You searched for subject:(avant garde).
Showing records 1 – 30 of
561 total matches.
◁ [1] [2] [3] [4] [5] … [19] ▶
1.
Manigot, Vincent.
Universalité et surréalisme : le peintre Kitawaki Noboru (1901-1951) et les avant-gardes japonaises : Universality and Surrealism : the Painter Kitawaki Noboru (1901-1951) and the Japanese Avant-garde.
Degree: Docteur es, Arts, 2018, Sorbonne Paris Cité
URL: http://www.theses.fr/2018USPCF001 
► Durant la première moitié du XXᵉ siècle, divers mouvements d’avant-garde occidentaux sont introduits au Japon et s’y développent dans un court intervalle de temps, menant…
(more)
▼ Durant la première moitié du XXᵉ siècle, divers mouvements d’avant-garde occidentaux sont introduits au Japon et s’y développent dans un court intervalle de temps, menant à des unions difficilement concevables dans une perspective européenne. Cette caractéristique est flagrante dans le cas du surréalisme japonais, objet culturel synthétique. Durant les années 1930, les pressions croissantes sur les artistes et intellectuels achèvent de lui donner une coloration singulière. Comme de nombreux peintres japonais, Kitawaki Noboru (1901-1951) s’intéresse au surréalisme, mais il va rapidement s’éloigner du modèle occidental pour entamer une exploration artistique singulière au travers de ses « peintures schématiques », qui visent à construire le modèle d’une réalité qui semble échapper à tout cadre et, partant, à toute tentative de compréhension, et ainsi rendre à l’homme la place qui doit y être la sienne. Les tentatives de Kitawaki qui se nourrissent des domaines les plus divers, sans véritable limitation temporelle, géographique, ni disciplinaire, évoquent le travail des peintres-savants de la Renaissance. Indissociable du contexte, sa production ne saurait être perçue de manière uniquement conjoncturelle. L’analyse de plusieurs de ses écrits et de ses œuvres, ainsi que des schémas aussi bien théoriques que pratiques qu’il développe (notamment la question du vide pictural) renseignent sur le but poursuivi par le peintre qui, à rebours des standards, s’intéresse tout autant au fond qu’aux motifs de ses toiles, et plus encore qu’aux éléments eux-mêmes à la manière de les combiner.
During the first half of the 20th century, several European avant-garde movements were introduced in Japan, where they grew within a short period of time, sometimes intermingling, which was quite inconceivable from an Occidental perspective. This characteristic was obvious in the case of Japanese surrealism, a synthetic cultural object. During the 1930s, the increasing pressure on artists and intellectuals gave it an even more singular dimension. Like many Japanese painters, Kitawaki Noboru (1901-1951) was interested in surrealism, but he quickly moved away from the Western model to begin a singular artistic exploration through his "Schematic Paintings", with which he aimed to construct a model of reality that appeared less and less ordered in a time of trouble and which consequently could no longer be understood. In this way he aimed to give back to man the place that should be his. Kitawaki’s attempts to draw inspiration from the most diverse fields, without any real temporal, geographical or disciplinary limitations, evoke the work of Renaissance polymath artists. His production, while inseparable from the context, cannot be perceived only in relation to historical events. The in-depth analysis of several of his writings and works, as well as the theoretical and practical schemas he developed (notably the question of the pictorial void) provide information on the painter's aim, which—in contrast to standards—was as much concerned with the…
Advisors/Committee Members: Lucken, Michael (thesis director).
Subjects/Keywords: Art; Avant-Gardes; Art; Avant-Garde
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Manigot, V. (2018). Universalité et surréalisme : le peintre Kitawaki Noboru (1901-1951) et les avant-gardes japonaises : Universality and Surrealism : the Painter Kitawaki Noboru (1901-1951) and the Japanese Avant-garde. (Doctoral Dissertation). Sorbonne Paris Cité. Retrieved from http://www.theses.fr/2018USPCF001
Chicago Manual of Style (16th Edition):
Manigot, Vincent. “Universalité et surréalisme : le peintre Kitawaki Noboru (1901-1951) et les avant-gardes japonaises : Universality and Surrealism : the Painter Kitawaki Noboru (1901-1951) and the Japanese Avant-garde.” 2018. Doctoral Dissertation, Sorbonne Paris Cité. Accessed January 18, 2021.
http://www.theses.fr/2018USPCF001.
MLA Handbook (7th Edition):
Manigot, Vincent. “Universalité et surréalisme : le peintre Kitawaki Noboru (1901-1951) et les avant-gardes japonaises : Universality and Surrealism : the Painter Kitawaki Noboru (1901-1951) and the Japanese Avant-garde.” 2018. Web. 18 Jan 2021.
Vancouver:
Manigot V. Universalité et surréalisme : le peintre Kitawaki Noboru (1901-1951) et les avant-gardes japonaises : Universality and Surrealism : the Painter Kitawaki Noboru (1901-1951) and the Japanese Avant-garde. [Internet] [Doctoral dissertation]. Sorbonne Paris Cité; 2018. [cited 2021 Jan 18].
Available from: http://www.theses.fr/2018USPCF001.
Council of Science Editors:
Manigot V. Universalité et surréalisme : le peintre Kitawaki Noboru (1901-1951) et les avant-gardes japonaises : Universality and Surrealism : the Painter Kitawaki Noboru (1901-1951) and the Japanese Avant-garde. [Doctoral Dissertation]. Sorbonne Paris Cité; 2018. Available from: http://www.theses.fr/2018USPCF001
Universiteit Utrecht
2.
Winter, C.M.
Tussen avant-garde en vergetelheid. Vier vooraanstaande kunstenaressen van de Russische avant-garde, hun positie toen en nu.
Degree: 2011, Universiteit Utrecht
URL: http://dspace.library.uu.nl:8080/handle/1874/208148
Onderzoek naar de positie van Vera Ermolaeva, Nina Kogan, Varvara Stepanova en Liubov Popova in twee belangrijke centra van de Russische avant-garde en hun bekendheid nu.
Advisors/Committee Members: Boersma, Linda S..Subjects/Keywords: Russische avant-garde; kunstenaressen
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Winter, C. M. (2011). Tussen avant-garde en vergetelheid. Vier vooraanstaande kunstenaressen van de Russische avant-garde, hun positie toen en nu. (Masters Thesis). Universiteit Utrecht. Retrieved from http://dspace.library.uu.nl:8080/handle/1874/208148
Chicago Manual of Style (16th Edition):
Winter, C M. “Tussen avant-garde en vergetelheid. Vier vooraanstaande kunstenaressen van de Russische avant-garde, hun positie toen en nu.” 2011. Masters Thesis, Universiteit Utrecht. Accessed January 18, 2021.
http://dspace.library.uu.nl:8080/handle/1874/208148.
MLA Handbook (7th Edition):
Winter, C M. “Tussen avant-garde en vergetelheid. Vier vooraanstaande kunstenaressen van de Russische avant-garde, hun positie toen en nu.” 2011. Web. 18 Jan 2021.
Vancouver:
Winter CM. Tussen avant-garde en vergetelheid. Vier vooraanstaande kunstenaressen van de Russische avant-garde, hun positie toen en nu. [Internet] [Masters thesis]. Universiteit Utrecht; 2011. [cited 2021 Jan 18].
Available from: http://dspace.library.uu.nl:8080/handle/1874/208148.
Council of Science Editors:
Winter CM. Tussen avant-garde en vergetelheid. Vier vooraanstaande kunstenaressen van de Russische avant-garde, hun positie toen en nu. [Masters Thesis]. Universiteit Utrecht; 2011. Available from: http://dspace.library.uu.nl:8080/handle/1874/208148
3.
Furuhata, Yuriko.
Refiguring Actuality: Japan's Film Theory and Avant-Garde
Documentary Movement, 1950s-1960s.
Degree: PhD, Comparative Literature, 2008, Brown University
URL: https://repository.library.brown.edu/studio/item/bdr:22/
► The aim of this dissertation is to bring to light innovative ? and until recently, thoroughly ignored ? theoretical discussions of the concepts of "actuality"…
(more)
▼ The aim of this dissertation is to bring to light
innovative ? and until recently, thoroughly ignored ? theoretical
discussions of the concepts of "actuality" (akuchuaritii),
documentary, and the "mechanically produced image" (eizô) by
Japanese
avant-
garde critics and filmmakers. Drawing on original
source materials, my work also challenges one of the most
persistent presumptions in Cinema Studies: the belief that Japanese
writers and filmmakers have never produced a body of writings that
deserve to be called "theory." More concretely, I map out critical
connections between
avant-
garde theorists (such as Hanada Kiyoteru
and Abe Kôbô) and filmmakers (such as Oshima Nagisa, Matsumoto
Toshio, Wakamatsu Kôji) that have been neglected in the standard
accounts of Japanese cinema. During the 1950s and the 1960s, not
only did
avant-
garde art practice gain intellectual momentum and
expressive intensity in Japan, but it also gave rise to a
politicized film discourse, which took the problematic of actuality
as its basis of inquiry. Alongside the discursive currency of this
concept and in dialogue with it, Japanese filmmaking also saw a
sudden explosion of particular cinematic techniques, such as
citational uses of journalistic media (e.g. newspapers, press
photographs, comics), freeze-frames, and extreme close-ups. I argue
that the postwar Japanese
avant-
garde engagement with film theory
and practice offers a particularly fertile ground to examine the
productive tension between
avant-
garde and journalistic media, and
by extension, allows us to revisit the Marxist notion of
vanguardism in light of the current leftist discourse on the
"common." My investigation begins with the emergence of what I call
the "
avant-
garde documentary movement." This movement owed its
theoretical basis to the Marxist
avant-
garde critic Hanada's
proposition to dialectically synthesize
avant-
garde and documentary
filmmaking. After examining the filmic works of Matsumoto,
Teshigahara, Oshima, and Wakamatsu from the 1960s, I conclude my
investigation with an analysis of the fûkeiron ("theory of
landscape") and two "landscape" films, which mark the endpoint of
this form of politico-aesthetic vanguardism.
Advisors/Committee Members: Chow, Rey (director), Bensmaïa, Réda (director), Doane, Mary Ann (reader), Lamarre, Thomas (reader).
Subjects/Keywords: Avant-garde
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Furuhata, Y. (2008). Refiguring Actuality: Japan's Film Theory and Avant-Garde
Documentary Movement, 1950s-1960s. (Doctoral Dissertation). Brown University. Retrieved from https://repository.library.brown.edu/studio/item/bdr:22/
Chicago Manual of Style (16th Edition):
Furuhata, Yuriko. “Refiguring Actuality: Japan's Film Theory and Avant-Garde
Documentary Movement, 1950s-1960s.” 2008. Doctoral Dissertation, Brown University. Accessed January 18, 2021.
https://repository.library.brown.edu/studio/item/bdr:22/.
MLA Handbook (7th Edition):
Furuhata, Yuriko. “Refiguring Actuality: Japan's Film Theory and Avant-Garde
Documentary Movement, 1950s-1960s.” 2008. Web. 18 Jan 2021.
Vancouver:
Furuhata Y. Refiguring Actuality: Japan's Film Theory and Avant-Garde
Documentary Movement, 1950s-1960s. [Internet] [Doctoral dissertation]. Brown University; 2008. [cited 2021 Jan 18].
Available from: https://repository.library.brown.edu/studio/item/bdr:22/.
Council of Science Editors:
Furuhata Y. Refiguring Actuality: Japan's Film Theory and Avant-Garde
Documentary Movement, 1950s-1960s. [Doctoral Dissertation]. Brown University; 2008. Available from: https://repository.library.brown.edu/studio/item/bdr:22/
4.
Twitchin, Mischa.
The Theatre of Death : the uncanny in Mimesis Tadeusz Kantor, Aby Warburg, and an iconography of the actor, or, Must one die to be dead?.
Degree: PhD, 2013, Queen Mary, University of London
URL: http://qmro.qmul.ac.uk/xmlui/handle/123456789/8626
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.667207
► The aim of this thesis is to explore an heuristic analogy as proposed in its very title: how does a concept of the “uncanny in…
(more)
▼ The aim of this thesis is to explore an heuristic analogy as proposed in its very title: how does a concept of the “uncanny in mimesis” and of the “theatre of death” give content to each other – historically and theoretically – as distinct from the one providing either a description of, or even a metaphor for, the other? Thus, while the title for this concept of theatre derives from an eponymous manifesto of Tadeusz Kantor’s, the thesis does not aim to explain what the concept might mean in this historically specific instance only. Rather, it aims to develop a comparative analysis, through the question of mimesis, allowing for different theatre artists to be related within what will be proposed as a “minor” tradition of modernist art theatre (that “of death”). This comparative enquiry – into theatre practices conceived of in terms of the relation between abstraction and empathy, in which the “model” for the actor is seen in mannequins, puppets, or effigies – is developed through such questions as the following: What difference does it make to the concept of “theatre” when thought of in terms “of death”? What thought of mimesis do the dead admit of? How has this been figured, historically, in aesthetics? How does an art of theatre participate in the anthropological history of relations between the living and the dead? In this history, how have actors been thought to represent the dead – not in the interpretation of fictional “characters” (from the dramatic canon), but in their very appearance, before an audience, as actors? How might (a minor history of) modernist theatre practice be considered in terms of an iconography of such appearances – as distinct from a question of actor training, still less as a question of written drama?
Subjects/Keywords: 792; Drama; Avant-Garde
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Twitchin, M. (2013). The Theatre of Death : the uncanny in Mimesis Tadeusz Kantor, Aby Warburg, and an iconography of the actor, or, Must one die to be dead?. (Doctoral Dissertation). Queen Mary, University of London. Retrieved from http://qmro.qmul.ac.uk/xmlui/handle/123456789/8626 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.667207
Chicago Manual of Style (16th Edition):
Twitchin, Mischa. “The Theatre of Death : the uncanny in Mimesis Tadeusz Kantor, Aby Warburg, and an iconography of the actor, or, Must one die to be dead?.” 2013. Doctoral Dissertation, Queen Mary, University of London. Accessed January 18, 2021.
http://qmro.qmul.ac.uk/xmlui/handle/123456789/8626 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.667207.
MLA Handbook (7th Edition):
Twitchin, Mischa. “The Theatre of Death : the uncanny in Mimesis Tadeusz Kantor, Aby Warburg, and an iconography of the actor, or, Must one die to be dead?.” 2013. Web. 18 Jan 2021.
Vancouver:
Twitchin M. The Theatre of Death : the uncanny in Mimesis Tadeusz Kantor, Aby Warburg, and an iconography of the actor, or, Must one die to be dead?. [Internet] [Doctoral dissertation]. Queen Mary, University of London; 2013. [cited 2021 Jan 18].
Available from: http://qmro.qmul.ac.uk/xmlui/handle/123456789/8626 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.667207.
Council of Science Editors:
Twitchin M. The Theatre of Death : the uncanny in Mimesis Tadeusz Kantor, Aby Warburg, and an iconography of the actor, or, Must one die to be dead?. [Doctoral Dissertation]. Queen Mary, University of London; 2013. Available from: http://qmro.qmul.ac.uk/xmlui/handle/123456789/8626 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.667207
University of Notre Dame
5.
Quinn Darlington.
Modernism's Miniatures: Space and Gender in the Stettheimer
Dollhouse and Duchamp's Boîte-en-Valise</h1>.
Degree: Art, Art History and Design, 2012, University of Notre Dame
URL: https://curate.nd.edu/show/n296ww74n5t
► Carrie Stettheimer’s Dollhouse was created over the course of almost twenty years (from 1916-1935) and was inspired in part by the Stettheimers’ luxurious homes,…
(more)
▼ Carrie Stettheimer’s Dollhouse was created
over the course of almost twenty years (from 1916-1935) and was
inspired in part by the Stettheimers’ luxurious homes, where they
hosted a prominent literary and artistic salon. The Dollhouse can
be read as a three-dimensional counterpart to the whimsical
paintings of Carrie’s sister Florine, as both artists shared a
penchant for craft, ornament, and miniaturization, all understood
to be feminine. Carrie and Florine’s unabashed embrace of these
elements placed them somewhat at odds with the
avant-
garde art
world of New York, with which they were nonetheless deeply
involved. For not only did the Stettheimers host members of the
avant-
garde at their salon, but Florine also painted many of them,
and they, in turn, created miniature artworks for Carrie’s
Dollhouse. More than simply a vessel for the display of diminutive
works by prominent artists such as Marcel Duchamp, however, the
Dollhouse is itself a work of art that engages the
avant-
garde
spirit of playfulness that is highlighted by the works it contains.
In addition to providing Carrie with an outlet from her everyday
domestic life, her Dollhouse, along with her activities in her
home, were part of a systematic attempt to create aesthetically
pleasing, fantastical environments and a theatrical mode of life,
which can ultimately be viewed as
avant-
garde in its combination of
art and lived reality. A similar playful and pleasure-loving spirit
guided the creation of the “Boîtes” and “Boîtes-en-Valise”, which
Duchamp began making in 1935. Possibly inspired by the Stettheimer
Dollhouse and the miniature “Nude Descending a Staircase” that he
executed for it, Duchamp employed miniaturization and reproduction
in order to create hundreds of boxes containing miniature “portable
museums" of almost seventy works in his oeuvre. A comparison of
Duchamp’s and Stettheimer’s projects reveals the fine line between
the supposedly very rigid categories of
avant-
garde and bourgeois,
and art and craft (with their attendant gendered associations),
that these works effectively blurred.
Advisors/Committee Members: Kathleen Pyne, Committee Chair.
Subjects/Keywords: domesticity; avant-garde; art; femininity
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Darlington, Q. (2012). Modernism's Miniatures: Space and Gender in the Stettheimer
Dollhouse and Duchamp's Boîte-en-Valise</h1>. (Thesis). University of Notre Dame. Retrieved from https://curate.nd.edu/show/n296ww74n5t
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Darlington, Quinn. “Modernism's Miniatures: Space and Gender in the Stettheimer
Dollhouse and Duchamp's Boîte-en-Valise</h1>.” 2012. Thesis, University of Notre Dame. Accessed January 18, 2021.
https://curate.nd.edu/show/n296ww74n5t.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Darlington, Quinn. “Modernism's Miniatures: Space and Gender in the Stettheimer
Dollhouse and Duchamp's Boîte-en-Valise</h1>.” 2012. Web. 18 Jan 2021.
Vancouver:
Darlington Q. Modernism's Miniatures: Space and Gender in the Stettheimer
Dollhouse and Duchamp's Boîte-en-Valise</h1>. [Internet] [Thesis]. University of Notre Dame; 2012. [cited 2021 Jan 18].
Available from: https://curate.nd.edu/show/n296ww74n5t.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Darlington Q. Modernism's Miniatures: Space and Gender in the Stettheimer
Dollhouse and Duchamp's Boîte-en-Valise</h1>. [Thesis]. University of Notre Dame; 2012. Available from: https://curate.nd.edu/show/n296ww74n5t
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
6.
Miller, Tyler.
Winds of change.
Degree: 2013, NC Docks
URL: http://libres.uncg.edu/ir/uncg/f/MillerT_uncg_0154M_11225.pdf
► Winds of Change attempts to build upon the recent tradition of monophonic compositional practice by combining techniques directed at setting a central musical line to…
(more)
▼ Winds of Change attempts to build upon the recent tradition of monophonic compositional practice by combining techniques directed at setting a central musical line to maintain interest and create textural clarity. These techniques are primarily inspired by the works of George Crumb and Tan Dun. Winds of Change also includes found and built percussion instruments, which are employed to create a unique timbral sound environment. The combination of these two elements is intended to create a monophonic work that is both expressively clear and unique. Chapter I concerns the basic purpose of the thesis and accompanying document. Chapter II focuses on specific techniques and compositional processes used in Winds of Change.
Subjects/Keywords: Composition (Music); Avant-garde (Music)
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Miller, T. (2013). Winds of change. (Thesis). NC Docks. Retrieved from http://libres.uncg.edu/ir/uncg/f/MillerT_uncg_0154M_11225.pdf
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Miller, Tyler. “Winds of change.” 2013. Thesis, NC Docks. Accessed January 18, 2021.
http://libres.uncg.edu/ir/uncg/f/MillerT_uncg_0154M_11225.pdf.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Miller, Tyler. “Winds of change.” 2013. Web. 18 Jan 2021.
Vancouver:
Miller T. Winds of change. [Internet] [Thesis]. NC Docks; 2013. [cited 2021 Jan 18].
Available from: http://libres.uncg.edu/ir/uncg/f/MillerT_uncg_0154M_11225.pdf.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Miller T. Winds of change. [Thesis]. NC Docks; 2013. Available from: http://libres.uncg.edu/ir/uncg/f/MillerT_uncg_0154M_11225.pdf
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of North Texas
7.
Breckenridge, Mark A.
“Sounds for Adventurous Listeners”: Willis Conover, the Voice of America, and the International Reception of Avant-garde Jazz in the 1960S.
Degree: 2012, University of North Texas
URL: https://digital.library.unt.edu/ark:/67531/metadc149564/
► In “Sounds for Adventurous Listeners,” I argue that Conover’s role in the dissemination of jazz through the Music USA Jazz Hour was more influential on…
(more)
▼ In “Sounds for Adventurous Listeners,” I argue that Conover’s role in the dissemination of jazz through the Music USA Jazz Hour was more influential on an educational level than what literature on Conover currently provides. Chapter 2 begins with an examination of current studies regarding the role of jazz in Cold War diplomacy, the sociopolitical implications of
avant-
garde jazz and race, the convergence of fandom and propaganda, the promoter as facilitator of musical trends, and the influence of international radio during the Cold War. In chapter 3 I introduce the Friends of Music USA Newsletter and explain its function as a record of overseas jazz reception and a document that cohered a global network of fans. I then focus on
avant-
garde debates of the 1960s and discuss Conover’s role overseas and in the United States. Chapter 4 engages social purpose and jazz criticism in the 1960s. I discuss Conover’s philosophy on social responsibility, and how his contributions intersected with other relevant discourses on race on the eve of the civil rights movement. I argue that Conover embodied two personas: one as jazz critic and promoter in the United States, and the other as an international intermediary. In chapter 5 I discuss how Conover presented the
avant-
garde to his overseas audience. I argue that through his efforts to broadcast jazz impartially, he legitimized
avant-
garde and emphasized its qualities as art music. In chapter 6 I explore fandom studies as they apply to the formation of Music USA as a global fan network. I discuss the early roots of Conover’s interest in science fiction fandom as a motivation for the implementation of the Friends of Music USA (FOMUSA) groups. Chapter 7 concludes in a discussion of the deification of Conover though the medium of radio in the midst of the Cold War. I argue that, through manipulation of sound resources, Conover composed his broadcasts in a way that allowed him to improvise creatively. Finally, I discuss the effect of a radio personality on crowds and the impact of Conover’s music programming in light of studies concerning deejays as objects of devotion.
Advisors/Committee Members: Murphy, John P. (John Patrick), Hayes, Eileen M., McKnight, Mark, 1951-, Alonso-Minutti, Ana R..
Subjects/Keywords: Conover; avant-garde; jazz
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
8.
Rochard, Marine.
Une avant-garde à réaction : gestualité, lyrisme et autopromotion chez Georges Mathieu (1944-1975) : A reaction avant-garde : gesture, lyricism and selfpromotion in Georges Mathieu's work (1944-1975).
Degree: Docteur es, Histoire de l'Art, 2014, Université François-Rabelais de Tours
URL: http://www.theses.fr/2014TOUR2005
► L’étude de l’œuvre de Georges Mathieu, artiste controversé dont les activités s’étendent sur les décennies suivant la Seconde Guerre Mondiale, vise à éclairer un parcours…
(more)
▼ L’étude de l’œuvre de Georges Mathieu, artiste controversé dont les activités s’étendent sur les décennies suivant la Seconde Guerre Mondiale, vise à éclairer un parcours méconnu afin de pouvoir l’intégrer de manière plus pertinente dans le champ de l’histoire de l’art contemporain. S’intéresser aux réseaux au sein desquels a gravité l’artiste permet de considérer globalement l’abstraction lyrique et de dessiner des relations complexes entre les différents acteurs des mondes de l’art. Les enjeux du contexte artistique des années 1950 sont ainsi mis en avant plus précisément, conduisant à l’identification de stratégies de promotion en partie basées sur les mythologies du geste créateur. Mathieu, élaborant son discours par anticipation de sa réception et se présentant comme une personnalité médiatique ambivalente, s’inscrit dans une dialectique inhérente de l’art à l’ère postmoderne : l’oscillation perpétuelle entre culture d’élite et culture de masse
The study of Georges Mathieu’s work, debated artist whose activities extend over the decades following the Second World War, aims at enlightening an unkown path to be able to integrate it in a more relevant way into the contemporary field of the art history. Be interested in the networks in which the artist gravitated allows to consider the lyrical abstraction overall and to draw complex connections between the various actors of the worlds of art. The stakes in the artistic context of the 1950s are so put forward more exactly, leading to the identification of strategies of promotion partially based on the mythologies of the creative gesture. Mathieu, developing his discourse by anticipation of his reception and appearing as an ambivalent media personality, fits into an inherent dialectic of the art in postmodern era : the constant swaying between culture of elite and mass culture
Advisors/Committee Members: Chassey, Éric de (thesis director).
Subjects/Keywords: Avant-garde; Lyrisme; Gestualité; Autopromotion; Avant-garde; Lyricism; Gesture; Selfpromotion
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Rochard, M. (2014). Une avant-garde à réaction : gestualité, lyrisme et autopromotion chez Georges Mathieu (1944-1975) : A reaction avant-garde : gesture, lyricism and selfpromotion in Georges Mathieu's work (1944-1975). (Doctoral Dissertation). Université François-Rabelais de Tours. Retrieved from http://www.theses.fr/2014TOUR2005
Chicago Manual of Style (16th Edition):
Rochard, Marine. “Une avant-garde à réaction : gestualité, lyrisme et autopromotion chez Georges Mathieu (1944-1975) : A reaction avant-garde : gesture, lyricism and selfpromotion in Georges Mathieu's work (1944-1975).” 2014. Doctoral Dissertation, Université François-Rabelais de Tours. Accessed January 18, 2021.
http://www.theses.fr/2014TOUR2005.
MLA Handbook (7th Edition):
Rochard, Marine. “Une avant-garde à réaction : gestualité, lyrisme et autopromotion chez Georges Mathieu (1944-1975) : A reaction avant-garde : gesture, lyricism and selfpromotion in Georges Mathieu's work (1944-1975).” 2014. Web. 18 Jan 2021.
Vancouver:
Rochard M. Une avant-garde à réaction : gestualité, lyrisme et autopromotion chez Georges Mathieu (1944-1975) : A reaction avant-garde : gesture, lyricism and selfpromotion in Georges Mathieu's work (1944-1975). [Internet] [Doctoral dissertation]. Université François-Rabelais de Tours; 2014. [cited 2021 Jan 18].
Available from: http://www.theses.fr/2014TOUR2005.
Council of Science Editors:
Rochard M. Une avant-garde à réaction : gestualité, lyrisme et autopromotion chez Georges Mathieu (1944-1975) : A reaction avant-garde : gesture, lyricism and selfpromotion in Georges Mathieu's work (1944-1975). [Doctoral Dissertation]. Université François-Rabelais de Tours; 2014. Available from: http://www.theses.fr/2014TOUR2005
Univerzitet u Beogradu
9.
Saveski, Zoran M., 1959-.
Савремена филмска култура: авангардни приступи и
алтернативни избори.
Degree: Fakultet političkih nauka, 2016, Univerzitet u Beogradu
URL: https://fedorabg.bg.ac.rs/fedora/get/o:13759/bdef:Content/get
► Политичке науке - Теорија културе / Political Sciences - Culture Theory
Појам савремена филмска култура подразумева ону културу која тежи да укаже на самосвојност филмског…
(more)
▼ Политичке науке - Теорија културе / Political
Sciences - Culture Theory
Појам савремена филмска култура подразумева ону
културу која тежи да укаже на самосвојност филмског медијума и
филмске уметности, као и на значај филмског мишљења, при томе
рушећи све спољашње утицаје који нису иманентни филму, пре свега
причу и кодификовани филмски језик. Овакве тежње присутне су код
филмских стваралаца још од појаве филмског медијума. Испољавале су
се и настављају да се испољавају кроз авангардне и алтернативне
филмске идеје и изразе, који произилазе из уметничких и
комуникацијских потенцијала филмског медијума. Стваралаштво
алтернативне културе на плану филма, надовезујући се на историјску
авангарду, пре свега на авангардни филм, наставља да радикално и
субверзивно преиспитује званични филм, примењујући алтернативне
филмске поступке и средстава. Са становишта алтернативе се
анализира и шири друштвени и културно-уметнички контекст. Указује
се на стилска решења и карактеристике алтернативних филмских израза
који су у функцији промене и визуелизације културно-уметничке и
естетске сфере, али и ванестетског простора. Алтернативни филмски
аутори третирају филм и као медијум и као уметност, а анализа
њихових авангардних приступа и алтернативиних избора представља
полазиште за истраживање и сагледавање савремене филмске културе.
Опредељења алтернативних стваралаца могла би се схватити као
наставак тежњи авангарде да сагледава филм не као заокружено
уметничко дело, већ као монтажно и симултано, као саставни део
свакодневице и као стваралаштво које се аналитички и критички
односи према уметности, култури, цивилизацијском и медијском
окружењу. У том контексту филм по својој експерименталној и
информативној намери и исходу не мора да буде уметност у класичном
смислу, али је увек култура, ако се правилно
„чита“...
Advisors/Committee Members: Marić, Ratka, 1950-.
Subjects/Keywords: film; avant-garde; avant-garde Film; alternative
culture; alternative film
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Saveski, Zoran M., 1. (2016). Савремена филмска култура: авангардни приступи и
алтернативни избори. (Thesis). Univerzitet u Beogradu. Retrieved from https://fedorabg.bg.ac.rs/fedora/get/o:13759/bdef:Content/get
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Saveski, Zoran M., 1959-. “Савремена филмска култура: авангардни приступи и
алтернативни избори.” 2016. Thesis, Univerzitet u Beogradu. Accessed January 18, 2021.
https://fedorabg.bg.ac.rs/fedora/get/o:13759/bdef:Content/get.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Saveski, Zoran M., 1959-. “Савремена филмска култура: авангардни приступи и
алтернативни избори.” 2016. Web. 18 Jan 2021.
Vancouver:
Saveski, Zoran M. 1. Савремена филмска култура: авангардни приступи и
алтернативни избори. [Internet] [Thesis]. Univerzitet u Beogradu; 2016. [cited 2021 Jan 18].
Available from: https://fedorabg.bg.ac.rs/fedora/get/o:13759/bdef:Content/get.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Saveski, Zoran M. 1. Савремена филмска култура: авангардни приступи и
алтернативни избори. [Thesis]. Univerzitet u Beogradu; 2016. Available from: https://fedorabg.bg.ac.rs/fedora/get/o:13759/bdef:Content/get
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Université du Québec à Montréal
10.
Legault, Jean-François.
Manipulation de code et avant-garde : pour une littérature hackée.
Degree: 2012, Université du Québec à Montréal
URL: http://www.archipel.uqam.ca/5076/1/M12627.pdf
► Dans le cyberespace, les distinctions entre les différentes acceptions du mot code deviennent poreuses : le code juridique cède le pas au code informatique dans…
(more)
▼ Dans le cyberespace, les distinctions entre les différentes acceptions du mot code deviennent poreuses : le code juridique cède le pas au code informatique dans son rôle coercitif, le code informatique possède la même étoffe qu'un code secret pour l'utilisateur moyen, etc. L'hypothèse principale de ce mémoire est qu'on doit laisser de côté la représentation traditionnelle du hackeur en tant que pirate informatique pour n'adopter que la stricte définition suivante : le hackeur est un manipulateur de code, quel que soit ce code. Selon André Belleau, « l'institution [...] agit comme le code des codes. » En conséquence, il devient possible de considérer les mouvements d'avant-garde du siècle dernier comme des hackeurs d'avant l'heure puisqu' ils ont relevé le pari qu'en contestant et en renouvelant les codes esthétiques institutionnels, ils transformeraient dans la foulée les codes politiques de leur société. À la suite de l'analyse des multiples manifestes produits par le hackeur au cours de son histoire, on peut rétrospectivement émanciper sa praxis hors de l'étroite sphère informatique où on l'avait relégué pour lui faire investir l'ensemble des champs de l'activité humaine. Prospectivement, on peut affirmer que si le transvasement de l'institution culturelle vers le cyberespace s'effectue sur un mode conflictuel, c'est en raison d'une difficulté pour le code institutionnel de s'amalgamer au code informatique. Là où l'avant-garde artistique au sens traditionnel s'essouffle, le hackeur prend le pas et produit quantité d'œuvres qui procèdent de la manipulation d'un code et ce faisant, mettent en tension des enjeux spécifiques à ce code. On pourrait par exemple considérer les œuvres distribuées sous licence Creative Commons comme un hack du langage juridique utilisé pour formuler le droit d'auteur, lequel hack remet en question la relation institutionnalisée entre l'éditeur et l'auteur. Le repliement du code de la langue sur le code du langage de programmation dans le poégramme, ou poème-programme, pourra par ailleurs constituer la preuve que l'informatique n'est pas qu'un véhicule d'expression artistique, au contraire qu'on y trouve en son cœur l'Art et la Beauté.
______________________________________________________________________________
MOTS-CLÉS DE L’AUTEUR : avant-garde, code, cyberespace, hackeur, Internet, institution, manifeste, ordinateur
Subjects/Keywords: Avant-garde (Art); Code; Cyberespace; Hacker; Internet
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Legault, J. (2012). Manipulation de code et avant-garde : pour une littérature hackée. (Thesis). Université du Québec à Montréal. Retrieved from http://www.archipel.uqam.ca/5076/1/M12627.pdf
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Legault, Jean-François. “Manipulation de code et avant-garde : pour une littérature hackée.” 2012. Thesis, Université du Québec à Montréal. Accessed January 18, 2021.
http://www.archipel.uqam.ca/5076/1/M12627.pdf.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Legault, Jean-François. “Manipulation de code et avant-garde : pour une littérature hackée.” 2012. Web. 18 Jan 2021.
Vancouver:
Legault J. Manipulation de code et avant-garde : pour une littérature hackée. [Internet] [Thesis]. Université du Québec à Montréal; 2012. [cited 2021 Jan 18].
Available from: http://www.archipel.uqam.ca/5076/1/M12627.pdf.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Legault J. Manipulation de code et avant-garde : pour une littérature hackée. [Thesis]. Université du Québec à Montréal; 2012. Available from: http://www.archipel.uqam.ca/5076/1/M12627.pdf
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Leiden University
11.
Vlies, Roel van der.
Pro- or Anti-Autonomy: A Comparative Study of Notions of Avant-Garde by Clement Greenberg and Peter Bürger.
Degree: 2016, Leiden University
URL: http://hdl.handle.net/1887/37422
► This study analyzes the relation between avant-garde and the autonomy of art. Although the phenomenon of avant-garde is widely discussed, there is no agreement about…
(more)
▼ This study analyzes the relation between
avant-
garde and the autonomy of art. Although the phenomenon of
avant-
garde is widely discussed, there is no agreement about this concept. The central disagreement seems to be based on the understanding of art as autonomous versus an interpretation of art as an instrument for advancement in society, as exemplified by the theories of Clement Greenberg and Peter Bürger. This study proceeds then to analyze a more original understanding of autonomy, as described by Immanuel Kant, followed by a more recent understanding of autonomy.
Advisors/Committee Members: Westgeest, Helen (advisor).
Subjects/Keywords: avant-garde; autonomy; Clement Greenberg; Peter Bürger
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Vlies, R. v. d. (2016). Pro- or Anti-Autonomy: A Comparative Study of Notions of Avant-Garde by Clement Greenberg and Peter Bürger. (Masters Thesis). Leiden University. Retrieved from http://hdl.handle.net/1887/37422
Chicago Manual of Style (16th Edition):
Vlies, Roel van der. “Pro- or Anti-Autonomy: A Comparative Study of Notions of Avant-Garde by Clement Greenberg and Peter Bürger.” 2016. Masters Thesis, Leiden University. Accessed January 18, 2021.
http://hdl.handle.net/1887/37422.
MLA Handbook (7th Edition):
Vlies, Roel van der. “Pro- or Anti-Autonomy: A Comparative Study of Notions of Avant-Garde by Clement Greenberg and Peter Bürger.” 2016. Web. 18 Jan 2021.
Vancouver:
Vlies Rvd. Pro- or Anti-Autonomy: A Comparative Study of Notions of Avant-Garde by Clement Greenberg and Peter Bürger. [Internet] [Masters thesis]. Leiden University; 2016. [cited 2021 Jan 18].
Available from: http://hdl.handle.net/1887/37422.
Council of Science Editors:
Vlies Rvd. Pro- or Anti-Autonomy: A Comparative Study of Notions of Avant-Garde by Clement Greenberg and Peter Bürger. [Masters Thesis]. Leiden University; 2016. Available from: http://hdl.handle.net/1887/37422
Université du Québec à Montréal
12.
Legault, Jean-François.
Manipulation de code et avant-garde : pour une littérature hackée.
Degree: 2012, Université du Québec à Montréal
URL: http://archipel.uqam.ca/5076/1/M12627.pdf
► Dans le cyberespace, les distinctions entre les différentes acceptions du mot code deviennent poreuses : le code juridique cède le pas au code informatique dans…
(more)
▼ Dans le cyberespace, les distinctions entre les différentes acceptions du mot code deviennent poreuses : le code juridique cède le pas au code informatique dans son rôle coercitif, le code informatique possède la même étoffe qu'un code secret pour l'utilisateur moyen, etc. L'hypothèse principale de ce mémoire est qu'on doit laisser de côté la représentation traditionnelle du hackeur en tant que pirate informatique pour n'adopter que la stricte définition suivante : le hackeur est un manipulateur de code, quel que soit ce code. Selon André Belleau, « l'institution [...] agit comme le code des codes. » En conséquence, il devient possible de considérer les mouvements d'avant-garde du siècle dernier comme des hackeurs d'avant l'heure puisqu' ils ont relevé le pari qu'en contestant et en renouvelant les codes esthétiques institutionnels, ils transformeraient dans la foulée les codes politiques de leur société. À la suite de l'analyse des multiples manifestes produits par le hackeur au cours de son histoire, on peut rétrospectivement émanciper sa praxis hors de l'étroite sphère informatique où on l'avait relégué pour lui faire investir l'ensemble des champs de l'activité humaine. Prospectivement, on peut affirmer que si le transvasement de l'institution culturelle vers le cyberespace s'effectue sur un mode conflictuel, c'est en raison d'une difficulté pour le code institutionnel de s'amalgamer au code informatique. Là où l'avant-garde artistique au sens traditionnel s'essouffle, le hackeur prend le pas et produit quantité d'œuvres qui procèdent de la manipulation d'un code et ce faisant, mettent en tension des enjeux spécifiques à ce code. On pourrait par exemple considérer les œuvres distribuées sous licence Creative Commons comme un hack du langage juridique utilisé pour formuler le droit d'auteur, lequel hack remet en question la relation institutionnalisée entre l'éditeur et l'auteur. Le repliement du code de la langue sur le code du langage de programmation dans le poégramme, ou poème-programme, pourra par ailleurs constituer la preuve que l'informatique n'est pas qu'un véhicule d'expression artistique, au contraire qu'on y trouve en son cœur l'Art et la Beauté.
______________________________________________________________________________
MOTS-CLÉS DE L’AUTEUR : avant-garde, code, cyberespace, hackeur, Internet, institution, manifeste, ordinateur
Subjects/Keywords: Avant-garde (Art); Code; Cyberespace; Hacker; Internet
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Legault, J. (2012). Manipulation de code et avant-garde : pour une littérature hackée. (Thesis). Université du Québec à Montréal. Retrieved from http://archipel.uqam.ca/5076/1/M12627.pdf
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Legault, Jean-François. “Manipulation de code et avant-garde : pour une littérature hackée.” 2012. Thesis, Université du Québec à Montréal. Accessed January 18, 2021.
http://archipel.uqam.ca/5076/1/M12627.pdf.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Legault, Jean-François. “Manipulation de code et avant-garde : pour une littérature hackée.” 2012. Web. 18 Jan 2021.
Vancouver:
Legault J. Manipulation de code et avant-garde : pour une littérature hackée. [Internet] [Thesis]. Université du Québec à Montréal; 2012. [cited 2021 Jan 18].
Available from: http://archipel.uqam.ca/5076/1/M12627.pdf.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Legault J. Manipulation de code et avant-garde : pour une littérature hackée. [Thesis]. Université du Québec à Montréal; 2012. Available from: http://archipel.uqam.ca/5076/1/M12627.pdf
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
University of Newcastle
13.
Chapman, Michael.
Disfigured ground: architectures of Dada and surrealism.
Degree: PhD, 2011, University of Newcastle
URL: http://hdl.handle.net/1959.13/919742
► Research Doctorate - Doctor of Philosophy (PhD)
In his 1974 work, Theory of the Avant-Garde, Peter Bürger developed a sociological argument that the practices of…
(more)
▼ Research Doctorate - Doctor of Philosophy (PhD)
In his 1974 work, Theory of the Avant-Garde, Peter Bürger developed a sociological argument that the practices of the historical avant-garde had emerged as a systematic challenge to the hegemonic institutionalisation of bourgeois aesthetic taste. For Bürger, art had, since the Renaissance, gradually freed itself from societal pressures or responsibilities culminating in the emergence, in the nineteenth century, of a bourgeois institution of art that was characterised by the autonomy of the art object and its economic worth. In Bürger’s theory, the historical avant-garde (and Dada and surrealism specifically) challenged this condition by negating the “work of art” (and its value) and reconnecting the production of art with the praxis of life, effectively dismantling the autonomous status of the art object. The critical legacy of the historical avant-garde was the formation of the readymade, collage, montage and chance as strategies that challenged the aesthetic categories of bourgeois taste and the institutional status of the work of art. For Bürger, the acceptance of these works within the institution of art in the 1960s (through their adoption as neo-avant-garde strategies) had meant that they no longer functioned as a critique but as an endorsement of these institutional conditions. Framed by a recent critical reappraisal of Dada and surrealism in American art theory, this dissertation argues that architecture was an important strategy of the historical avant-garde and especially in the context of Bürger’s theoretical categories. Architecture, in this context, is indelibly tied to the praxis of life and was a contextual backdrop to the experiential aspirations of both Dada and surrealism. The dissertation argues that architecture functioned as an objet trouvé (found object) that, like the readymade, was employed in the armoury of the historical avant-garde in order to negate the aesthetic and autonomous claims of the institutionalised work of art. It is argued that this experiential repositioning of architecture as an avant-garde (rather than strictly modernist) preoccupation in the 1920s had an influence on the architecture of the 1970s, 80s and 90s, where ideas of Dada and surrealism migrated into contemporary architectural practice not only expanding the disciplinary boundaries but the nature of the architectural object in general. Focussing on the creative processes of Bernard Tschumi, Coop Himmelb(l)au and Diller + Scofidio, the dissertation argues that Peter Bürger’s positioning of a dialogue between the historic avant-garde and the neo-avant-garde is instructive for supporting a deeper understanding of the expansion of architectural concerns in this period. The dissertation concludes with a summation of the avant-garde project, its limitations and its ongoing relevance to architectural production.
Advisors/Committee Members: University of Newcastle. Faculty of Engineering and Built Environment, School of Architecture and Built Environment.
Subjects/Keywords: avant-garde; architecture; surrealism; art theory
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Chapman, M. (2011). Disfigured ground: architectures of Dada and surrealism. (Doctoral Dissertation). University of Newcastle. Retrieved from http://hdl.handle.net/1959.13/919742
Chicago Manual of Style (16th Edition):
Chapman, Michael. “Disfigured ground: architectures of Dada and surrealism.” 2011. Doctoral Dissertation, University of Newcastle. Accessed January 18, 2021.
http://hdl.handle.net/1959.13/919742.
MLA Handbook (7th Edition):
Chapman, Michael. “Disfigured ground: architectures of Dada and surrealism.” 2011. Web. 18 Jan 2021.
Vancouver:
Chapman M. Disfigured ground: architectures of Dada and surrealism. [Internet] [Doctoral dissertation]. University of Newcastle; 2011. [cited 2021 Jan 18].
Available from: http://hdl.handle.net/1959.13/919742.
Council of Science Editors:
Chapman M. Disfigured ground: architectures of Dada and surrealism. [Doctoral Dissertation]. University of Newcastle; 2011. Available from: http://hdl.handle.net/1959.13/919742
University of Illinois – Chicago
14.
Najda, Aleksander.
Apocalypse According to Vasily Kandinsky.
Degree: 2014, University of Illinois – Chicago
URL: http://hdl.handle.net/10027/18908
► Abstract The main objective of this dissertation is to identify and analyze the influence of Russian icons, frescoes and popular broadsheets (lubki) and prove their…
(more)
▼ Abstract
The main objective of this dissertation is to identify and analyze the influence of Russian icons, frescoes and popular broadsheets (lubki) and prove their essentiality to Vasily Kandinsky’s breakthrough into abstraction. This study scrutinizes the painter’s thematically and stylistically radical transition during the five-year period prior to the outbreak of the First World War and argues that the stimulus of the Russian sacred and folk art was far greater than previously thought.
The dissertation points out that the 1910 visit to Russia was critical to Kandinsky’s artistic development. It attaches significance to the painter’s participation in the artistic ambiance of Moscow and maintains that exposure to Neo-primitivism and to the mystic currents within Russian philosophy was instrumental to Kandinsky's progress, since the artist stood in need of an imaginative graphic foundation for his messianic vision of the New Spiritual Era.
This dissertation assesses the interconnection between Kandinsky’s specific visual, formal strategies and his emerging synthesis of a wide variety of spiritual traditions, practices, and beliefs and their zeitgeist. The study ascribes particular importance to Kandinsky’s religious orthodoxy and his drive toward the genetic apprehension of the Word; to the concept of affirmative, positive (cataphatic) theology and negative (apophatic) theology and scrutinizes the artist’s use of reverse perspective, which takes into account the intuitive, spiritual, and psychological aspects of the creative process. The dissertation is specifically focused on the first seven Compositions since they represent and chronicle the artist's path to abstraction.
Advisors/Committee Members: Hales, Peter B. (advisor), Higgins, Hannah (committee member), Fineberg, Jonathan (committee member), Markowski, Michal (committee member), Jackson, Matthew J. (committee member).
Subjects/Keywords: Kandinsky; Abstract; Iconoclasm; Avant-Garde; Modernism, Icon
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Najda, A. (2014). Apocalypse According to Vasily Kandinsky. (Thesis). University of Illinois – Chicago. Retrieved from http://hdl.handle.net/10027/18908
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Chicago Manual of Style (16th Edition):
Najda, Aleksander. “Apocalypse According to Vasily Kandinsky.” 2014. Thesis, University of Illinois – Chicago. Accessed January 18, 2021.
http://hdl.handle.net/10027/18908.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
MLA Handbook (7th Edition):
Najda, Aleksander. “Apocalypse According to Vasily Kandinsky.” 2014. Web. 18 Jan 2021.
Vancouver:
Najda A. Apocalypse According to Vasily Kandinsky. [Internet] [Thesis]. University of Illinois – Chicago; 2014. [cited 2021 Jan 18].
Available from: http://hdl.handle.net/10027/18908.
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
Council of Science Editors:
Najda A. Apocalypse According to Vasily Kandinsky. [Thesis]. University of Illinois – Chicago; 2014. Available from: http://hdl.handle.net/10027/18908
Note: this citation may be lacking information needed for this citation format:
Not specified: Masters Thesis or Doctoral Dissertation
York University
15.
Moneo, Cameron David.
Dissertation in Which There Appear Lost Punchlines, Dreadful Puns, Low Resolution, etc.: On the Failure of Humour in Avant-garde Film and Video.
Degree: PhD, Cinema and Media Studies, 2019, York University
URL: https://yorkspace.library.yorku.ca/xmlui/handle/10315/36715
► This dissertation explores the overlooked functions that humour has served in American avant-garde film and video, arguing that humour is involved consistently in many of…
(more)
▼ This dissertation explores the overlooked functions that humour has served in American
avant-
garde film and video, arguing that humour is involved consistently in many of the key operations and philosophies that have energized these moving image practices. Taking humour as an alternative historical and interpretive lens, this dissertation conducts new readings of three major formations or moments in the discourse of the American
avant-gardes. These are: underground film, structural film, and early feminist video art.
A branching theme of these readings is failure, seen to carry complex meanings and humorous pleasures in various cases of
avant-
garde activity. The introductory chapter details the propagandization of failure in the 1960s underground cinema, and argues that a divisive brand of humour highlights the sense of the
avant-
garde in this cinema. Chapter 1 re-conceptualizes the humourless structural film movement of the 60s and 70s, arguing that, for filmmakers like Michael Snow, the idea of structure is not a dogmatic working principle but something of a ruse, one whose limits are meant to be teased, pushed, and exceeded. Moving to early feminist video art, Chapter 2 emphasizes the importance of humour in the project of articulating feminist political horizons. In videotapes by Susan Mogul and Martha Rosler, performative nonchalance and lack of preciousness about low-grade equipment can be seen as forms of humorous delivery, which stay utopically open to future re-articulations. Circling back to underground film, Chapter 3 locates humour in the failure to distinguish sharply between the
avant-
garde and popular culture. Through readings of humour in queer underground film, and then in more recent pop appropriation videos, this chapter illustrates the hilarity, critique, and utopian feeling that can result when the effects of pop and of the
avant-
garde are brought excessively close.
This dissertation assembles conceptual scaffolding for understanding humorous failure as a variable
avant-
garde theme, drawing upon such scholars as Matei Calinescu, Jack Halberstam, and Jose Esteban Munoz. With failure in mind, this dissertation further reflects on the instability of humour itself as an object of study, and as a device, attitude, or value that might be put to work for us.
Advisors/Committee Members: Zryd, Michael (advisor).
Subjects/Keywords: Art criticism; Avant-garde; Humour; Cinema; Failure
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Moneo, C. D. (2019). Dissertation in Which There Appear Lost Punchlines, Dreadful Puns, Low Resolution, etc.: On the Failure of Humour in Avant-garde Film and Video. (Doctoral Dissertation). York University. Retrieved from https://yorkspace.library.yorku.ca/xmlui/handle/10315/36715
Chicago Manual of Style (16th Edition):
Moneo, Cameron David. “Dissertation in Which There Appear Lost Punchlines, Dreadful Puns, Low Resolution, etc.: On the Failure of Humour in Avant-garde Film and Video.” 2019. Doctoral Dissertation, York University. Accessed January 18, 2021.
https://yorkspace.library.yorku.ca/xmlui/handle/10315/36715.
MLA Handbook (7th Edition):
Moneo, Cameron David. “Dissertation in Which There Appear Lost Punchlines, Dreadful Puns, Low Resolution, etc.: On the Failure of Humour in Avant-garde Film and Video.” 2019. Web. 18 Jan 2021.
Vancouver:
Moneo CD. Dissertation in Which There Appear Lost Punchlines, Dreadful Puns, Low Resolution, etc.: On the Failure of Humour in Avant-garde Film and Video. [Internet] [Doctoral dissertation]. York University; 2019. [cited 2021 Jan 18].
Available from: https://yorkspace.library.yorku.ca/xmlui/handle/10315/36715.
Council of Science Editors:
Moneo CD. Dissertation in Which There Appear Lost Punchlines, Dreadful Puns, Low Resolution, etc.: On the Failure of Humour in Avant-garde Film and Video. [Doctoral Dissertation]. York University; 2019. Available from: https://yorkspace.library.yorku.ca/xmlui/handle/10315/36715
Columbia University
16.
Hall, Alexander David.
Noise, sound and objecthood: the politics of representation in avant-garde music.
Degree: 2016, Columbia University
URL: https://doi.org/10.7916/D8RF5V0K
► This essay offers both a historical analysis of twentieth century avant-garde practices relating to representation in music, and a prescriptive model for contemporary methods of…
(more)
▼ This essay offers both a historical analysis of twentieth century avant-garde practices relating to representation in music, and a prescriptive model for contemporary methods of composition. I address the taxonomy problem in classical music, clarifying the ontological divide identified by German musicologist Michael Rebhahn Contemporary Classical music and New Music.
I demonstrate how neoliberalism has developed a Global Style (Foster 2012) of "Light Modernity,” evident in both contemporary architecture and music alike. The central problem facing composition today is the fetishization of materials, ultimately derived from music's refusal to allow the question of representation to be addressed.
I argue that composers have largely sought to define noise as sound-in-itself, eliminating the possibilities of representation in the process. Proposing instead that composers should strive to tackle representation head-on in the 21st century, I show how Jacques Rancière provides a model in which noise and sound—representation and abstraction—function in a conjoined, yet non-homogenized aesthetic regime. Governed by what he calls the "pensiveness of the image,” it allows for a renewed art form that rejects repetition and neoliberalism, re-connecting to the spirit of the avant-garde without slavishly echoing either its outmoded aesthetics or dogmatic philosophies.
Subjects/Keywords: Neoliberalism; Composition (Music); Music; Avant-garde (Music)
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Hall, A. D. (2016). Noise, sound and objecthood: the politics of representation in avant-garde music. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D8RF5V0K
Chicago Manual of Style (16th Edition):
Hall, Alexander David. “Noise, sound and objecthood: the politics of representation in avant-garde music.” 2016. Doctoral Dissertation, Columbia University. Accessed January 18, 2021.
https://doi.org/10.7916/D8RF5V0K.
MLA Handbook (7th Edition):
Hall, Alexander David. “Noise, sound and objecthood: the politics of representation in avant-garde music.” 2016. Web. 18 Jan 2021.
Vancouver:
Hall AD. Noise, sound and objecthood: the politics of representation in avant-garde music. [Internet] [Doctoral dissertation]. Columbia University; 2016. [cited 2021 Jan 18].
Available from: https://doi.org/10.7916/D8RF5V0K.
Council of Science Editors:
Hall AD. Noise, sound and objecthood: the politics of representation in avant-garde music. [Doctoral Dissertation]. Columbia University; 2016. Available from: https://doi.org/10.7916/D8RF5V0K
Columbia University
17.
Arkebauer, Sarah Hannan.
The Objectification of Poetry: Textiles, Maps, Documents, and Margins in the Postwar American Avant-Garde.
Degree: 2019, Columbia University
URL: https://doi.org/10.7916/d8-yq5m-ew25
► My dissertation, “The Objectification of Poetry: Textiles, Maps, Documents, and Margins in the Postwar American Avant-Garde,” charts the ways poets understand and articulate how history…
(more)
▼ My dissertation, “The Objectification of Poetry: Textiles, Maps, Documents, and Margins in the Postwar American Avant-Garde,” charts the ways poets understand and articulate how history works through their study of material objects. I trace how the material contours of these objects inform and inflect habits of reading by constituting a privileged kind of poetic form, building first on their physical attributes before opening into the metaphorical implications and resonances of the objects in literary study. I have termed my readings “objectifications” because they offer an active account of how material objects come to be understood and used, and the political and ethical implications of their various applications. Within and across the chapters, I argue that material objects help readers rethink the relationship between language and the world it seeks to describe. My use of the term “objectification” captures both a process and a result, interrogating objects not as simple tools but as dynamic systems of signification that reveal unstable relations between subjects and objects. My project demonstrates that the avant-garde’s objectification of poetry is an indispensable principle of language: the diverse materialities of textiles, maps, documents, and margins shape these poems’ syntactic structures and internal relations, composing the hidden yet vital conceptual-material latticework upon which their words hang.
Subjects/Keywords: American literature; Literature; Avant-garde (Aesthetics); Poetry
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Arkebauer, S. H. (2019). The Objectification of Poetry: Textiles, Maps, Documents, and Margins in the Postwar American Avant-Garde. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/d8-yq5m-ew25
Chicago Manual of Style (16th Edition):
Arkebauer, Sarah Hannan. “The Objectification of Poetry: Textiles, Maps, Documents, and Margins in the Postwar American Avant-Garde.” 2019. Doctoral Dissertation, Columbia University. Accessed January 18, 2021.
https://doi.org/10.7916/d8-yq5m-ew25.
MLA Handbook (7th Edition):
Arkebauer, Sarah Hannan. “The Objectification of Poetry: Textiles, Maps, Documents, and Margins in the Postwar American Avant-Garde.” 2019. Web. 18 Jan 2021.
Vancouver:
Arkebauer SH. The Objectification of Poetry: Textiles, Maps, Documents, and Margins in the Postwar American Avant-Garde. [Internet] [Doctoral dissertation]. Columbia University; 2019. [cited 2021 Jan 18].
Available from: https://doi.org/10.7916/d8-yq5m-ew25.
Council of Science Editors:
Arkebauer SH. The Objectification of Poetry: Textiles, Maps, Documents, and Margins in the Postwar American Avant-Garde. [Doctoral Dissertation]. Columbia University; 2019. Available from: https://doi.org/10.7916/d8-yq5m-ew25
Columbia University
18.
Silveri, Rachel.
The Art of Living in the Historical Avant-Garde.
Degree: 2017, Columbia University
URL: https://doi.org/10.7916/D8XK8STK
► This dissertation reexamines the art-into-life narrative of the historical avant-gardes through an analysis of a set of experimental life practices established by artists across Dada,…
(more)
▼ This dissertation reexamines the art-into-life narrative of the historical avant-gardes through an analysis of a set of experimental life practices established by artists across Dada, Orphism, and Surrealism. Focusing on Tristan Tzara’s performances of identity, Sonia Delaunay’s fashions and self-branding, and the collective endeavor to open and operate the Surrealist Research Bureau, my project proposes a broader envisioning of avant-garde material culture to examine the ways in which artists creatively produced an “art of living” in relation to the normative types of “lifestyle” produced contemporaneously in France during the years 1910-1930. Rooted in original archival research and interdisciplinary in focus, my discussion of these artists is centered on three distinct sites within material culture (the manifesto, advertising, the office) and reveals how these activities at times challenge and at times replicate various dominant discourses.
The first chapter examines how Samuel Rosenstock became the Dadaist Tristan Tzara. Specifically, I focus on Tzara’s elaboration of himself through the delivery and subsequent publication of his manifestos, Sept manifestes dada (1924), which performatively cite and repeat his name throughout. Discussed alongside additional publications and events throughout Paris Dada, I detail how Tzara’s well known critique of language is geared toward a production of subjectivity that refuses to cohere to the types of categorical identity dominant within France at the time, including those of national, racial, and ethnic classification, particularly as they circumscribed the artist within the popular press.
In the second chapter, I consider Sonia Delaunay’s early simultaneous dresses (1913) and the development of her commercial fashion business, Maison Delaunay (1924-1931), analyzing in particular the ways in which Delaunay deliberately intertwined her image with her business practices of publicity, from branding and advertisements to fashion photography. Elaborating the ways in which these practices evolved within the gendered constraints of the artist’s own everyday life as well as the broader feminization of the decorative arts, I argue that Delaunay strategically negotiates normative forms of marketing and commercialism in order to gain visibility and ultimately recognition as an artist.
My third chapter provides the first in-depth material history of the Bureau de recherches surréalistes, which operated in Paris from October 1924 to April 1925. Focusing on the Bureau’s daily Cahier de la permanence, its promotional photographs, and press announcements, I detail the ways in which the Bureau became a site of debate among the Surrealists for issues concerning office labor and governance. Elaborating the tensions between the Surrealist pursuit of revolutionary action and the need for workplace leadership and control, I position how the daily procedures of the Bureau overlap with the rise of standardized office practices as outlined in contemporaneous trade journals and…
Subjects/Keywords: Art; Avant-garde (Aesthetics); Art and history
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Silveri, R. (2017). The Art of Living in the Historical Avant-Garde. (Doctoral Dissertation). Columbia University. Retrieved from https://doi.org/10.7916/D8XK8STK
Chicago Manual of Style (16th Edition):
Silveri, Rachel. “The Art of Living in the Historical Avant-Garde.” 2017. Doctoral Dissertation, Columbia University. Accessed January 18, 2021.
https://doi.org/10.7916/D8XK8STK.
MLA Handbook (7th Edition):
Silveri, Rachel. “The Art of Living in the Historical Avant-Garde.” 2017. Web. 18 Jan 2021.
Vancouver:
Silveri R. The Art of Living in the Historical Avant-Garde. [Internet] [Doctoral dissertation]. Columbia University; 2017. [cited 2021 Jan 18].
Available from: https://doi.org/10.7916/D8XK8STK.
Council of Science Editors:
Silveri R. The Art of Living in the Historical Avant-Garde. [Doctoral Dissertation]. Columbia University; 2017. Available from: https://doi.org/10.7916/D8XK8STK
Florida Atlantic University
19.
Wood, Scott.
anekdota.
Degree: M.F.A., 2011, Florida Atlantic University
URL: http://purl.flvc.org/FAU/3338860
► Summary: anekdota is an exploration of the form of short short fiction. The exploration contains original works of fiction as short as five words and…
(more)
▼ Summary: anekdota is an exploration of the form of short short fiction. The exploration contains original works of fiction as short as five words and as long as twelve-hundred words. The exploration seeks new forms for fiction by frustrating and manipulating our traditional sense of story structure. At times, the exploration also investigates a form of conceptual art known as "found language" whereby original material is created by transforming, reframing, and collaging previously published material. anekdota translates from the Greek as "unpublished things."
Electronic reproduction. Boca Raton, Fla., 2011.
Subjects/Keywords: Symbolism in literature; Postmodernism; Avant-garde (Aesthetics)
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Wood, S. (2011). anekdota. (Masters Thesis). Florida Atlantic University. Retrieved from http://purl.flvc.org/FAU/3338860
Chicago Manual of Style (16th Edition):
Wood, Scott. “anekdota.” 2011. Masters Thesis, Florida Atlantic University. Accessed January 18, 2021.
http://purl.flvc.org/FAU/3338860.
MLA Handbook (7th Edition):
Wood, Scott. “anekdota.” 2011. Web. 18 Jan 2021.
Vancouver:
Wood S. anekdota. [Internet] [Masters thesis]. Florida Atlantic University; 2011. [cited 2021 Jan 18].
Available from: http://purl.flvc.org/FAU/3338860.
Council of Science Editors:
Wood S. anekdota. [Masters Thesis]. Florida Atlantic University; 2011. Available from: http://purl.flvc.org/FAU/3338860
Victoria University of Wellington
20.
Hopkins, Timothy John.
The Bass-less Trio.
Degree: 2012, Victoria University of Wellington
URL: http://hdl.handle.net/10063/2216
► Miles Davis asserts in his autobiography, that "a great artist needs to be able to stretch" [Davis, Troup, 1990]. While I may not a great…
(more)
▼ Miles Davis asserts in his autobiography, that "a great artist needs to be able to stretch" [Davis, Troup, 1990]. While I may not a great artist, I aspire to make art with my music, and in my own musical journey I have been interested in trying out new ideas. Jazz musicians, because of their various skills (and in particular, in the art of improvisation) find themselves straddling musical boundaries and genres, just to pay the rent. In my own projects however, this musical adroitness was born just as much out of artistic curiosity as it was necessity, leading me to compose and perform in a variety of contexts and styles for a broad range of instrumentation. These contexts and styles include: duos for saxophone and piano accordion; Bach sonatas with string ensembles; improvising live dance music with DJs; organ trios; in electronica contexts; art and poetry collaborations. The need for creativity has expressed itself in all of my work, to varying degrees. On reflection, it's the need to create something new and fresh out of work and ideas that are already explored to some extent. This desire is consistent with the jazz legacy I have inherited. In much the way Louis Armstrong began transforming popular songs into jazz vehicles, Charles Mingus took ideas from older African American musical traditions and transformed them to offer a fresh perspective on those traditions, and Miles Davis borrowed ideas from rock and soul music to pioneer new directions in jazz during the 1960s and 1970s, I too am looking for new avenues of expression for jazz musicians.
Advisors/Committee Members: Meehan, Norman.
Subjects/Keywords: New jazz; Contemporary; Avant garde; Bassless
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Hopkins, T. J. (2012). The Bass-less Trio. (Masters Thesis). Victoria University of Wellington. Retrieved from http://hdl.handle.net/10063/2216
Chicago Manual of Style (16th Edition):
Hopkins, Timothy John. “The Bass-less Trio.” 2012. Masters Thesis, Victoria University of Wellington. Accessed January 18, 2021.
http://hdl.handle.net/10063/2216.
MLA Handbook (7th Edition):
Hopkins, Timothy John. “The Bass-less Trio.” 2012. Web. 18 Jan 2021.
Vancouver:
Hopkins TJ. The Bass-less Trio. [Internet] [Masters thesis]. Victoria University of Wellington; 2012. [cited 2021 Jan 18].
Available from: http://hdl.handle.net/10063/2216.
Council of Science Editors:
Hopkins TJ. The Bass-less Trio. [Masters Thesis]. Victoria University of Wellington; 2012. Available from: http://hdl.handle.net/10063/2216
Princeton University
21.
Strudler, Jason.
Mathematical Rebellion. Zero in the Russian Avant-Garde
.
Degree: PhD, 2014, Princeton University
URL: http://arks.princeton.edu/ark:/88435/dsp01tb09j788j
► In the early twentieth century, many avant-gardists became convinced that traditional art had run its course, and they viewed themselves as being on the verge…
(more)
▼ In the early twentieth century, many
avant-gardists became convinced that traditional art had run its course, and they viewed themselves as being on the verge of discovering a new aesthetics. Such discussions came to revolve around the mathematical concept of zero, which was theorized by Andrei Bely, Aleksei Kruchenykh, Kazimir Malevich, Daniil Kharms and others as a meeting point between the old and the new. My project traces the development of this concept in poetry, prose and the visual arts. It focuses on the years between Bely's first writings on zero (1902) and the death of Malevich (1935), who theorized a "zero of forms" out of which the art of the future would emerge. In my study, I take on new interpretations of the figures discussed above, examining the different ways in which the Russian
Avant-
Garde sought artistic potential in nullification and used zero as a metaphor for both total destruction and creation ex nihilo.
In my first chapter, I situate zero in its broader cultural context, discussing works by Vladimir Mayakovsky, Kornei Chukovsky and Vasilisk Gnedov, who saw zero as a threshold between the culture of the past and that of the future. In my second chapter, I turn to Bely and his idea of the "terror of zero," a simultaneous experience of all of culture and its total negation that informs numerous works from his third symphony (1902) to his novel Petersburg (1913-14). My third chapter centers on Kruchenykh, who argued that the new art should retain the form of zero rather than go beyond it, and came to view zaum' poetry as an aesthetic of zero, which he interpreted as non-resolution. My last chapter traces Malevich's lifelong engagement with zero; focusing on the Black Square (1915) and other Suprematist paintings, I show how the artist's turn to abstraction represented an attempt to find a place for the self in absolute nihilism. In my conclusion, I examine works by Kharms, Nikolai Oleinikov and the Nichevoki group to trace the transition to an absurdist zero in the early Soviet period.
Advisors/Committee Members: Wachtel, Michael (advisor).
Subjects/Keywords: avant-garde;
Bely;
Kruchenykh;
Malevich;
modernism;
Russia
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Strudler, J. (2014). Mathematical Rebellion. Zero in the Russian Avant-Garde
. (Doctoral Dissertation). Princeton University. Retrieved from http://arks.princeton.edu/ark:/88435/dsp01tb09j788j
Chicago Manual of Style (16th Edition):
Strudler, Jason. “Mathematical Rebellion. Zero in the Russian Avant-Garde
.” 2014. Doctoral Dissertation, Princeton University. Accessed January 18, 2021.
http://arks.princeton.edu/ark:/88435/dsp01tb09j788j.
MLA Handbook (7th Edition):
Strudler, Jason. “Mathematical Rebellion. Zero in the Russian Avant-Garde
.” 2014. Web. 18 Jan 2021.
Vancouver:
Strudler J. Mathematical Rebellion. Zero in the Russian Avant-Garde
. [Internet] [Doctoral dissertation]. Princeton University; 2014. [cited 2021 Jan 18].
Available from: http://arks.princeton.edu/ark:/88435/dsp01tb09j788j.
Council of Science Editors:
Strudler J. Mathematical Rebellion. Zero in the Russian Avant-Garde
. [Doctoral Dissertation]. Princeton University; 2014. Available from: http://arks.princeton.edu/ark:/88435/dsp01tb09j788j
Princeton University
22.
Hansen, Catherine.
Blacker in Black: The Romanian Surrealist Group and Postwar Surrealism
.
Degree: PhD, 2015, Princeton University
URL: http://arks.princeton.edu/ark:/88435/dsp01hh63sz15q
► This dissertation concerns the Romanian surrealist group Infra Noir, whose five members were Gherasim Luca, Gellu Naum, Dolfi Trost, Paul Paun, and Virgil Teodorescu. Active…
(more)
▼ This dissertation concerns the Romanian surrealist group Infra Noir, whose five members were Gherasim Luca, Gellu Naum, Dolfi Trost, Paul Paun, and Virgil Teodorescu. Active between 1940 and 1951, Infra Noir chose a perilous moment and setting to found a surrealist group. Surrealist ideas were unwelcome, to begin with, in a prewar Romania entranced by right-wing politics and philosophies, as well as in a postwar Romania remade in the image of Communism. Working within the dynamic of the Surrealist movement's troubled relationship to Marxism and political activism, and across national and linguistic borders, the Infra Noir group thought a great deal about ideology, myth, materiality, and revolution, as well as modes of collective action and daily comportment. Beginning with the magazines and ephemera of a Bucharest interwar
avant-
garde scene menaced by the rise of fascism, I follow the members of Infra Noir through the war, the postwar triumph of Stalinist rule in Romania and of Stalinist influence in France, the repercussions of these events among André Breton's French Surrealists, and the various forms of exile that followed for Luca, Naum, and the others. The dissertation examines Infra Noir's critical and aesthetic vocabulary and key concepts in order to arrive at an overarching argument. I show firstly that for Infra Noir, the main problem - which they call the "Obstacle" - is that selves and their societies tend to act as facing mirrors that endlessly reflect each other and hold each other in place, preventing truly revolutionary thoughts and actions from taking flight. There is no getting "above" or "outside" this situation, and any attempt to do so strengthens its grasp. I show, secondly, that the group's solution to this problem is a strategy of dialectical negation which they call "negation of negation." This strategy is manifest, for example, in Infra Noir's theories of matter, object-relations and object-making, as well as in the idiosyncratically political meaning the group gives to the word "somnambulism," drawing on early psychiatric, occult, and surrealist discourses. Chapters One and Two are primarily literary-historical accounts of Infra Noir, focusing on Romania and France respectively; Chapters Three and Four are primarily critical-theoretical accounts of Infra Noir's work on objects and materiality, and on somnambulism.
Advisors/Committee Members: Rentzou, Effie (advisor), Bellos, David (advisor).
Subjects/Keywords: Infra Noir;
Romanian avant-garde;
Surrealism
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Hansen, C. (2015). Blacker in Black: The Romanian Surrealist Group and Postwar Surrealism
. (Doctoral Dissertation). Princeton University. Retrieved from http://arks.princeton.edu/ark:/88435/dsp01hh63sz15q
Chicago Manual of Style (16th Edition):
Hansen, Catherine. “Blacker in Black: The Romanian Surrealist Group and Postwar Surrealism
.” 2015. Doctoral Dissertation, Princeton University. Accessed January 18, 2021.
http://arks.princeton.edu/ark:/88435/dsp01hh63sz15q.
MLA Handbook (7th Edition):
Hansen, Catherine. “Blacker in Black: The Romanian Surrealist Group and Postwar Surrealism
.” 2015. Web. 18 Jan 2021.
Vancouver:
Hansen C. Blacker in Black: The Romanian Surrealist Group and Postwar Surrealism
. [Internet] [Doctoral dissertation]. Princeton University; 2015. [cited 2021 Jan 18].
Available from: http://arks.princeton.edu/ark:/88435/dsp01hh63sz15q.
Council of Science Editors:
Hansen C. Blacker in Black: The Romanian Surrealist Group and Postwar Surrealism
. [Doctoral Dissertation]. Princeton University; 2015. Available from: http://arks.princeton.edu/ark:/88435/dsp01hh63sz15q
23.
Rothwell, Ian James Pirie.
Images under control : pessimism, humour and stupidity in the digital age.
Degree: PhD, 2017, University of Edinburgh
URL: http://hdl.handle.net/1842/22974
► This thesis offers a periodization of the present according to which contemporary art and visual culture are understood to be symptomatic of an increasingly pervasive…
(more)
▼ This thesis offers a periodization of the present according to which contemporary art and visual culture are understood to be symptomatic of an increasingly pervasive pessimistic social, political and ecological outlook. This pessimism I will claim is what is authentically new about our contemporary cultural forms, which are directed towards a particular form of humour and stupidity. Core elements in the periodization include the limitation of imaginative horizons expressed in the well-known remark of Fredric Jameson’s that it is easier to imagine the end of the world than the end of capitalism, as well as the pervasive sense that nature is in a state of perpetual and endemic crisis and the idea that modern computing technology is making us stupider than we have ever been before. I argue that these issues are symptomatic of what Gilles Deleuze, in 1990, termed the societies of Control – a world of corporate power, ubiquitous computing, data extraction and financial capitalism that has intensified since its early diagnosis. However, dominant narratives of art and visual culture continue to theorize artistic production according to traditionally avant-garde categories of resistance, criticality, transgression and subversion. This presumes art to have an agency that is difficult to imagine in the current social situation. In this respect, the thesis in part constitutes a critical reflection on the pressures placed upon our existing models of art and visual culture - for example, and centrally, the idea of an ‘avant-garde’ - by current social and technological conditions. Building on these observations, the thesis proposes a new model of contemporary art and visual culture that has no agency: images under control that are formed, as epiphenomena, by technological apparatuses of Control; studying examples such as extreme sports stunts, internet memes, online trolls, bad quality jpegs and impassive ‘artworks’. The purpose is to ask what value we can place on these emergent cultural forms, which seem to mirror, reflect and reiterate a pessimistic worldview deeply entrenched in the societies of Control.
Subjects/Keywords: 709; avant-garde; internet; contemporary art
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Rothwell, I. J. P. (2017). Images under control : pessimism, humour and stupidity in the digital age. (Doctoral Dissertation). University of Edinburgh. Retrieved from http://hdl.handle.net/1842/22974
Chicago Manual of Style (16th Edition):
Rothwell, Ian James Pirie. “Images under control : pessimism, humour and stupidity in the digital age.” 2017. Doctoral Dissertation, University of Edinburgh. Accessed January 18, 2021.
http://hdl.handle.net/1842/22974.
MLA Handbook (7th Edition):
Rothwell, Ian James Pirie. “Images under control : pessimism, humour and stupidity in the digital age.” 2017. Web. 18 Jan 2021.
Vancouver:
Rothwell IJP. Images under control : pessimism, humour and stupidity in the digital age. [Internet] [Doctoral dissertation]. University of Edinburgh; 2017. [cited 2021 Jan 18].
Available from: http://hdl.handle.net/1842/22974.
Council of Science Editors:
Rothwell IJP. Images under control : pessimism, humour and stupidity in the digital age. [Doctoral Dissertation]. University of Edinburgh; 2017. Available from: http://hdl.handle.net/1842/22974
Louisiana State University
24.
Palmese, Michael Edward.
John Adams Composing Through Others: Modeling, Innovation, and Recomposition.
Degree: PhD, Musicology, 2019, Louisiana State University
URL: https://digitalcommons.lsu.edu/gradschool_dissertations/4809
► John Adams has frequently embedded allusions to the music of others in his work while also drawing on more general stylistic conventions and sensibilities…
(more)
▼ John Adams has frequently embedded allusions to the music of others in his work while also drawing on more general stylistic conventions and sensibilities of others to inform his creative output. Although this dynamic has been widely acknowledged in Adams’s body of work by scholars and critics generally, it has received little sustained attention or explanation. I argue that much of his work involves “composing through others,” a process in which he adopts, in various ways, the aesthetic conventions, styles, and sensibilities of other composers. By unearthing traces of this creative approach through a focus on short, but significant, periods of his career, we can craft a more nuanced picture of Adams’s stylistic development.
The title of this dissertation suggests three ways in which Adams has composed through others: modeling, innovation, and recomposition. Modeling involves the outright adoption or mimicking of other composers’ styles, a conspicuous feature of his earliest compositions, which were written in the early- and mid-1970s. Innovation, in this dissertation, refers to the process by which Adams has cultivated new styles and subjected them to testing and development; this process gave rise to Adams’s first large-scale ensemble works during the late 1970s and early 1980s. Recomposition was his most straightforward strategy for composing through others in the late 1980s and early 1990s; he orchestrated the music of past composers as an exercise in revision and elaboration, using the process to help chart new paths forward in composing original works.
Subjects/Keywords: influence; juvenilia; allusion; quotation; intertextuality; avant-garde
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Palmese, M. E. (2019). John Adams Composing Through Others: Modeling, Innovation, and Recomposition. (Doctoral Dissertation). Louisiana State University. Retrieved from https://digitalcommons.lsu.edu/gradschool_dissertations/4809
Chicago Manual of Style (16th Edition):
Palmese, Michael Edward. “John Adams Composing Through Others: Modeling, Innovation, and Recomposition.” 2019. Doctoral Dissertation, Louisiana State University. Accessed January 18, 2021.
https://digitalcommons.lsu.edu/gradschool_dissertations/4809.
MLA Handbook (7th Edition):
Palmese, Michael Edward. “John Adams Composing Through Others: Modeling, Innovation, and Recomposition.” 2019. Web. 18 Jan 2021.
Vancouver:
Palmese ME. John Adams Composing Through Others: Modeling, Innovation, and Recomposition. [Internet] [Doctoral dissertation]. Louisiana State University; 2019. [cited 2021 Jan 18].
Available from: https://digitalcommons.lsu.edu/gradschool_dissertations/4809.
Council of Science Editors:
Palmese ME. John Adams Composing Through Others: Modeling, Innovation, and Recomposition. [Doctoral Dissertation]. Louisiana State University; 2019. Available from: https://digitalcommons.lsu.edu/gradschool_dissertations/4809
25.
Campbell, R.
Comic cultures : commerce, aesthetics and the politics of stand-up performance in the UK, 1979 to 1992.
Degree: PhD, 2016, University of East London
URL: https://doi.org/10.15123/uel.879z9
;
https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.802181
► This thesis represents the first Cultural Studies analysis of the 1980s entertainment form commonly known as ‘alternative comedy’, which emerged against the backdrop of social,…
(more)
▼ This thesis represents the first Cultural Studies analysis of the 1980s entertainment form commonly known as ‘alternative comedy’, which emerged against the backdrop of social, industrial and political unrest. However, the use of the term ‘alternative comedy’ has obscured a diverse movement that contained many different strands and tendencies, which included punk poets, street performers, chansonniers and improvising double acts. This thesis goes some way to addressing the complex nature of this entertainment space by recognising the subtle but important differences between New Variety and alternative cabaret. Alternative cabaret was both a movement and an entertainment genre, while New Variety grew out of CAST’s theatre work and was constructed in opposition to Tony Allen’s and Alexei Sayle’s Alternative Cabaret performance collective. Taken together, alternative cabaret and New Variety comprise one part of the alternative space that also includes post-punk music, and were the cultural expressions of the 1980s countercultural milieu. Alternative cabaret and New Variety were the products of cultural change. Each genre has its roots in the countercultural movements of the 1960s and 1970s and it was the knowledge that agents had acquired through participation in these movements that helped to shape their political-aesthetic dispositions or their weltanschauunng. As well as political activism, rock music influenced performers and promoters and contributed much to their art. In this sense, this was as much a post-punk avant-garde movement as it was a cultural intervention. This study charts the development of alternative entertainment in 1980s Britain and its transformation into the multi-million pound comedy industry that it is today (S Friedman, 2009). This study also analyses how the alternative space was constructed and how it was eventually destroyed by the internal and external pressures that acted upon it. I have used the written and oral testimonies of those who were involved in the space and used my own recollections from 14 years of performing comedy and promoting cabaret clubs.
Subjects/Keywords: Comedy; cabaret; avant-garde; post-punk
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Campbell, R. (2016). Comic cultures : commerce, aesthetics and the politics of stand-up performance in the UK, 1979 to 1992. (Doctoral Dissertation). University of East London. Retrieved from https://doi.org/10.15123/uel.879z9 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.802181
Chicago Manual of Style (16th Edition):
Campbell, R. “Comic cultures : commerce, aesthetics and the politics of stand-up performance in the UK, 1979 to 1992.” 2016. Doctoral Dissertation, University of East London. Accessed January 18, 2021.
https://doi.org/10.15123/uel.879z9 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.802181.
MLA Handbook (7th Edition):
Campbell, R. “Comic cultures : commerce, aesthetics and the politics of stand-up performance in the UK, 1979 to 1992.” 2016. Web. 18 Jan 2021.
Vancouver:
Campbell R. Comic cultures : commerce, aesthetics and the politics of stand-up performance in the UK, 1979 to 1992. [Internet] [Doctoral dissertation]. University of East London; 2016. [cited 2021 Jan 18].
Available from: https://doi.org/10.15123/uel.879z9 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.802181.
Council of Science Editors:
Campbell R. Comic cultures : commerce, aesthetics and the politics of stand-up performance in the UK, 1979 to 1992. [Doctoral Dissertation]. University of East London; 2016. Available from: https://doi.org/10.15123/uel.879z9 ; https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.802181
University of Oklahoma
26.
Figueroa Obregón, Rodrigo.
LA CIUDAD COMO TERCERESPACIO EN LA LITERATURA ESTRIDENTISTA.
Degree: PhD, 2016, University of Oklahoma
URL: http://hdl.handle.net/11244/34575
► This dissertation analyzes the main works of Stridentist authors from 1921 to 1939 regarding their relation to Mexico City and Xalapa, Veracruz. It raises the…
(more)
▼ This dissertation analyzes the main works of Stridentist authors from 1921 to 1939 regarding their relation to Mexico City and Xalapa, Veracruz. It raises the question of what kind of relationship this was and what textual and political mechanisms were required to bring it about. One of the conclusions is that the city was not just a Stridentist topic, but rather a referent that provided the
avant-
garde artists with new literary material.
Furthermore, this dissertation posits that Stridentism did not fail in their aesthetic and political intentions, as previous scholars have argued; on the contrary, by creating a thirdspace that melds places with discourse, social relations, and history, they produced new ways of understanding Mexican arts and cities. Their work as bureaucrats in Xalapa and their participation in cultural politics allowed them to work for the people and propagate their aesthetics and works in Mexico and beyond.
Hence, Stridentism created a novel understanding of the city, the arts, and the
subject. In spite of its brief existence, Stridentism challenged and changed both cities and traditional discourse about them in Mexico.
Advisors/Committee Members: Colin, Jose Juan (advisor), Cortest, Luis (committee member), Rioseco, Marcelo (committee member), Wray, Grady (committee member), Kenney, Charles (committee member).
Subjects/Keywords: Mexican Literature; Stridentism; Estridentismo; Mexican avant-garde
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Figueroa Obregón, R. (2016). LA CIUDAD COMO TERCERESPACIO EN LA LITERATURA ESTRIDENTISTA. (Doctoral Dissertation). University of Oklahoma. Retrieved from http://hdl.handle.net/11244/34575
Chicago Manual of Style (16th Edition):
Figueroa Obregón, Rodrigo. “LA CIUDAD COMO TERCERESPACIO EN LA LITERATURA ESTRIDENTISTA.” 2016. Doctoral Dissertation, University of Oklahoma. Accessed January 18, 2021.
http://hdl.handle.net/11244/34575.
MLA Handbook (7th Edition):
Figueroa Obregón, Rodrigo. “LA CIUDAD COMO TERCERESPACIO EN LA LITERATURA ESTRIDENTISTA.” 2016. Web. 18 Jan 2021.
Vancouver:
Figueroa Obregón R. LA CIUDAD COMO TERCERESPACIO EN LA LITERATURA ESTRIDENTISTA. [Internet] [Doctoral dissertation]. University of Oklahoma; 2016. [cited 2021 Jan 18].
Available from: http://hdl.handle.net/11244/34575.
Council of Science Editors:
Figueroa Obregón R. LA CIUDAD COMO TERCERESPACIO EN LA LITERATURA ESTRIDENTISTA. [Doctoral Dissertation]. University of Oklahoma; 2016. Available from: http://hdl.handle.net/11244/34575
27.
Raccis, Giacomo.
L’opera letteraria di Emilio Tadini : Emilio Tadini's literary work.
Degree: Docteur es, Langues littératures et civilisation romanes : Italien, 2015, Université Paris X – Nanterre
URL: http://www.theses.fr/2015PA100031
► Cette thèse se propose d'étudier l'œuvre littéraire d'Emilio Tadini (1927-2002). Peintre unanimement reconnu, Tadini a été de même protagoniste d'un parcours littéraire de grand valeur…
(more)
▼ Cette thèse se propose d'étudier l'œuvre littéraire d'Emilio Tadini (1927-2002). Peintre unanimement reconnu, Tadini a été de même protagoniste d'un parcours littéraire de grand valeur mais encore très peu étudié : il existe un certain nombre de critiques, qui se sont concentrés sur son œuvre et qui en ont certifié la valeur et l'intérêt, mais sans étendre leur analyse au-delà de quelques essais.Cette thèse se fixe l'objectif de formuler une cohérente et intégrale interprétation de la poétique d'Emilio Tadini, approfondie par la relation évidemment très étroite avec sa production artistique et les différentes déclinaisons de son inspiration littéraire, la poésie et le théâtre. La tenue de l'originale formule du« realismo integrale» à une nouvelle disposition romanesque de l'auteur; l'évolution des formes du roman allégorique, au niveau de structure et du contenu des œuvres ; les divers résultats de la confrontation représentation réalité; un emploi très originel de l'ironie et des techniques du comique; l'expérimentation d'une écriture qui met en scène la voix et le geste : ce seront alors les éléments à partir desquels considérer l'hypothèse d'une collocation de l'œuvre de Tadini dans un canon «expérimental», qui se fonde sur une proposition avancée en 1999 par le critique Gianni Turchetta.A travers l'analyse de ses romans -Le armi 1'amore (1963), L'Opera (1980), La lunga notte (1987), La tempesta (1993) et Eccetera (2002)- on suit l'évolution d'une production narrative qui se fonde sur une réflexion poétique et philosophique très cohérente et originelle, qui révèle Emilio Tadini comme un des artistes-intellectuels plus intéressant du XXème siècle italien.
This study aims to analyze the literary work of Emilio Tadini (1927-2002). He has been a celebrated painter, but he also realized a remarkable literary course, which had not been studied at ali, any more. There's a small circle of critics who have focused Tadini's works, recognizing their value, but always in the form of the short essay.This dissertation would like to elaborate a coherent and integral interpretation ofTadini's poetics, which had to be linked to his artistic production and to the different elaborations of his literary inspiration (poetry and theatre). The effectiveness of the "realismo integrale" throughout different literary author's inclinations; the evolution of the allegorie novel scheme, from the structure to the content of his works; the different results of the agonistic confrontation between reality and representation; the original use of irony and comic formulas; the experimentation of a type of writing which tries to speak like a voice : these are the main elements of this study, which propose to place Emilio Tadini's work inside the experimental canon of contemporary ltalian literature suggested by Gianni Turchetta in 1999.Across the analysis of his novels- Le armi 1 'amore (1963), L'Opera (1980), La lunga natte (1987) , La tempesta (1993) and Eccetera (2002) -, the study follows the evolution of a narrative production founded on an…
Advisors/Committee Members: Mileschi, Christophe (thesis director), Palmieri, Nunzia (thesis director).
Subjects/Keywords: Tadini; Avant-Garde; Réalisme; Phénoménologie; Polyphonie; Celine; Tadini; Avant-Garde; Realism; Joyce; Faulkner; Postmodern; 450
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Raccis, G. (2015). L’opera letteraria di Emilio Tadini : Emilio Tadini's literary work. (Doctoral Dissertation). Université Paris X – Nanterre. Retrieved from http://www.theses.fr/2015PA100031
Chicago Manual of Style (16th Edition):
Raccis, Giacomo. “L’opera letteraria di Emilio Tadini : Emilio Tadini's literary work.” 2015. Doctoral Dissertation, Université Paris X – Nanterre. Accessed January 18, 2021.
http://www.theses.fr/2015PA100031.
MLA Handbook (7th Edition):
Raccis, Giacomo. “L’opera letteraria di Emilio Tadini : Emilio Tadini's literary work.” 2015. Web. 18 Jan 2021.
Vancouver:
Raccis G. L’opera letteraria di Emilio Tadini : Emilio Tadini's literary work. [Internet] [Doctoral dissertation]. Université Paris X – Nanterre; 2015. [cited 2021 Jan 18].
Available from: http://www.theses.fr/2015PA100031.
Council of Science Editors:
Raccis G. L’opera letteraria di Emilio Tadini : Emilio Tadini's literary work. [Doctoral Dissertation]. Université Paris X – Nanterre; 2015. Available from: http://www.theses.fr/2015PA100031
28.
Laforge, Wilfried.
Effrangement, altération, dissolution des genres : pour une autre lecture de l'art moderne et de ses suites : à partir de Theodor W. Adorno : Infriegement, alteration, dissolution of the genres : another look on modernity : from Theodor W. Adorno.
Degree: Docteur es, Arts et sciences de l'art. Esthétique, 2015, Paris 1
URL: http://www.theses.fr/2015PA010594
► Le présent travail se fixe pour objet d’étude l’effondrement des limites entre les arts au milieu des années 1960, son lien avec la naissance des…
(more)
▼ Le présent travail se fixe pour objet d’étude l’effondrement des limites entre les arts au milieu des années 1960, son lien avec la naissance des avant-gardes et la chute du système des Beaux-Arts. En remontant un fil tendu par Adorno, nous verrons que celle-ci semble suspendre la dialectique de la raison en tant qu’elle met à mal la division de l’art en genres — pendant de la division du travail dans le monde administré. L’ensemble du processus étudié, que nous avons choisi de nommer dissolution des limites entre les arts, nous conduit à remonter en amont des événements liés à ce changement de paradigme, afin d’en repérer les éléments déclencheurs — lesquels semblent contenus, comme en germe, dans les motivations à l’origine de l’éclosion des avant-gardes. Croisant la lecture d’Adorno et de Greenberg, cette analyse cherche, pour ce faire, à isoler des moments structurants, dont certains apparaissent comme des résonances, des échos amplifiés des autres, comme une manière d’en accuser réception : le contexte des années dix, par exemple, dans lequel les constructions cubistes de Picasso font d’ores et déjà trembler les lignes de démarcation des arts en sortant de l’espace confiné de la toile pour visiter celui de la sculpture ; puis celui des années cinquante et soixante, marqué par la catégorie des Specific Objects de Judd, mais aussi par les œuvres de Morris et Rauschenberg. Notre analyse porte également sur les années qui ont suivi cet effondrement des frontières entre les arts et tente de suivre une perspective herméneutique, en empruntant une voie esquissée notamment par Adorno dans L’art et les arts, lequel a observé que cette tendance à « l’effrangement » a fini par jouer un rôle dans l’antagonisme entre le public et l’art contemporain — anticipant les débats qui eurent lieu bien après sa mort, et que l’on retrouve sous le terme de « crise de l’art contemporain » dans les années 1990. Cet axe de recherche nous amène à poser à nouveaux frais la question de l’autonomie de l’art, devenue problématique depuis le passage des Beaux-Arts à l’art, tout particulièrement au cœur de la réception anglo-saxonne de l’esthétique d’Adorno, auteur d’une définition de l’autonomie de l’art tout à fait singulière — paradoxale. Il s'agit donc de commencer à procéder à l’exégèse de textes anglais et américains, qui, remettant au travail cette problématique classique, entendent montrer que la définition qu’en propose Adorno reste opérante lorsqu’on la confronte aux œuvres d’art actuelles.
This thesis is aiming at analyzing the link between the arts and between the art and what is extrinsic to art. The issue is to expand and refine Adorno’s analysis in his book The art and the arts. We will aim to provide a theoretical overview of the collapse of the artistic genres in the mid-sixties, and consider its link with the birth of French Avant-Garde and with the decline of the system of Fine Arts. The whole process that we would like to analyse starts with a mere imbrication of the arts, and reaches its culmination with a proper…
Advisors/Committee Members: Lageira, Jacinto (thesis director).
Subjects/Keywords: Effrangement; Avant-garde; Modernité; Matériau; Adorno; Greenberg; Infriegement; Avant-garde; Modernity; Material; Adorno; Greenberg; 709.04
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Laforge, W. (2015). Effrangement, altération, dissolution des genres : pour une autre lecture de l'art moderne et de ses suites : à partir de Theodor W. Adorno : Infriegement, alteration, dissolution of the genres : another look on modernity : from Theodor W. Adorno. (Doctoral Dissertation). Paris 1. Retrieved from http://www.theses.fr/2015PA010594
Chicago Manual of Style (16th Edition):
Laforge, Wilfried. “Effrangement, altération, dissolution des genres : pour une autre lecture de l'art moderne et de ses suites : à partir de Theodor W. Adorno : Infriegement, alteration, dissolution of the genres : another look on modernity : from Theodor W. Adorno.” 2015. Doctoral Dissertation, Paris 1. Accessed January 18, 2021.
http://www.theses.fr/2015PA010594.
MLA Handbook (7th Edition):
Laforge, Wilfried. “Effrangement, altération, dissolution des genres : pour une autre lecture de l'art moderne et de ses suites : à partir de Theodor W. Adorno : Infriegement, alteration, dissolution of the genres : another look on modernity : from Theodor W. Adorno.” 2015. Web. 18 Jan 2021.
Vancouver:
Laforge W. Effrangement, altération, dissolution des genres : pour une autre lecture de l'art moderne et de ses suites : à partir de Theodor W. Adorno : Infriegement, alteration, dissolution of the genres : another look on modernity : from Theodor W. Adorno. [Internet] [Doctoral dissertation]. Paris 1; 2015. [cited 2021 Jan 18].
Available from: http://www.theses.fr/2015PA010594.
Council of Science Editors:
Laforge W. Effrangement, altération, dissolution des genres : pour une autre lecture de l'art moderne et de ses suites : à partir de Theodor W. Adorno : Infriegement, alteration, dissolution of the genres : another look on modernity : from Theodor W. Adorno. [Doctoral Dissertation]. Paris 1; 2015. Available from: http://www.theses.fr/2015PA010594
29.
Wit, Sébastien.
Les Sentiers qui bifurquent : hasard, combinatoire et divination dans le roman expérimental des années 1960 : (I. Calvino, J. Cortázar, Ph. K. Dick, M. Saporta) : Forking Paths : randomness, combinatory and divination in the experimental novel of the 1960's : (I. Calvino, J. Cortázar, Ph. K. Dick, M. Saporta).
Degree: Docteur es, Littératures comparées, 2016, Université Paris X – Nanterre
URL: http://www.theses.fr/2016PA100154
► Composition no 1 de Marc Saporta, Marelle de Julio Cortázar, Le Château des destins croisés d'Italo Calvino et Le Maître du Haut Château de Philip K.…
(more)
▼ Composition no 1 de Marc Saporta, Marelle de Julio Cortázar, Le Château des destins croisés d'Italo Calvino et Le Maître du Haut Château de Philip K. Dick. Écrits entre 1962 et 1973, ces quatre romans ont pour point commun l'usage qu'il font de la tradition divinatoire. Dans les trois premiers, la forme romanesque se délite en adoptant la forme des tarots. Quant au dernier roman cité, il fonde son écriture sur des consultations du Yi King, l'oracle de la tradition chinoise. Tant sur le plan politique que littéraire, le moment des années 1960 coïncidence avec une remise en cause radicale de l'autorité. Précédant la mort de l'auteur prophétisée par Barthes, des artistes s'emparent du hasard afin d'affranchir la création de tout arbitraire auctorial. Cette thèse envisage la manière dont les quatre romanciers du corpus exploitent les théories jungiennes (synchronicité, archétypes, etc.) afin de reconsidérer les rôles de l'auteur et du lecteur. En déconstruisant les formes de la linéarité romanesque, ces romans proposent une littérature expérimentale faisant fi des structures usuelles du genre. Entre poétique ludique et mysticisme, l'usage du hasard divinatoire transforme les œuvres en complexes hypertextuels. Mettant au cœur de leur poétique le sujet interprétant, ces romans donnent l'occasion d'interroger les modalités cognitives de l'interaction littéraire ; ce faisant, ils permettent d'appréhender de façon privilégiée les relations transmédiatiques entre littérature et écriture numérique.
Marc Saporta's Composition no 1, Julio Cortázar's Hopscotch, Italo Calvino's Castle of Crossed Destinies, and Philip K. Dick's Man in the High Castle. Written between 1962 and 1973, these four novels have as common denominator their use of oracular traditions. In the first three literary works, the novel form is broken by becoming one with tarot cards. In the last novel mentioned, the Chinese oracle – the I Ching – is the source of the writing process. In both political and literary fields, the 1960's consist in a radical questioning of authority. Prior to Barthes' prophecy of the Death of the Author, artists make use of chance and randomness in order to liberate creation from the arbitrary power of the author. This thesis studies the way the four aforementioned writers try to reconsider the dynamics between reader and writer by using the Jungian theories (synchronicity, archetypes, etc.). By deconstructing the linearity of the novel form, the four books are representative of an experimental literature which shows disregard to genre conventions. Between ludic poetic and mysticism, the novels are made hypertextual by oracular randomness. Focusing on the interpreting reader, the novels investigate the modalities of literary interaction ; this way, they are key materials in understanding the transmedia relations between literature and digital literacy.
Advisors/Committee Members: Marx, William (thesis director).
Subjects/Keywords: Hasard; Aléatoire; Divination; Avant-Garde; Hypertextualité; Postmodernisme; Chance; Randomness; Divination; Avant-Garde; Hypertextuality; Postmodernism
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Wit, S. (2016). Les Sentiers qui bifurquent : hasard, combinatoire et divination dans le roman expérimental des années 1960 : (I. Calvino, J. Cortázar, Ph. K. Dick, M. Saporta) : Forking Paths : randomness, combinatory and divination in the experimental novel of the 1960's : (I. Calvino, J. Cortázar, Ph. K. Dick, M. Saporta). (Doctoral Dissertation). Université Paris X – Nanterre. Retrieved from http://www.theses.fr/2016PA100154
Chicago Manual of Style (16th Edition):
Wit, Sébastien. “Les Sentiers qui bifurquent : hasard, combinatoire et divination dans le roman expérimental des années 1960 : (I. Calvino, J. Cortázar, Ph. K. Dick, M. Saporta) : Forking Paths : randomness, combinatory and divination in the experimental novel of the 1960's : (I. Calvino, J. Cortázar, Ph. K. Dick, M. Saporta).” 2016. Doctoral Dissertation, Université Paris X – Nanterre. Accessed January 18, 2021.
http://www.theses.fr/2016PA100154.
MLA Handbook (7th Edition):
Wit, Sébastien. “Les Sentiers qui bifurquent : hasard, combinatoire et divination dans le roman expérimental des années 1960 : (I. Calvino, J. Cortázar, Ph. K. Dick, M. Saporta) : Forking Paths : randomness, combinatory and divination in the experimental novel of the 1960's : (I. Calvino, J. Cortázar, Ph. K. Dick, M. Saporta).” 2016. Web. 18 Jan 2021.
Vancouver:
Wit S. Les Sentiers qui bifurquent : hasard, combinatoire et divination dans le roman expérimental des années 1960 : (I. Calvino, J. Cortázar, Ph. K. Dick, M. Saporta) : Forking Paths : randomness, combinatory and divination in the experimental novel of the 1960's : (I. Calvino, J. Cortázar, Ph. K. Dick, M. Saporta). [Internet] [Doctoral dissertation]. Université Paris X – Nanterre; 2016. [cited 2021 Jan 18].
Available from: http://www.theses.fr/2016PA100154.
Council of Science Editors:
Wit S. Les Sentiers qui bifurquent : hasard, combinatoire et divination dans le roman expérimental des années 1960 : (I. Calvino, J. Cortázar, Ph. K. Dick, M. Saporta) : Forking Paths : randomness, combinatory and divination in the experimental novel of the 1960's : (I. Calvino, J. Cortázar, Ph. K. Dick, M. Saporta). [Doctoral Dissertation]. Université Paris X – Nanterre; 2016. Available from: http://www.theses.fr/2016PA100154
30.
Meïmoun, François.
La construction du langage musical de Pierre Boulez : la Première Sonate pour piano : The construction of the musical language of Pierre Boulez.
Degree: Docteur es, Musique, histoire, société, 2019, Paris, EHESS
URL: http://www.theses.fr/2019EHES0040
► A l'heure où de nombreuses études ont déjà été effectuées sur Pierre Boulez, tant d'un point de vue biographique qu'analytique, peu de recherches ont été…
(more)
▼ A l'heure où de nombreuses études ont déjà été effectuées sur Pierre Boulez, tant d'un point de vue biographique qu'analytique, peu de recherches ont été effectuées sur ses jeunes années de compositeur. en effet, les premières œuvres que Pierre Boulez inscrivit à son catalogue furent composées à la sortie du conservatoire. sa formation académique fut très brève et, dès ces premières compositions, Pierre Boulez voulu créer un langage nouveau, inouï même, souhaitant que sa pensée musicale ne laissa transparaître aucune influence décelable du passé. mais comment s'organisa dans cet espace de temps si court l'évolution de sa pensée artistique et créatrice? Avec quelles références musicales, littéraires, picturales celle-ci s'opéra-t-elle? mais surtout, avec quels moyens compositionnels? Quels furent, en un mot, les jalons successifs de cette table rase revendiquée? Comment apparaissent dans ses partitions les traces de ses évolutions successives? Comment s'observe, dans la pensée et l'écriture musicales de P. Boulez, ce conflit progressif qui s'opéra entre la modernité officielle (A. Honegger, le groupe jeune france, ...) et l'avant-garde naissante regroupée initialement autour de la personnalité, plus en marge, de René Leibowitz?cette vaste étude, pour laquelle j'ai déjà entrepris de nombreuses analyses dans les directions sus présentées, a l'ambition, outre d'analyser la vie musicale et intellectuelle d'un pan peu connue de l'existence d'un compositeur majeur de notre temps, de vouloir remonter à la source d'un langage musical et esthétique qui s'édifia en un espace de temps très court et dans un moment historique, intellectuel et musical en complet bouleversement.
At a time when numerous studies have already been carried out on Boulez stone, both biographically and analytically, little research has been done on his young years as a composer. in fact, the first works that Boulez wrote in his catalogue were composed at the end of the conservatory. his academic training was very brief and, from these first compositions, Pierre Boulez wanted to create a new language, even unheard of, wishing that his musical thought did not reveal any discernible influence of the past. But how was the evolution of his artistic and creative thinking organized in this short space of time? with what musical, literary, pictorial references did it operate? but above all, with what compositional means? what were, in a word, the successive milestones of this claimed clean table?how do traces of his successive evolutions appear in his partitions? how is observed, in the musical thought and writing of p. Boulez, this progressive conflict that took place between the official modernity (a. Honegger, the young group france, ...) and the nascent vanguard initially grouped around Rene Leibowitz’s personality, more on the margins?this vast study, for which I have already undertaken many analyses in the above-mentioned directions, has the ambition, in addition to analysing the musical and intellectual life of a little known part of the existence of a…
Advisors/Committee Members: Werner, Michael (thesis director), Poirier, Alain (thesis director).
Subjects/Keywords: Génétique; Modernité et avant-Garde musicale; Analyse; Genetic; Modernity and musical avant garde; Analysis
Record Details
Similar Records
Cite
Share »
Record Details
Similar Records
Cite
« Share
❌
APA ·
Chicago ·
MLA ·
Vancouver ·
CSE |
Export
to Zotero / EndNote / Reference
Manager
APA (6th Edition):
Meïmoun, F. (2019). La construction du langage musical de Pierre Boulez : la Première Sonate pour piano : The construction of the musical language of Pierre Boulez. (Doctoral Dissertation). Paris, EHESS. Retrieved from http://www.theses.fr/2019EHES0040
Chicago Manual of Style (16th Edition):
Meïmoun, François. “La construction du langage musical de Pierre Boulez : la Première Sonate pour piano : The construction of the musical language of Pierre Boulez.” 2019. Doctoral Dissertation, Paris, EHESS. Accessed January 18, 2021.
http://www.theses.fr/2019EHES0040.
MLA Handbook (7th Edition):
Meïmoun, François. “La construction du langage musical de Pierre Boulez : la Première Sonate pour piano : The construction of the musical language of Pierre Boulez.” 2019. Web. 18 Jan 2021.
Vancouver:
Meïmoun F. La construction du langage musical de Pierre Boulez : la Première Sonate pour piano : The construction of the musical language of Pierre Boulez. [Internet] [Doctoral dissertation]. Paris, EHESS; 2019. [cited 2021 Jan 18].
Available from: http://www.theses.fr/2019EHES0040.
Council of Science Editors:
Meïmoun F. La construction du langage musical de Pierre Boulez : la Première Sonate pour piano : The construction of the musical language of Pierre Boulez. [Doctoral Dissertation]. Paris, EHESS; 2019. Available from: http://www.theses.fr/2019EHES0040
◁ [1] [2] [3] [4] [5] … [19] ▶
. 
Open Access Theses and Dissertations
