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Notions of crisis have long charged the study of the European
avant-garde and modernism, reflecting the often turbulent nature of
their development. Throughout their history, the avant-garde and
modernists have both confronted and instigated crises, be they
economic or political, aesthetic or philosophical, collective or
individual, local or global, short or perennial. The seventh volume
in the series European Avant-Garde and Modernism Studies addresses
the myriad ways in which the avant-garde and modernism have
responded and related to crisis from the late nineteenth to the
twenty-first century. How have Europe's avant-garde and modernist
movements given aesthetic shape to their crisis-laden trajectory?
Given the many different watershed moments the avant-garde and
modernism have faced over the centuries, what common threads link
the critical points of their development? Alternatively, what kinds
of crises have their experimental practices and critical modes
yielded? The volume assembles case studies reflecting upon these
questions and more from across all areas of avant-garde and
modernist activity, including visual art, literature, music,
architecture, photography, theatre, performance, curatorial
practice, fashion and design.
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?
Wittgenstein's thought is reflected in his reading and reception of
other authors. Wittgenstein Reading approaches the moment of
literature as a vehicle of self-reflection for Wittgenstein. What
sounds, on the surface, like criticism (e.g. of Shakespeare) can
equally be understood as a simple registration of Wittgenstein's
own reaction, hence a piece of self-diagnosis or self-analysis. The
book brings a representative sample of authors, from Shakespeare,
Goethe, or Dostoyevsky to some that have received far less
attention in Wittgenstein scholarship like Kleist, Lessing, or
Wilhelm Busch and Johann Nepomuk Nestroy. Furthermore, the volume
offers means for the cultural contextualization of Wittgenstein's
thoughts. Unique to this book is its internal design. The editors'
introduction sets the scene with regards to both biography and
theory, while each of the subsequent chapters takes a quotation
from Wittgenstein on a particular author as its point of departure
for developing a more specific theme relating to the writer in
question. This format serves to avoid the well-trodden paths of
discussions on the relationship between philosophy and literature,
allowing for unconventional observations to be made. Furthermore,
the volume offers means for the cultural contextualization of
Wittgenstein's thoughts.
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.
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 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.
Introduces the most important terms for understanding literature,
past and present. Literature Now argues that modern literary
history is currently the main site of theoretical and
methodological reflection in literary studies. Via 19 key terms,
the book takes stock of recent scholarship and demonstrates how
analyses of particular historical phenomena have modified our
understanding of crucial notions like archive, book, event, media,
objects, style and the senses. The book not only reveals a rich
diversity of subjects and approaches but also identifies the most
salient traits of literature and literary studies today. Leading
literary critics and historians offer thought-provoking arguments
as well as authoritative explorations of the key terms of literary
studies providing students as well as scholars with a rich resource
for exploring theoretical issues from a historically informed
perspective. Key Features Organised around the key terms used in
literary studies today: archive, book, medium, translation,
subjects, senses, animals, objects, politics, time, invention,
event, generation, period, beauty, mimesis, style, popular and
genre Puts literary history at the forefront of theoretical and
methodological reflection in literary studies Original chapters by
leading literary critics, theorists and historians
Introduces the full range and depth of the early 20th-century
European avant-gardes This engaging introduction outlines the
cultural and political contexts in which the avant-gardes operated,
taking readers on a journey throughout the whole of Europe. It
discusses the most salient features of the avant-gardes' work in
all the arts, succinctly surveys the major avant-garde movements
(cubism, futurism, expressionism, Dadaism, constructivism and many
other -isms) and demonstrates the ways in which they transformed
the face of all modern art forms. Clearly written, this book shows
readers and students of modernism how and why the avant-gardes were
a major force in modern art and culture. Key Features An up-to-date
and thorough guide to the 'classic' European avant-gardes, from
1905 to 1935 Covers all the arts practiced by the classic European
avant-gardes - from painting and film, literature and sculpture,
architecture and photography to theatre, dance and music - focusing
on the specificity of each art form as well as on what united them
Includes text-boxes, 100 illustrations, many in colour, and a
user-friendly index/glossary
Futurism began as an artistic and social movement in early
twentieth-century Italy. Until now, much of the scholarship
available in English has focused only on a single individual or art
form. This volume seeks to present a more complete picture of the
movement by exploring the history of the movement, the events
leading up to the movement, and the lasting impact it has had as
well as the individuals involved in it. The History of Futurism:
The Precursors, Protagonists, and Legacies addresses the history
and legacy of what is generally seen as the founding avante-garde
movement of the twentieth century. Geert Buelens, Harald Hendrix,
and Monica Jansen have brought together scholarship from an
international team of specialists to explore the Futurism movement
as a multidisciplinary movement mixing aesthetics, politics, and
science with a particular focus on the literature of the movement.
Futurism began as an artistic and social movement in early
twentieth-century Italy. Until now, much of the scholarship
available in English has focused only on a single individual or art
form. This volume seeks to present a more complete picture of the
movement by exploring the history of the movement, the events
leading up to the movement, and the lasting impact it has had as
well as the individuals involved in it. The History of Futurism:
The Precursors, Protagonists, and Legacies addresses the history
and legacy of what is generally seen as the founding avante-garde
movement of the twentieth century. Geert Buelens, Harald Hendrix,
and Monica Jansen have brought together scholarship from an
international team of specialists to explore the Futurism movement
as a multidisciplinary movement mixing aesthetics, politics, and
science with a particular focus on the literature of the movement.
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