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It has often been argued that the arrival of the early-20th-century
avant-gardes and modernisms coincided with an in-depth exploration
of the materiality of art and writing. The European historical
avant-gardes and modernisms excelled in their attempts to establish
the specificity of media and art forms as well as in experimenting
with the hybridity of the materials of their multiple disciplines.
This third volume of the series European Avant-Garde and Modernism
Studies sheds light on the full range and import of this aspect in
avant-garde and modernist aesthetics across all art forms and
throughout the 19th and 20th centuries. The book's contributions,
written by experts from some 20 countries, seek to answer the
following questions: What sort of objects and material, works and
media help us to properly grasp the avant-garde and modernist
"aesthetics of matter"? How were affects, emotions and sensory and
bodily experiences transferred and transformed in the experiment
with matter? How were "immaterial" things such as concepts of time
changed in this aesthetic moment? What "material meanings" were
disseminated in the cultural transfer and translation of objects?
How did subsequent avant-gardes deal with the "aesthetics of
matter" in their response to historical predecessors?
The effort to go beyond given knowledge in different domains -
artistic, scientific, political, metaphysical - is a characteristic
driving force in modernism and the avant-gardes. Since the late
19th century, artists and writers have frequently investigated
their medium and its limits, pursued political and religious aims,
and explored hitherto unknown physical, social and conceptual
spaces, often in ways that combine these forms of critical inquiry
into one and provoke further theoretical and methodological
innovations. The fifth volume of the EAM series casts light on the
history and actuality of investigations, quests and explorations in
the European avant-garde and modernism from the late 19th century
to the present day. The authors seek to answer questions such as:
How have modernism and the avant-garde appropriated scientific
knowledge, religious dogmas and social conventions, pursuing their
investigation beyond the limits of given knowledge and conceptions?
How have modernism and avant-garde created new conceptual models or
representations where other discourses have allegedly failed? In
what ways do practises of investigation, quest or exploration shape
artistic work or the formal and thematic structures of artworks?
Utopian hope and dystopian despair are characteristic features of
modernism and the avant-garde. Readings of the avant-garde have
frequently sought to identify utopian moments coded in its works
and activities as optimistic signs of a possible future social
life, or as the attempt to preserve hope against the closure of an
emergent dystopian present. The fourth volume of the EAM series,
European Avant-Garde and Modernism Studies, casts light on the
history, theory and actuality of the utopian and dystopian strands
which run through European modernism and the avant-garde from the
late 19th to the 21st century. The book's varied and carefully
selected contributions, written by experts from around 20
countries, seek to answer such questions as: * how have modernism
and the avant-garde responded to historical circumstance in mapping
the form of possible futures for humanity? * how have avant-garde
and modernist works presented ideals of living as alternatives to
the present? * how have avant-gardists acted with or against the
state to remodel human life or to resist the instrumental reduction
of life by administration and industrialisation?
Regarding the Popular charts the complex relationship between the
avant-gardes and modernisms on the one hand and popular culture on
the other. Covering (neo-)avant-gardists and modernists from
various European countries, this second volume in the series
European Avant-Garde and Modernism Studies explores the nature of
so-called "low" culture, dealing with aspects as diverse as the
everyday and the folkloric. Regarding the Popular charts the many
ways in which the allegedly "high" modernists and avant-gardists
looked at and represented the "low". As such, this book will appeal
to all those with an interest in the dynamic of modern experimental
arts and literatures.
The first volume of the new series "European Avant-Garde and
Modernism Studies" focuses on the relation between the avant-garde,
modernism and Europe. It combines interdisciplinary and intermedial
research on experimental aesthetics and poetics. The essays,
written by experts from more than fifteen countries, seek to bring
out the complexity of the European avant-garde and modernism by
relating it to Europe's intricate history, multiculturalism and
multilingualism. They aim to inquire into the divergent cultural
views on Europe taking shape in avant-garde and modernist practices
and to chart a composite image of the "other Europe(s)" that have
emerged from the (contemporary) avant-garde and experimental
modernism. How did the avant-garde and modernism in (and outside)
Europe give shape to local, national and pan-European forms of
identity and community? To what extent does the transnational
exchange and cross-fertilisation of aesthetic tendencies illustrate
the well-rehearsed claim that the avant-gardes form a typically
European phenomenon? Dealing with canonised as well as lesser known
exponents of modernism and the avant-garde throughout Europe, this
book will appeal to all those interested in European cultural,
literary and art history.
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