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By Dietrich Scheunemann

This number of severe essays explores new ways to the research of avant-garde literature and paintings, movie and structure. It bargains a theoretical framework that avoids narrowly outlined notions of the avant-garde. It takes under consideration the range of creative goals and instructions of many of the avant-garde events and encourages a large and open exploration of the multifaceted and sometimes contradictory nature of the nice number of avant-gardist thoughts. person essays be aware of cubist college and dadaist photomontage, on summary portray by way of contributors of the Dutch staff De Stijl, on verbal chemistry and dadaist poetry and on physique artwork from futurism to surrealism. furthermore, the gathering needs to open up the dialogue of the avant-garde to an intensive research of neo-avant-garde actions within the Nineteen Fifties and Nineteen Sixties. for many years the appreciation of neo-avant-garde artwork and literature, movie and structure suffered from a basic and all-inclusive rebuke. This quantity is designed to give a contribution to a step forward in the direction of a extra efficient and extra certain research of this examine box. Contributions contain a dialogue of Warhol’s multiples in addition to Duchamp’s editioned readymades, types of concrete and electronic poetry in addition to the architectural “Non-Plan”. the most physique of the amount is predicated on displays and discussions of a three-day learn seminar held on the collage of Edinburgh in September 2002. The study team shaped round the Avant-Garde venture at Edinburgh will proceed with its efforts to difficult a brand new thought of the avant-garde within the coming years. Contents Preface I. Theorising the Avant-Garde Dietrich SCHEUNEMANN: From college to the a number of. at the family tree of Avant-Garde and Neo-Avant-Garde Rhys WILLIAMS: Wilhelm Worringer and the historic Avant-Garde Hubert van den BERG: at the Historiographic contrast among historic and Neo-Avant-Garde II. Reviewing the Autonomy of artwork Michael WHITE: Abstraction, Sublation and the Avant-Garde: The Case of De Stijl David HOPKINS: Sameness and distinction: Duchamp’s Editioned Readymades and the Neo-Avant-Garde Ben HIGHMORE: Paint it Black: advert Reinhardt’s Paradoxical Avant-Gardism III. at the Alchemy of the notice Keith ASPLEY: Verbal Chemistry and urban Poetry Anna SCHAFFNER: How the Letters Learnt to bop: On Language Dissection in Dadaist, Concrete and electronic Poetry Jacob EDMOND: American Language Poetry and the Definition of the Avant-Garde IV. physique Arts Günter BERGHAUS: From Futurism to Neo-Futurism: Continuities and New Departures in Twentieth-Century Avant-Garde functionality Olga TAXIDOU: Actor or Puppet: The physique within the Theatres of the Avant-Garde Uta FELTEN: Fragmentation of the physique in Spanish Surrealism V. the leading edge in Cinema and structure David MACRAE: the skin of phantasm: Avant-Garde Apperception and Antecedence in Structural/Materialist movie Gérard LEBLANC: What Avant-Garde? Richard WILLIAMS: the bounds of “Non-Plan”: structure and the Avant-Garde VI. Crossing the Genres Jennifer VALCKE: Montage within the Arts: A Reassessment Tania ØRUM: capacity and Metaphors of switch: expertise and the Danish Avant-Garde of the Nineteen Sixties Klaus BEEKMAN: Literature less than the influence of movie: On Dutch Author-Critics of the Avant-Garde and Neo-Avant-Garde checklist of Illustrations Index

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05 Midday by Grosz and Heartfield and Dada Cino by Hausmann, pointedly allude to cinema in their titles. In Life and Activity Grosz and Heartfield even inserted pieces of a film strip into the picture along with cut-outs of movie star images and literal references to Fox and to “photoplays”, the old name for film in the Hollywood studios. The significance of the references is clear enough. The new art form of photomontage, based on technological reproduction, celebrates another new, technically conditioned medium, film.

In: Jameson, Postmodernism and the Cultural Logic of Late Capitalism. London: Verso, 1–54. Kandinsky, Vassily 1968 “On the Problem of Form”. In: Herschel B. ), Theories of Modern Art. Berkeley: University of California Press, 155–170. Lawder, Standish D. 1975 The Cubist Cinema. New York: New York University Press. From Collage to the Multiple 47 Lessing, Gotthold Ephraim 1874 Laocoon, trans. Robert Phillimore. London: MacMillan. ” In: Lyotard, The Postmodern Condition: A Report on Knowledge. Manchester: Manchester University Press, 71–82.

New York: Rizzoli. “An Romanautoren und ihre Kritiker. Berliner Programm”. In: Döblin, Aufsätze zur Literatur, 15–19. Dulac, Germaine 1978 “The Avant-Garde Cinema”. In: The Avant-Garde Film. A Reader of Theory and Criticism, ed. P. Adams Sitney. New York: New York University Press, 43–48. Enzensberger, Hans Magnus 1980 “Die Aporien der Avantgarde”. In: Enzensberger, Einzelheiten II. Poesie und Politik. Frankfurt: Suhrkamp, 50– 80. ” In: Foster, The Return of the Real. The Avant-Garde at the End of the Century.

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