The evolution of the role of the trombone as a solo instrument in the nineteenth and twentieth centuries can be traced most effectively through four schools of playing, with the music of today's avant-garde being a logical historical culmination of these four schools. It will be demons t rated that the avant-garde's use of the solo trombone has merely continued the evolutionary process started in the early nineteenth century. The contribution of the early nineteenth-century virtuosi was the establishment of the idea that the trombone could compete on its own terms with other instruments as a solo instrument. In addition to expanding the technical capabilities, they also left a basic solo repertoire. With the death of the virtuosi the trombone as a solo instrument went into a decline. For the remainder of the nineteenth century and well into the twentieth century the Paris Conservatoire was influential. Standards of solo performance were brought to new heights by excellent study material and contest solos. The next important step came from the late nineteenth-century American band virtuosi. Their influence helped the public to accept the idea of the trombone as a solo instrument. The American jazz trombonists of the 1930's and 1940's also further widened the technical capabilities of the trombone and also further encouraged acceptance of the Instrument in its solo capacity. However, their most important contribution was in new tonal colors. The music of the avant-garde takes all these previous historical achievements and makes use of them in its own unique way.

Cette thèse, intitulée Le pohète initié : Illumination et esthétique ésotérique dans l’œuvre de Gellu Naum, analyse trois œuvres importantes de Gellu Naum, le roman Zenobia, les proses La voie du serpent et Medium, ainsi que le rapport entre la poésie picturale de Gellu Naum et la peinture narrative de Victor Brauner. Les œuvres de Gellu Naum que nous analysons possèdent des points communs synthétisés dans la figure de l’illumination, qui signale l’existence d’un régime de connaissance refondé. L’illumination se base sur des théories ésotériques et surréalistes et s’ouvre également sur une nouvelle interprétation du sacré, dénouée de tout caractère religieux. L’illumination institue et entretient un climat mystique à travers les écrits de Gellu Naum et les productions plastiques de Victor Brauner et consolide en même temps leurs doctrines esthétiques. Pour Gellu Naum, l’illumination est le but suprême de l’existence. Elle a affaire avec la capacité de voir avec les yeux du dedans. Dans ce registre ésotérique, la possibilité d’arriver de l’autre côté, c’est-à-dire dans la part invisible de la réalité, stratifiée jusqu’à son niveau archaïque, est réelle et révélatrice. Selon Gellu Naum, l’artiste doit mettre son œil à l’état sauvage pour décrire l’état transcendantal dans lequel résident ses héros; ceci en essayant de contrecarrer un grave bouleversement historique, puisque le totalitarisme roumain a éclipsé à tout jamais l’espace de l’existence. L’écriture de Naum porte les traces noires de cette incidence néfaste. Pour Victor Brauner, l’illumination a une fonction initiatrice. Elle cristallise l’art du peintre et l’éclaire tout au long de sa quête identitaire. L’illumination entretient et provoque une catharsis aux connotations inattendues dans la production artistique, s’articulant avec une consécration de l’ésotérisme. Partant d’une perspective interdisciplinaire, la thèse se divise en trois parties, Le roman Zenobia et la question de la pensée illuminée, L’état transcendantal et ses variables ou De la logique occulte de l’écriture et Les expressions de la poésie picturale et de la peinture narrative à travers les œuvres de Gellu Naum et de Victor Brauner, chacune d’entre elles analysant la figure de l’illumination et établissant aussi les invariantes esthétiques des deux Surréalistes. Dans leur quête de nouvelles formes de représentations artistiques, Gellu Naum et Victor Brauner ont recours à un surréalisme essentiellement cognitif. Les deux font appel à la rationalité, à la lucidité accrue, ce que les Surréalistes rejetaient parfois avec véhémence. / This thesis, entitled The Initiated pohet : Illumination and Esoteric Aesthetics in Gellu Naum’s work, analyzes three important literary productions by Gellu Naum, the novel Zenobia, his writings The Serpent’s Way and Medium, as well as the relationship between Gellu Naum’s pictorial poetry and Victor Bruner’s narrative painting. Gellu Naum’s works analyzed in this study have many similarities synthetized in the trope of illumination. The notion of illumination is based on esoteric and Surrealist theories, opening an interpretation of the sacred devoid of religious substance. Illumination develops a mystical climate throughout Gellu Naum’s writings and Victor Brauner’s art productions and consolidates their aesthetic doctrines. For Naum Gellu, illumination is the ultimate goal of existence. It has to do with the ability to see with the eyes within, revealing a blinding and terrifying alternative to the factual world. Within this esoteric tone, the possibility of reaching the other side – the invisible, advancing deep to the archaic level – is real and revealing. According to Gellu Naum, the artist must reach the wild state in order to describe the transcendental state infusing his heroes. This perspective counteracts a severe historical turmoil, since Romanian totalitarianism severely abbreviated life conditions. Naum’s writings bear the dark traces of this negative impact. For Victor Brauner, illumination has an initiation function. It crystallizes the painter's art throughout his quest for identity. Illumination causes and maintains catharsis, with unexpected connotations in the art production. It articulates a form of esotericism that only rarely infuses the Surrealist movement in the West. Advancing an interdisciplinary approach, my thesis is divided into three parts: The novel Zenobia and the Notion of "Illumination Thinking" The Transcendental State and Its Variables or The Occult Logic of Writing and Expressions of Pictorial Poetry and of Narrative Painting in the Works of Gellu Naum and Victor Brauner. These chapters analyze the figure of illumination and establish the aesthetic invariants grounding the works of the two Surrealists. In their quest for new forms of artistic representations, Gellu Naum and Victor Brauner employ a mainly cognitive form of Surrealism. Both appeal to rationality, to cruel lucidity, which often Surrealists strongly rejected.

This thesis analyses the responses of Irish writers and painters to a phase of national self-assertion that had arguably lost its liberating potential. It shows how the exhaustion of revolutionary pressures in Ireland after independence complicates the ties between creative activity and political activism. Drawing on a wide range of scholarship within political theory, literary criticism and art history, I chart an emerging network of literary and artistic techniques that confronts the representational aesthetics of the nation with strategies of paradox, reversal and renewal. My readings of the work of Denis Devlin, Samuel Beckett, James Joyce, Mainie Jellett, Jack Butler Yeats and, in particular, Thomas McGreevy, provide a means by which to distinguish other cultural possibilities that were imagined and pursued from 1922 to 1941, including McGreevy’s own aspiration to remould 'A Cultural Irish Republic'. The thesis argues that Ireland's political and artistic avant-garde were forcibly divided during this period: two factions that had been split apart by the effects of civil war and censorship. As such it will be preoccupied with a central question: how to sustain cultural strategies of revolutionary significance when the frontier between creative activity and political activism can no longer be straightforwardly crossed.

Aim of this work is to make a comparison of three generations (1918 - 1989) of discourse art theorists and to point to their similarity. Specifically, the main personalities and spokespersons of Czech avant-garde art and underground, who are Karel Teige, Vladimír Boudník, Egon Bondy, Milan Knížák and Ivan Martin Jirous. This work analyses the content the interpretive models which are contained in the manifestos and manifestations text (Chapter 2) and reconstruction experience and feeling of historical avant-gards based on work with ego-documents (Chapter 3). The result of this analysis is a description of the differences (and dynamics) of development of avant-garde, but especially characteristic of avant-garde and underground mental world. The analysis shows that the artistic avant-garde (Teige) and underground (Jirous, Knížák), as well as the second generation standing on the edge of the avant-garde and underground (Boudník, Bondy) show great similarity with many common features. Individual features common to the avant-garde and underground are summarized in the conclusion. Key words avant-garde, underground, czech art, manifest, feeling, Karel Teige, Vladimír Boudník, Egon Bondy, Milan Knížák, Ivan Martin Jirous

This MA thesis is focused on the analysis of stylistic originality of Mykola Bazhan texts of the 1920-30s. The texts are considered in cultural and ideological context of this period, which is a result of a mixture of two artistic and philosophical platforms: avant-garde and socialist realism. Trying to reach this aim I trace the correlation of avant-garde and socialist realism poetic and cultural paradigms in Mykola Bazhan poems, the correlation which defines the stylistic originality of his texts from this period. The introductory chapter presents a detailed analysis of the development of Ukrainian literature in the late 19th - early 20th century. I focus on modernist and then on avant-garde movements and literature groups. One part of the MA thesis is dedicated to literary theory - I attempt to apply basic terms like "modernism", "avant-garde", "socialist realism", etc. to the area of my research. Another problem discussed is the change of Bazhan's approach to the communist ideology during several periods of his career. After that the dissertation shifts to philological and cultural analysis of several chosen poems of Mykola Bazhan in historical, philological and ideological contexts which were discussed in the previous chapters of my work. Keywords Mykola Bazhan, modernism, avant-garde,...

Univerzita Karlova v Praze Filozofická fakulta Ústav české literatury a literární vědy Diplomová práce Petra Bílková KONEC KARNEVALU poetismus na přelomu 20. a 30. let THE END OF THE CARNIVAL Poetism on the verge of the 1930s Praha 2012 Vedoucí práce: doc. PhDr. Jan Wiendl, Ph.D. Abstract In the first half of the 1920's, in the Czech avant-garde, a new art began to form - Poetism. On the basis of individual manifests and programmatic articles it was defined as modus vivendi. In the 1920's many principles and ideas were shaping the future, not only for the society, but also for the artistic movements. Poetism featured mainly an original concept of art and life; the authors of theoretical articles were mainly Karel Teige and Vítězslav Nezval. Within a few years the concept of life as a careless game and a source of joy faded and bitter- sweet topics began to penetrate Poetism. At this time, the poetics of Poetism changed from the original cheerfulness and everyday beauty to serious existential topics - the evidence is provided by many works of art. This transformation affected poetry the most. In poems made by authors, who came out of Poetism, inspiration thereby gathered is still evident; however, more serious issues are coming to the fore. Each of those poems expresses a distinct reconciliation with the...

This dissertation aims to introduce propagandistic activity of Nazi Germany and Communist Russia, which fundamentally impacted all areas of people´s lives including human culture, which signifies absolute freedom under normal circumstances. Art production was faced with such immense ideological pressure that the artwork became mere tools of the propagandistic regime. In order to fully comprehend the success of the propaganda, the dissertation focuses mostly on the official art production of both regimes and its insertion into historical and psychological context. The dissertation follows the development of both regimes and their art worlds in order to find their basic characteristics, which in turn serve to show the common principles used by the propaganda that managed to manipulate millions of people all over the world under different ideologies.

Este trabalho consiste na tradução dos três dramas líricos de Aleksandr Blok: Teatrinho de feira, O rei na Praça e A desconhecida, todas escritas em 1906, acompanhados do prefácio à primeira edição do volume Dramas líricos (1908) e do diálogo dramático Sobre amor poesia e serviço civil (1906). O nosso breve comentário procura contextualizar esta primeira obra dramática de Blok recorrendo aos poemas de Júbilo inesperado (1906), seu segundo livro de poemas. / This work is a translation of Aleksandr Bloks lyrical dramas: The Showbooth, The King on the Square and The Unknown Woman, all written in 1906, together with the preface to the book Lyrical Dramas (1908) and the dramatic dialogue On love, poetry and the public service (1906). The brief context given for these plays are the poems of his second poetry book, Unexpected Joy (1906).

[pt] Tema desta dissertação, o escritor Jorge Luís Borges nasceu em Buenos Aires, centro político-financeiro e capital da Argentina no ano de 1899. Remontando à aurora de seus escritos, o momento de largada de sua produção literária coincide com um intenso processo modernizador em sua cidade natal. Com efeito, frente a uma Argentina que cresce em escala alarmante, Borges em 1921 e aos 21 anos regressa a Buenos Aires após uma temporada de sete anos em solo europeu. Ao chegar se depara com uma cidade profundamente distinta de quando partiu: aumento populacional, imigração maciça e uma inegável transformação no tecido físico da cidade e dos meios de transportes. Estas novas características faziam parte do impulso modernizante que soprara na capital portenha. Por seu turno, Borges engaja-se nas correntes vanguardistas do período e do seu interior fazia ecoar tanto um tom de franco otimismo acerca das recentes possibilidades de intervenção no panorama literário local, quanto numa clave melancólica, um Fervoroso lamento poético sobre a abrupta transformação de sua cidade Buenos Aires.Esta dissertação tem como objetivo analisar o movimento literário do escritor frente às alterações que permitiram um alcance mais amplo para sua prática vanguardista, assim como refletir sobre o sentimento de perplexidade que se deu em seu retorno, ao perceber uma cidade alterada em seus traços primordiais. Desta forma, o entusiasmo de vanguarda será discutido à luz dos manifestos assinados pelo autor e seus textos programáticos de renovação literária. Quanto a outra postura, será analisada pelo Réquiem produzido por Borges em seu primeiro livro de poemas Fervor de Buenos Aires em que o escritor dá ensejo ao movimento de irrealização de uma realidade percebida como estranha com o fito de realizar seu imaginário. / [fr] Thème de cette dissertation, l écrivain Jorge Luis Borges, né en 1899 à Buenos Aires, centre politico-financier et capitale de l Argentine. En reprenant le début de sa production littéraire, on remarque que celui-ci coïncide avec le moment d un intense processus modernisateur dans sa ville natale. En effet, face à une Argentine qui grandit dans des proportions alarmantes, Borges, en 1921, revient à Buenos Aires après un séjour de sept ans sur le sol européen. En arrivant, il sera confronté à une ville profondément distincte de celle qu il a quittée: augmentation de la population, immigration en masse et une inégale transformation dans le tissu physique de la ville et des moyens de transport. Ces nouvelles caractéristiques faisaient partie de l impulsion modernisatrice qui soufflait dans la capitale porteña. À son retour, Borges s engage dans les courants avant-gardistes du moment et y fait aussi bien éclore un ton de franc optimisme quant aux récentes possibilités d intervention dans le panorama littéraire local qu une note mélancolique, une fervente plainte poétique sur l abrupte transformation de sa ville, Buenos Aires.Cette dissertation a pour objectif d`analyser le mouvement littéraire de l écrivain face aux altérations qui ont permis une portée plus ample à sa pratique avant-gardiste, ainsi que réfléchir sur le sentiment de perplexité vécu à son retour, en voyant une ville altérée dans ses traits primordiaux. De cette façon, l enthousiasme de l avant-garde sera discuté à l aide des manifestes signés par l auteur, ainsi que ses textes programmatiques de rénovation littéraire. Quant à l autre posture, elle sera analysée à partir du Requiém produit par Borges dans son premier recueil de poèmes Fervor de Buenos Aires où l écrivain laisse la possibilité au mouvement d irréalisation d une réalité perçue comme étrange avec l intention de réaliser son imaginaire.

Ce travail vise à étudier, de manière critique et détaillée, la revue littéraire Les Cahiers du Sud, dirigée par Jean Ballard, durant la période de l’entre-deux-guerres (1925-1939). Il s’agit d’un travail d’histoire littéraire qui s’appuie sur les archives conservées à la bibliothèque municipale à vocation régionale de Marseille, l'Alcazar. L’étude commence au moment où Fortunio prend pour nouveau titre Les Cahiers du Sud et se dote de nouvelles ambitions, et se clôt avec l’interruption de quelques mois liée à la déclaration de guerre. La fin des années vingt marque le début d’un succès que les années trente viennent confirmer et accentuer, avec la parution de numéros qui font date. Le but de ce travail est donc de comprendre comment cette revue a pu acquérir au fil des numéros une telle reconnaissance, accumuler un tel « capital symbolique », malgré sa localisation provinciale, dans une France plus que jamais centralisée. Alors que l’on assiste à l’éclosion de nombreuses revues trop souvent éphémères, comment les Cahiers parviennent-ils à percer et à perdurer ? C’est ce qui les rend si atypiques, seule revue à s’être maintenue longtemps sans être pour autant parisienne.Il s’agit donc d’exploiter les ressources patrimoniales à disposition afin d’éclairer une entreprise revuiste dynamique originale et de la replacer dans le contexte plus général des revues de l’entre-deux-guerres pour en définir les particularités et en dégager une ligne directrice, qui ne correspond pas exactement à la ligne revendiquée. / Our thesis focuses on a detailed and critical study of the literary review Les Cahiers du Sud, edited by Jean Ballard, during the inter-war period (1925-1939). This work of literary history uses the archives from the Alcazar, Marseilles’s public library promoting regional heritage. Our study starts when Fortunio was renamed Les Cahiers du Sud and defined new ambitions, and it ends on the interruption of several months that occurred because of the declaration of war. With the late 1920s came success, which became even bigger and more apparent during the 1930s with landmark issues being published.Our goal is therefore to understand how this review was able to gain such acclaim with time and gather such a “symbolic capital”, while being located outside of Paris, knowing how centralized the French state was. With numerous reviews – all too often short-lived – published also during this period, how did Les Cahiers du Sud manage to break through and last? This is what makes them so atypical – the only non-Parisian review that managed to exist for an extended period of time.Using the heritage resources available, this study casts a light on an energetic and original review and puts it in the more general context of reviews during the inter-war years, in order to define its specificities and reveal a guideline, which turns out to be somewhat different from the one they claimed to have adopted.