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.

ALTRUISTIC AND EGOISTIC AGON IN THE EMOTIONAL CRISIS OF SUŠIĆ'S DRAMATIC PERSONS

2018 ◽  
Vol 28 (7) ◽  
pp. 2361-2365
Author(s):  
Almedina Čengić
Keyword(s):  
20Th Century ◽  
Oral Tradition ◽  
Historical Background ◽  
Historical Records ◽  
Artistic Creation ◽  
Avant Garde ◽  
Modern Process ◽  
Artistic Vision ◽  
Dramatic Characters ◽  
The One

The second half of the 20th century in Bosnian literature is marked by the new tendencies of avant-garde writers, who will create their work through a different form of artistic creation, compared to the one that was presented at the beginning of this period. It is important to clarify the specificity of the various procedures that have positively directed dramatic creativity towards the modern lines of European literary circles. Derviš Sušić (1925-1990.), the Bosnian-Herzegovinian tradition and the reality of images, presented in a completely new artistic vision, make oscillation, in the writer's creation, between the determinants of historical facts and the legacy of oral tradition. Derviš Sušić Within the avant-garde tendencies of contemporary writers of the regional region, which appear in the mid-20th century, Sušić dominates in his virtuous creations of dramatic situations and dilemmas, in which his protagonists act. In a specific presentation of crucial culmination points, within the framework of the process of "drama of the flow of consciousness," a modern process in the conduct of drama, this writer analytically approaches the individual's dialectical duplication. Through artistically shaped fragments taken from historical records, this literary virtuoso presents in his texts a culmination point of Bosnian survival, very picturesque dramatic shaped historical characters and crucial events. It is symptomatic that Susić's characters become prototypes of stage characters, without temporal or location restrictions, transmitting a universal message of a unique attitude about the value of human activity and existence, outperform stereotypical models recognizable in the additional drama literature. Through the colorful of seeing and a range of specific dramatic characters, without the diversity of their differentiation in national status or sociopolitical affiliation, this writer creates a special ambient effect in the construction of his poetic fabrics based on historical background. The task of this paper is to prove the causality and conditionality of altruistic (social) and egoistic (individual) agonies in the actions and actions of Sušić's characters, in the examples of dramatic texts "Veliki vezir" (1969) and "Posljednja ljubav Hasana Kaimija "(1973), as well as the influence of emotional indicators on the concrete initiation of the dramatic conflict. It is therefore very interesting to explore and verify the models that will dominantly dominate the regional scene for almost half a century and be accepted as models in the way of writing its contemporaries, among the readers' population, but also at the same time with very successful placement in the theater audience.

Latviešu komponistu adaptācijas varianti pēckara Eiropā

Letonica ◽  
2021 ◽  
Author(s):  
Arnolds Klotiņš
Keyword(s):  
Western Europe ◽  
Classical Music ◽  
Creative Work ◽  
Paris Conservatory ◽  
Avant Garde ◽  
Compositional Technique ◽  
Traditional Language ◽  
Language Of Music ◽  
National Romanticism ◽  
Second World

Keywords: classical music, style, national romanticism, transformation of creative works, modernism, avant-garde This article discusses the stylistic and aesthetic transformation of the work of the most prominent Latvian composers, who, as refugees of the Second World War, arrived in Western Europe in 1944 and encountered a different, innovative musical environment there. For those whose creative work in Latvia had been focused on traditional national romanticism, the encounter with musical expressionism and the avant-garde caused a certain shock. The stark differences in style were not only a matter of compositional technique; they also revealed the contradiction between a positivistic worldview and a more adequate musical reflection of the common man during the era. Longīns Apkalns learned from the ideas and style of expressionism most radically, but Alberts Jērums was much more moderate in this respect—he had already approached expressionism during his studies at the Latvian Conservatory. In his studies at the Paris Conservatory (1945-1950), Tālivaldis Ķeniņš studied the traditions of French neoclassicism and constructivism. Volfgangs Dārziņš adapted neoclassical trends in combination with Béla Bartók’s interpretation of folklore. Jānis Mediņš radicalized his traditional language of music, but did not abandon the paradigm of the music of romanticism. Similarly, Jānis Kalniņš’ music, even in the pre-war period, was not unfamiliar with the border between romanticism and expressionism. The composers who, with their creative work, chose to serve only Latvian society in exile continued in the romantic style.

Introduction

2019 ◽  
pp. 1-22
Author(s):  
Jennifer Iverson
Keyword(s):  
Cold War ◽  
Electronic Music ◽  
New Music ◽  
West Germany ◽  
Cultural Hegemony ◽  
Avant Garde ◽  
New Frontier ◽  
Reliable Marker ◽  
The One ◽  
Opening Up

The Westdeutscher Rundfunk [West German Radio] or WDR studio emerged in the early 1950s in Cologne, West Germany in a conflicted Cold War climate. On the one hand, electronic music signified social and artistic progress; avant-garde music stood as a reliable marker of democracy and freedom in contrast to Nazi and Soviet aesthetic mandates. On the other hand, technophobic audiences and critics reacted with skepticism to de-personalized, machine-mediated concerts, often regarding the new sounds with disdain. Nevertheless, cultural administrators, especially by means of the regional radio network, channeled funding to new music and the electronic studio as a way of rebuilding West Germany’s cultural hegemony. The WDR studio’s heterogeneity—its ability to incorporate and make use of several different types of resources—became a key to its success. The studio’s composers and technicians synthesized new sounds from scientific discourses. They reclaimed military technologies and long-standing musical lineages, opening up a new frontier. By embracing electronic music, West Germany found a way out of its decimated postwar landscape and emerged as a leader in the cultural Cold War.

The Palestinian Knot: The ‘New Anti-Semitism’, Islamophobia and the Question of Postcolonial Europe

2017 ◽  
Vol 35 (3) ◽  
pp. 99-120
Author(s):  
Monika Bobako
Keyword(s):  
20Th Century ◽  
Negative Feedback ◽  
Feedback Loop ◽  
Negative Feedback Loop ◽  
Anti Semitism ◽  
Jewish Intellectual ◽  
Starting Point ◽  
Good Starting Point ◽  
The One ◽  
Anti Jewish

In the course of 20th-century European history Jews and Arabs, as well as Jews and Muslims, were put in the position of a ‘civilizational’ conflict that is not only political but also quasi-metaphysical. This article examines an impact of the conflict on the attitudes towards anti-Semitism and Islamophobia and considers Islamophobic implications of the ‘new anti-Semitism’ discourse. A thesis of the text is that both the struggle against anti-Semitism and Islamophobia and the one against the mechanism creating, in certain circumstances, a kind of negative feedback loop between them requires not only opposing the anti-Jewish and anti-Muslim prejudices, but also a deep, critical reconsideration of the concepts of Europeanness that lie at their foundation. The author suggests that a good starting point for this reconsideration might be the postcolonial reading of the Jewish intellectual tradition, especially the one focusing on the figure of the Mizrahi Jew.

scholarly journals RUSSIAN LITERARY MODERNISM AND ITS INFLUENCE ON BULGARIAN LITERATURE

2020 ◽  
Vol 58 ◽  
pp. 203-224
Author(s):  
Magdalena Kostova-Panayotova ◽  
Keyword(s):  
20Th Century ◽  
Literary Modernism ◽  
Avant Garde ◽  
Russian Symbolism ◽  
Fiction Writers ◽  
Russian Literary ◽  
Russian Modernism ◽  
The One ◽  
The Impact ◽  
European Form

The paper discusses to what extent major currents and representatives of Russian modernism and the Avant-garde had influenced the works of prominent representatives of 20th-century Bulgarian literature such as L. Stoyanov, Liliev, Debelyanov, Trayanov, Sirak Skitnik, and many others. In addition to addressing the influence of Russian symbolism on Bulgarian writers, the article examines the impact of Acmeism on the work of El. Bagryanа and At. Dalchev; the one of Imaginism on the work of Bulgarian modernists from the 1920s such as Slavcho Krasinski, Geo Milev and others. The intertwining of features of the poetics from different avant-garde currents, both in the works of individual authors and in the works of a single writer appeared as a typical phenomenon in the life of the Bulgarian avant-garde. Such poets as N. Furnadzhiev, A. Raztsvetnikov, N. Marangozov and others, and fiction writers as Ch. Mutafov, A. Karaliychev, A. Strashimirov, J. Yovkov, repeatedly experienced the influence of contradictory modernist and avant-garde currents, however, in their works they managed to add the “European form” to the “Bulgarian content”. The study also involves Bulgarian avant-garde journals such as Crescendo, Libra/Vezni, etc. This paper argues that by going against the rules, the avant-garde writers created a productive artistic method, a kind of alternative classic.

scholarly journals Concertante techniques in Trois images by Ivo Petrić

2001 ◽  
Vol 37 (1) ◽  
pp. 103-112
Author(s):  
Niall O'Loughlin
Keyword(s):  
20Th Century ◽  
Large Scale ◽  
The Other ◽  
Violin Concerto ◽  
Avant Garde ◽  
Other Hand ◽  
The One ◽  
The Individual ◽  
Frank Martin ◽  
Movement Structure

The large-scale romantic concerto has been reevaluated by many composers of the 20th century. These have included Stravinsky, Honegger and Frank Martin, who have all tended to compose on a much smaller scale. One such work is Ivo Petrić's Trois images, a violin concerto dating from 1972-73. It displays an ambiguous approach to form, the relationships between the soloist and orchestra, the use of musical motives and the idea of the concerto. On the one hand, it has links with tradition in that it uses the title and three-movement structure of the concerto, the traditional relationships of dialogue, solo and accompaniment, development of motives and virtuoso techniques. On the other hand, it breaks with tradition by disguising the contrasts and separation of the individual movements, and transforming traditional concerto techniques for use in the freely coordinated idiom that the composer was using at the time. It proves to be an excellent example of how concerto techniques can be combined with the techniques of the avant-garde.

scholarly journals Mediateka Babel. YouTube jako temat, rama formalna i platforma sztuki

2020 ◽  
Vol 31 (1) ◽  
pp. 171-189
Author(s):  
Ewa Wójtowicz
Keyword(s):  
20Th Century ◽  
Cultural Production ◽  
Global Network ◽  
Digital Culture ◽  
Avant Garde ◽  
Moving Images ◽  
Meta Level ◽  
Formal Framework ◽  
Dziga Vertov ◽  
The One

The text focuses on the specific features of the so-called 'cinematic turn' within the scope of visual culture emergent within the YouTube platform, particularly during its first, formative years. This turn takes place on the meta-level of the existing circulation of content enabled by YouTube, often being an autothematic reflection on this tool of cultural production. The vernacular aesthetics, a specific formal framework and a particular modus operandi of YouTube became the subject of artistic statements, sometimes in a form of subversive remix. Therefore I think of YouTube as a realm of art because of its meta-media practice that made the cinematic turn visible. It does not rely on straightforwardly understood production of (moving) images, but  postproduction, as understood by Nicolas Bourriaud. Moreover, the cinematic turn taking place within YouTube is different from the one practised by the avant-garde of 20th century, due its being not “seeing” or “writing” (as Dziga Vertov understood montage) but rather “overwriting”, to use language more adequate to the described sphere of digital culture. Artists use YouTube as an open library, working with its resources, applying techniques such as postproduction, remix, re-contextualisation and appropriation. Therefore it becomes a multimedia library, a “Mediateca Babel” of a kind, to recall J. L. Borges' idea. The examples mentioned in the text are of a postproductional nature, such as to-camera-performance and subversive “overwriting” of contents enabled with the circulationism typical for social media. Equally important are the strategies of recognising the cultural framework of YouTube, in the context of 20th-century media art history, as well as the platform’s interface. Also, there is the issue of relations between vernacular creativity and the art system because of “capturing” the amateur-generated content and transferring it to mainstream artworld. These examples let me argue that the cinematic turn is a form of postproduction, which enables the hidden mechanisms behind the circulation of moving images in the overloaded global network. The cinematic turn in the context of YouTube does not mean that cinema and its language are at home within this platform. Also, the meta-artistic way of “making” platform art does not turn YouTube into “art platform” (as understood by Olga Goriunova). Nevertheless, platform art may happen in this context as a result of working with the cinematic turn in its vernacular aspect, which makes it possible to reveal its key features and move them to the meta-level.

scholarly journals The Cantatas by Pierre Boulez in the Context of the Main Trends in the Development of Choral Composition of the 20th Century

2021 ◽  
Vol 11 (1) ◽  
pp. 21-38
Author(s):  
Aleksandr S. Ryzhinskii ◽  
Keyword(s):  
20Th Century ◽  
The Other ◽  
Important Place ◽  
Choral Works ◽  
Avant Garde ◽  
Work In Progress ◽  
Pierre Boulez ◽  
Other Hand ◽  
Choral Composition ◽  
The One

The article focuses on Pierre Boulez’s choral style in the cantatas “Le visage nuptial” and “Le soleil des eaux”. The versions of these works, created over the course of almost 40 years (from 1951 to 1989), represent a complex of techniques in regard to texture and timbre, which, on the one hand, are a continuation of experiments by composers of the New Vienna School (A. Schönberg, A. Webern), and on the other hand, they preface a number of innovations in the choral style of Boulez’s contemporaries (L. Nono, L. Berio, K. Stockhausen, I. Xenakis). Evidence is provided in favor of the idea that Boulez’s choral works were the logical link between the vocal and choral opuses of the composers of the first and second Western European avant-garde. The article examines the peculiarities of the interaction between the verbal and musical series, the specifics of the textural organization of Boulez’s works, and systematizes the information about the timbre techniques used. Links are identified between the heterophonic presentation typical of Boulez’s choral works and the use of quarter tone notation, glissando reception, and various variants of speech singing (Sprechgesang). The connections between stereophonic effects in the music of Boulez and Nono are traced. An important place is occupied by the study of vocal sound recovery or “vocal emission” technologies (as defined by Boulez). The significance of Schönberg and Webern’s experience in the formulation of the technical foundations of Boulez’s choral timbres is stressed. Special attention is paid to the problem of “work in progress” as one of the defining features of the composer’s choral heritage. Comparing the works by Nono, Maderna, and Bulez, the author concludes the different reasons for which composers came to the concept of “opera aperta” (U. Eco).

scholarly journals TOURISM ARCHITECTURE AS A THREAT TO HERITAGE IDENTITY IN THE VALLEYS OF THE HIGH ATLAS IN MOROCCO

2020 ◽  
Vol XLIV-M-1-2020 ◽  
pp. 723-730
Author(s):  
J. Asencio Juncal ◽  
J. M. Lopez-Osorio ◽  
C. J. Rosa Jiménez
Keyword(s):  
20Th Century ◽  
Formal Language ◽  
Architectural Heritage ◽  
High Atlas ◽  
Major Activity ◽  
Starting Point ◽  
Cultural Exchanges ◽  
Traditional Language ◽  
Definition Of ◽  
Tourist Accommodation

Abstract. Despite being a major activity in the economy of the pre-Sahara valley of the High Atlas in Morocco, tourism can also threaten the conservation of the identity values of the architectural heritage of the region. The adaptation of many traditional buildings for tourist use or the construction of new accommodation incorporating traditional language into their structure or decorative repertoire does not always help to strengthen the vernacular values of original architecture. The starting point of this research is the typological definition of this architecture, mostly in aspects relating to the symbolic and ornamental elements of traditional dwellings in the valleys of the Dadès and of the Mgoun, its main tributary. The processes of evolution and transformation from the second half of the 20th century are then described, along with the risks from the tourist boom which has been affecting the region in recent years. In order to study this phenomenon twelve examples of tourist accommodation were selected to analyse the formal language and decorative resources used, in terms of heritage, but also from the perspective of the reinterpretation of architectural symbols in the context of acculturation. This theory considers dynamic cultural exchanges between tourism and the receiving society to be positive.

scholarly journals On the question of the perception of the absurd in modern literary practice (on the example of the piece of Ivan Vyrypaev's «Dreams»)

2021 ◽  
Vol 27 (1) ◽  
pp. 200-204
Author(s):  
Alla V. Muraveva
Keyword(s):  
20Th Century ◽  
Early 20Th Century ◽  
Social Commentary ◽  
Literary Practice ◽  
Content Structure ◽  
Avant Garde ◽  
Russian Literary ◽  
History Of ◽  
The One ◽  
Existential Issues

The article is devoted to the parallel consideration of two questions: the text, on the one hand, deals with a set of absurdist techniques and methods stated in the text of Ivan Vyrypaev “Dreams”, and with another – attempt projection composite-content structure plays in the history of the formation and development of the absurd in Russian literary practice of the 20th century. In the course of the study, it was found that the entire set of tools that absurdise the space of the play can be divided into three parts: 1) corresponding to the absurdist-avant-garde techniques of the early 20th century, 2) illustrating the existential dramatic locus, 3) demonstrating the functioning of the phenomenon of the absurd in Russian postmodern drama. Built on the principles of displacement and substitution, the play “Dreams” series illustrates the change of the principle of construction of the text: from semi-abstract components that target the metaphorisation of space in text and in direct violation of formal logic, the play by introducing social commentary comes to the staging of existential issues, and through it, mainly through the absurdist element that goes to a typical post-modern principles of organisation of the text. The main conclusion of this research is the thesis about the characterisation of “Dreams” as a metaphor play that reflects the dynamics of the development of the absurd in the 20th century.

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