My dissertation examines the experimental poetry of three periods, the historical avant-garde of the 1920s, the neo-avant-gardes of the 1950s, 60s, and 70s, and the digital avant-garde (from the 1990s until the present), drawing on the works of poets from the Luso-Hispanic world including the Iberian Peninsula and Latin America. Scholars such as Renato Poggioli and Peter Bürger define the avant-garde as radically new and unrepeatable, an "advanced" guard that exhausted its aesthetic and political possibilities. I challenge this view by establishing a continuity of avant-gardes that emerge during periods of technological innovation and cultural exchange, introducing new artistic modalities, engaging with emerging media and re-purposing the strategies of past avant-gardes to their own historical conditions. Experimental poetic practices such as visual, kinetic, phonetic, concrete, video poetry, and poetic performance have unfolded over time and across national boundaries in response to global, social, and technological forces. My focus is on poetry broadly understood as works that "experiment" with the interplay between the visual, the sonorous and the verbal, questioning both genre and medium specificity, and contesting traditional discipline-bound tools of analysis. In order to critically approach poems that are often not printed on a page, and depend on more than verbal communication, I draw on disciplines such as literary analysis--including close-readings--media theory, and film analysis, and deploy theories of metaphor, embodiment and affect to interpret works that focus on the materiality of language through typographic experiments, script animation, and performance. The selection includes poems by authors from the 1920s such as Josep M. Junoy, Joan Salvat-Papasseit, José Juan Tablada, Guilherme de Almeida; neo-avant-garde visual and concrete poets from the 1960s such as Joan Brossa, Julio Campal, Edgardo Vigo, and Décio Pignatari; and their contemporary counterparts working with digital media such as Ana María Uribe, Olga Delgado, María Mencía, Arnaldo Antunes, and Eduardo Kac. Examining digital poetry in the light of older poetic practices, I compare and contrast how artists have queried the status of literature as a purely script-based art, considering how notions of experimental literature have changed through time (diachronically), but also isolate each period (synchronically). / Romance Languages and Literatures

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal / Pour respecter les droits d'auteur, la version électronique de cette thèse ou ce mémoire a été dépouillée, le cas échéant, de ses documents visuels et audio-visuels. La version intégrale de la thèse ou du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal.

“Trečio fronto” žurnalas (1930-1931 m.) ir jo leidėjų grupė yra susilaukusi plataus literatūrologų ir istorikų dėmesio. Visgi, galimos naujos tyrimų perspektyvos, leidžiančios sukonstruoti platesnį šios grupės veiklos kontekstą bei įvesti naujus personažus – aktorius ir menininkus. Dėl to pats reiškinys įvardijamas kaip revoliucinės kultūros eksperimentas, netolygiai vystęsis tarp 1927 ir 1935 m. Tyrimo objektu tapo apie dvidešimt herojų. Jų biogramų lyginamoji rekonstrukcija atskleidė išskirtinę draugystės ryšių įtaką politinių-socialinių pažiūrų tapsmui bei viešajai veiklai. Dauguma šios grupės narių mėgino tapti komunistų pakeleiviais. Lietuvos komunistų partijos vadovybė Maskvoje ir Lietuvoje nesutarė kaip vertinti šį šliejimąsi. Visgi nulėmė neigiamos nuostatos ir šliejimosi pastangos buvo sužlugdytos. Šis aspektas esamoje istoriografijoje nebuvo iki šiol atskleistas. Mažuma analizuojamos grupės aktyvistų tapo nemarksistinio socializmo šalininkais, o jų išskirtinai sunki veikla buvo paženklinta emigracijos ir kalėjimo bausmių. Egzistuojanti istoriografija pabrėžia trečiafrontininkų komunistinio pakeleiviavimo aspektą, bet šiame tyrime analizuojamų personažų atžvilgiu laikomasi platesnės kairėjimo perspektyvos. Taigi, iki šiol tyrinėtojų nepanaudotos archyvinės medžiagos gausa leido papildyti trečiafrontininkų istorijas naujais faktais, įvesti naujų personažų, išplėsti kontekstus bei siūlyti naujus jų veiklos vertinimus. / The “Trečias frontas” journal (1930-1931) and its group have a wide historiographical layer. Nevertheless, there is a possibility to recreate wider context of the group’s activities and analyse this in the connection with activities of some artists and theatre actors. Therefore, this phenomenon could be named as the “experiment of revolutionary culture” and dated between 1927 and 1935. About twenty persons became the object of this research. Reconstruction of group members’ biographies in comparative mode reveals close personal ties and communication networks which affected political-social visions and were the core of complex public activities. Majority of the group members’ tried to become communist fellow-travellers. The corpus of Lithuanian Communist party leadership has had diverse attitudes towards these attempts and that initiated internal conflicts. Nevertheless, prevailed negative position and attempts failed. Minority of these revolutionary culture sympathizers became nonmarxist socialism supporters and their activities were especially difficult because of emigration and imprisonments. Existing historiography emphasizes these group members’ connections with communists. The perspective of this research is more about the difficult path of going left. Untapped archival material and its abundance enabled to enrich the existing historical narrative with new facts, characters, wider contexts, different perspectives and fresh analysis of their activities.

The “Trečias frontas” journal (1930-1931) and its group have a wide historiographical layer. Nevertheless, there is a possibility to recreate wider context of the group’s activities and analyse this in the connection with activities of some artists and theatre actors. Therefore, this phenomenon could be named as the “experiment of revolutionary culture” and dated between 1927 and 1935. About twenty persons became the object of this research. Reconstruction of group members’ biographies in comparative mode reveals close personal ties and communication networks which affected political-social visions and were the core of complex public activities. Majority of the group members’ tried to become communist fellow-travellers. The corpus of Lithuanian Communist party leadership has had diverse attitudes towards these attempts and that initiated internal conflicts. Nevertheless, prevailed negative position and attempts failed. Minority of these revolutionary culture sympathizers became nonmarxist socialism supporters and their activities were especially difficult because of emigration and imprisonments. Existing historiography emphasizes these group members’ connections with communists. The perspective of this research is more about the difficult path of going left. Untapped archival material and its abundance enabled to enrich the existing historical narrative with new facts, characters, wider contexts, different perspectives and fresh analysis of their activities. / “Trečio fronto” žurnalas (1930-1931 m.) ir jo leidėjų grupė yra susilaukusi plataus literatūrologų ir istorikų dėmesio. Visgi, galimos naujos tyrimų perspektyvos, leidžiančios sukonstruoti platesnį šios grupės veiklos kontekstą bei įvesti naujus personažus – aktorius ir menininkus. Dėl to pats reiškinys įvardijamas kaip revoliucinės kultūros eksperimentas, netolygiai vystęsis tarp 1927 ir 1935 m. Tyrimo objektu tapo apie dvidešimt herojų. Jų biogramų lyginamoji rekonstrukcija atskleidė išskirtinę draugystės ryšių įtaką politinių-socialinių pažiūrų tapsmui bei viešajai veiklai. Dauguma šios grupės narių mėgino tapti komunistų pakeleiviais. Lietuvos komunistų partijos vadovybė Maskvoje ir Lietuvoje nesutarė kaip vertinti šį šliejimąsi. Visgi nulėmė neigiamos nuostatos ir šliejimosi pastangos buvo sužlugdytos. Šis aspektas esamoje istoriografijoje nebuvo iki šiol atskleistas. Mažuma analizuojamos grupės aktyvistų tapo nemarksistinio socializmo šalininkais, o jų išskirtinai sunki veikla buvo paženklinta emigracijos ir kalėjimo bausmių. Egzistuojanti istoriografija pabrėžia trečiafrontininkų komunistinio pakeleiviavimo aspektą, bet šiame tyrime analizuojamų personažų atžvilgiu laikomasi platesnės kairėjimo perspektyvos. Taigi, iki šiol tyrinėtojų nepanaudotos archyvinės medžiagos gausa leido papildyti trečiafrontininkų istorijas naujais faktais, įvesti naujų personažų, išplėsti kontekstus bei siūlyti naujus jų veiklos vertinimus.

This research project explores a direction in the formation of sound and image. In the creation of a series of 'moving paintings' I bring together pieces of moving image and sound using techniques derived from musique concr??te. I have coined the term 'moving painting' to describe these sound/image objects that have grown out of an attention to the form, activity, rhythm and texture of sound and image. This project develops from an understanding that sound and image can be constructed on their own terms as opposed to being organised by specific plot devices. This text offers a context for the formation of these moving paintings and outlines the systems of construction that bring them forth from noise. Firstly, I identify sound and its emergence from noise. Secondly, I address the formation of sound into music within a community. And lastly, I use these ideas to form systems for organising visual imagery. In doing this, I present a series of audiovisual works in which sound and image are woven together to form moving paintings.

Zugl.: München, Univ., Magisterarbeit, 2004 u.d.T.: Niggl, Selima: Pinot Gallizio in München

Thesis (A.Mus.D.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-11, Section: A, page: 4537. Adviser: Heidi von Gunden. Includes bibliographical references (leaves 128-129) Available on microfilm from Pro Quest Information and Learning.

The thesis deals with the issue of linking visual representation of a literary work of art, especially with the connection of Karel Teige typographical book envelopes to the poetry collections of Czech authors of the first half of the twentieth century. It focuses on the period of Czech avant-garde and new possibilities and limits of genre, artistic and semiotic definition. Attention is also devoted to contemporary anthology, professional journals and articles, especially by Karel Teig's production, in which he illustrates his concept of modern art. It also includes the marketing and aesthetic-educational character of visual imagery in literature for children and youth.

La notion d’orphisme est née à la veille de la Première Guerre mondiale. Forgée par Guillaume Apollinaire, elle lui sert à désigner l’art nouveau et audacieux de ses amis-peintres, notamment ceux réunis autour de Robert Delaunay. Cependant, dès cette époque, le terme, utilisé de manière imprécise par le poète, pose problème. Depuis, les controverses se multiplient et durant le siècle qui nous sépare de l’invention de ce nom tout ce qui touche à l’orphisme a été remis en cause, jusqu’à son existence même. Prenant position contre cette attitude, nous proposons dans cette thèse d’envisager la production et les conceptions artistiques de l’époque sous un angle nouveau. En nous défaisant des étiquettes traditionnelles de nombreux « -ismes », nous prenons – selon la suggestion d’Apollinaire – le mythe d’Orphée comme un outil permettant de réanalyser l’art du début du XXème siècle. Cette relecture (des parcours des artistes, de leurs sources d’inspiration, des rapports entre différents centres artistiques et acteurs de la scène artistique), ainsi qu’une analyse comparative des œuvres ont pour but de démontrer que ce que nous appelons l’« orphisme » ne fut pas un concept artificiel, appliqué de manière parfaitement arbitraire à la somme des trajectoires – quelques peu accidentelles et indépendantes les unes des autres – de différents artistes, mais plutôt une évolution logique et cohérente, dont l’ampleur et l’impact sur la postérité ne furent jamais appréciés à leur juste valeur. En utilisant le mythe d’Orphée comme fil conducteur structurant notre analyse, nous mettons donc en évidence les grandes lignes de l’évolution du phénomène auquel Apollinaire a donné le nom d’orphisme : les origines et l’interprétation du terme et de la conception mêmes, le contexte historique et artistique de l’apparition et de l’évolution du mouvement, les rapports entre ses différents acteurs, les sources d’inspiration des artistes et enfin une évolution stylistico-chronologique de cette tendance. / The notion of Orphism was born on the eve of the World War II. Forged by Guillaume Apollinaire, it served him to describe a new and bold art of his friends, especially those concentrated around Robert Delaunay. However, the notion was already troublesome back then: ill-defined and unclear, it was used by the poet in a vague way. Since then, the controversies continue to mount and in a century that elapsed since the invention of the notion, everything concerning Orphism is questioned, even its very existence. Contesting this negationist approach, we propose in this thesis to analyze the artistic production and conceptions of this period under a new light. We are distancing ourselves from the traditional labels of “-isms” and we are using the Orpheus myth – as suggested by Apollinaire – as a tool which allows us to reanalyze the art from the beginning of the 20th century. This new analysis – of artists’ career paths, their fascinations, relationships between different artistic centers and between people involved in this avant-garde – and the comparative analysis of artworks serves to prove that what we call Orphism is not an artificial concept, applied in an arbitrary manner to the somewhat accidental and independent career paths of different artists. On the contrary, Orphism is a logical and consistent evolution, whose true importance and impact was never fully appreciated. By using the Orpheus myth as a guiding thread, we are bringing to light the main lines of the evolution of Orphism: the origins and interpretation of the notion and the conception, the historical and artistic context in which the movement was born and was evolving, the relationships between its actors, artists’ inspirations and, last but not least, the stylistic evolution of Orphism over the time.

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