality (from an application of a modality-based semantic grammar to an aesthetic). The distinction between objective and subjective modality allows to identify their contextual features. There wasn’t an irreal modality in old Russian texts. But number of irreal signs had been rising since the aesthetic, art role of written language enhanced. Meanwhile the objective unreal modality of fairy tales was created by the subjunctive mood in Russian folklore. The unreal modality had reached its apotheosis in modern style fin de siècle. The irreal comparison constructions also were widespread, especially that came from the future tense form. But there were also Russian rare "imperfect" relicts. Subsequently, grammar constructions typical of art Nouveau, similar to the European "future in the past", creating an alternate reality, replaced by the imperative mood second person, with the illocutionary act of calling for change to the existing reality in the early avant-garde and by the imperative mood third-person with a particle of "pust’" in the mid-twentieth century, with the word "puskay", that gave its peculiar connotation and that was used not only as a formative particle, but also as a modal particle, resonant with a non-equivalent particle «avos’».

Stratégies transnationales dans l’œuvre de Mircea Eliade

2021 ◽  
Vol 66 (1) ◽  
pp. 53-62
Author(s):  
Laura T. Ilea
Keyword(s):  
Avant Garde ◽  
Mircea Eliade ◽  
History Of Religions ◽  
History Of ◽  
Place Of Origin ◽  
Modernist Project

"Transnational Strategies in Mircea Eliade’s Writings. In this article, we will consider the techniques through which an important hallmark of Romanian culture, Mircea Eliade, negotiated his transnational strategies, in a continual back-and-forth movement between his place of origin and a larger, cosmopolitan context. Paradoxically, as proven by Paul Cernat, it is not exoticism that will lead to his treatises on the history of religions, but on the contrary, the return to Sambo’s room, as described in The Forbidden Forest novel. Moreover, the European modernist project, defended by Eliade, is in itself an antinomic project: exceptional avant-garde techniques succeed regressive strategies. The latter are based on the modern hermeneutics of meaning, developed by Eliade in his approach to the history of religions, which is an all-encompassing way of interpreting religious facts as hierophanies. Keywords: terror of history, antimodernist strategies, hierophany, autochthonism, transnational techniques "

scholarly journals THE ARCHITECTURE OF CONSTRUCTIVISM: THE CREATIVE TRANSFORMATION OF AESTHETIC CODES AND NARRATIVES

2018 ◽  
Vol 11 (1) ◽  
pp. 56-69 ◽  
Author(s):  
Larisa PISKUNOVA ◽  
Liudmila STAROSTOVA ◽  
Igor YANKOV
Keyword(s):  
Visual Perception ◽  
Social History ◽  
Aesthetic Value ◽  
Space Planning ◽  
Avant Garde ◽  
The People ◽  
The Social ◽  
History Of ◽  
History Of Architecture ◽  
Modernist Project

Abstract The architecture of constructivism (functionalism) has a kind of symbolic meaning associated with the modernist project. The authors conducted a study of the architectural avant-garde of Sverdlovsk, Russia which showed that the weak perception of the historical and cultural importance of constructivist buildings and complexes is associated not only with the lack of the people awareness, but also with the underestimation of their aesthetic value. Meanwhile, the study of space-planning solutions for specific architectural projects reveals really conceptual aesthetics of the buildings. In addition, the study of the social history of constructivist architectural complexes, conducted by the authors, helped us to identify and articulate their cultural and historical significance and to highlight in a creative way the visual perception of these architectural reference markers in the space of the city. The authors also rely on their own experience of the exhibition, publication and sightseeing activities. The analysis of this experience allows the authors to draw some conclusions about the practice of developing and shifting the visual perception of constructivist monuments by the people. The originality of the presented approach to the study of architecture is an appeal to the social history of architecture which helps to enhance its aesthetic value.

scholarly journals Смех и смерть в русской культурной традиции: истоки и трансформация мотива

2018 ◽  
Vol 167 ◽  
pp. 23-34
Author(s):  
Nina Osipova
Keyword(s):  
National Culture ◽  
Fairy Tales ◽  
World View ◽  
Russian Literature ◽  
Cultural Tradition ◽  
Attitude To Death ◽  
Avant Garde ◽  
Western Model ◽  
Dance Of Death

Laughter and death in Russian cultural tradition: Origins and transformation of the motiveThe author studies the mythological basis of attitude to death in the Russian national culture of laughter, the role of ritual laughter in folklore and post-folklore, and various ways of its presentation in Russian literature. Special attention is paid to the component of the game in Russian rituals, and to laughter in Russian fairy tales. The balance of laughter and death in Russian and, moreover, the Slavic world view is connected with its liminality, i.e. with the situation of transition and “on the border”. The article analyzes the transformation of different features of laughter as a means of overcoming death, as well as the way to create irony and absurd in the modern “mortal” discourse regarding ritual tradition. In symbolism and avant-garde literature of A. Blok, N. Evreinov, F. Sologub, D. Kharms, V. Khlebnikov etc. laughter is considered as a means of overcoming the absurd of death. This literature synthesizes the western model of “dance of death” into Russian folklore and buffoon tradition. In contemporary Russian literature it performs a genre-forming role jokes about death, “sadistic rhymes” etc..Сміх і смерть у російській культурній традиції: витоки і трансформація мотивуУ статті розглядається міфологічна основа відношення до смерті в російській національній сміховій культурі, простежується роль ритуального сміху в фольклорі і постфольклорі, різних формах його художньої репрезентації в літературі. Спеціальна увага приділяється ігровому компоненту в обрядовому комплексі російської культури, специфіці сміхової репрезентації в російських чарівних казках. Специфіка співвідношення сміху і смерті в російській і, ширше, слов’янській картині світу пов’язана з його лімінальністю, тобто з ситуацією переходу, положення «на кордоні».Аналізується трансформація характеристик сміху як подолання смерті, способу створення авторської іронії і абсурду в сучасному мортальному дискурсі в його зв’язках з ритуальною традицією.Сміх сприймається як подолання абсурду смерті в літературі символізму і авангарду О. Блок, М. Євреїнов, Ф. Сологуб, Д. Хармс, В. Хлєбніков, яка синтезує західноєвропейську модель «танці смерті» і російську фольклорно-балаганну традицію. В сучасній російській літературі вона виконує жанроутворюючу роль комічні анекдоти про смерть, «садистські віршики».

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