One of the most consistent features of the diverse artistic movements that have flourished throughout the twentieth century has been their willingness to experiment in diverse genres and across alternative art forms. Avant-gardes such as Expressionism, Dada, Surrealism, Futurism, Fluxus and Pop were composed not only of painters but also dramatists, musicians, actors, singers, dancers, sculptors, poets and architects. Their works represent a dramatic process of crossfertilization between the arts, resulting in an array of hybrid forms that defy conventional categorisation. This thesis investigates implications of this cross-disciplinary impulse and aims by doing so to open out a site in which to reassess both the manner in which the avant-gardes have been theorised and the impact their theorisation has had on contemporary aesthetics. In the first part of this study, I revisit the work of the most influential theorists of the avant-garde in order to ask what the term “avant-garde” has come to signify. I look at how different theories of the avant-garde and of modernism relate to one another as well as asking what effect these theories have had on attempts to evaluate the legacies of the avant-gardes. The work of Theodor Adorno provides a connective tissue throughout the thesis. In Chapter One, I use it to complicate Peter Bürger’s notion of the avant-garde as “anti-art” and to argue that the most pressing challenge that the avant-gardes announce is to think through the cross-disciplinarity that marks their work. In Chapter Two, I trace how painting has come to be considered as the paradigmatic modernist art form and how, as a result, the avant-garde has been read as a secondary, “literary” phenomenon to be grasped through its relation to painting. I argue that this constitutes a systematic devaluation of literature and has resulted in an “art historical” model of the avant-gardes which represses both their real radicality and implications of their work for these kinds of disciplinary structures. In the second part of this thesis, I explore works which examine and question the aesthetic hierarchies and notions of aesthetic autonomy that the theories of modernism and the avant-garde explored in the first part set up. In Chapter Three, I approach by way of two cross-disciplinary works which employ literature and visual art: Marcel Duchamp’s Green Box (1934) and Andy Warhol’s a; a novel (1968). Works such as these, which slip through the gaps between literary and art history, have, I argue, important implications for literary and visual aesthetics but are often overlooked in disciplinary histories. In my final chapter, I return to the theory of the avant-garde as it emerges in the work of Jean-Francois Lyotard. I examine how his work reconfigures Adorno’s aesthetics by performing the cross-disciplinary movement that it argues is characteristic of avant-garde art works. Tracing his “post-aesthetic” response to Duchamp and Warhol, I explore how Lyotard articulates a mode of practice that moves beyond the dichotomy of “art” and “antiart” and opens out a site in which the importance of the twentieth century avant-gardes is made visible. I conclude by briefly considering the implications of the avant-garde, as I have presented it in this thesis, for contemporary debates on the twenty-first century “digital avant-gardes” and recent writing on aesthetics.

Chez les végétaux supérieurs, la régulation des mouvements stomatiques permet de contrôler les échanges de CO2 et la montée de la sève brute tout en limitant les pertes excessives d'eau par transpiration. Ce contrôle est assuré par des variations rapides de la turgescence des deux cellules de garde formant le stomate dues à l'activité de nombreux canaux et transporteurs ioniques. Nous avons identifié un nouveau membre de la famille des CLC chez A. thaliana, AtCLC-c exprimé dans la cellule de garde. L'étude de l'expression d'AtCLC-c et du phénotype de mutants invalidés ont permis de démontrer son rôle dans l'ouverture stomatique à la lumière et la fermeture en réponse à l'ABA. Les mutants clcc accumulent moins d'ions Cl- dans leurs cellules de garde par rapport aux plantes sauvages et sont hypersensibles à un stress salin. Enfin, nous avons confirmé par des études d'électrophysiologie la sélectivité d'AtCLC-c aux ions Cl-. L'ensemble de ce travail montre l'importance du transporteur vacuolaire d'ions Cl- AtCLC-c dans les mouvements stomatiques et la tolérance au stress salin. / In plants, the high turgor is assured by ion transport and involves the creation and maintenance of a large vacuolar volume. In recent years, various chloride channels and transporters have been identified to be involved in specific functions such as plant nutrition, stomatal movements or metal tolerance. We have characterized a new member of the CLC family in A. thaliana, AtCLC-c, highly expressed in guard cell and up-regulated by ABA and salt treatment in the whole plant. Knock-out mutants in AtCLC-c are impaired in light-induced stomatal opening and ABA-induced stomatal closing correlated to a large decrease in guard cell Cl- content. Furthermore, clcc mutants are hypersensitive to salt stress compared to wild-type. Finally, using electrophysiological studies, we demonstrated that AtCLC-c is selective to Cl-. Altogether, this work shows that AtCLC-c is a tonoplastic Cl- transporter involved in stomatal movements and salt tolerance.

Les mouvements stomatiques sont dus à des changements importants du volume des cellules de garde. Un rôle des canaux hydriques membranaires (aquaporines) dans ces processus a été proposé mais n'a jamais été démontré. Des analyses transcriptomiques indiquent que plusieurs aquaporines de la membrane plasmique (PIPs), dont AtPIP1;2 et AtPIP2;1, sont exprimées dans la cellule de garde. Dans ce travail, nous avons étudié la fonction de ces deux aquaporines dans les mouvements stomatiques. Les stomates des mutants d'insertion pip1;2 et pip2;1 montrent une ouverture normale à la lumière et aux faibles concentrations en CO2, une fermeture normale en réponse à l'obscurité et aux fortes concentrations en CO2, mais sont quasiment insensibles à la fermeture induite par l'ABA. Le rôle d'AtPIP1;2 et d'AtPIP2;1 dans le transport d'eau a été testé en mesurant la perméabilité hydrique de protoplastes (Pf) à l'obscurité, à la lumière ou à la lumière et en présence d'ABA. Le Pf des protoplastes de cellules de garde de pip2;1 est réduit de façon significative, spécifiquement en présence d'ABA. Comme la production extracellulaire de peroxyde d'hydrogène (H2O2) est essentielle pour la signalisation intracellulaire de l'ABA, nous avons également étudié la possibilité qu'AtPIP1;2 et AtPIP2;1 facilitent la diffusion de l'H2O2 à l'intérieur des cellules de garde en réponse à l'ABA. La cinétique d'accumulation d'espèces réactives de l'oxygène est abolie dans les cellules de garde chez pip2;1, mais pas chez pip1;2. Par ailleurs, dans d'autres types d'approches, nous avons étudié la régulation de ces deux aquaporines après production en levure Pichia pastoris et reconstitution fonctionnelle en protéoliposomes. Une analyse structure fonction a été réalisée avec succès pour AtPIP2;1. Elle montre que le résidu His199 est impliqué dans l'inhibition de l'activité de cette isoforme par les protons et les cations divalents. A l'inverse, le résidu Arg124 rend AtPIP2;1 complètement insensible au calcium, mais n'altère pas sa sensibilité aux protons. La surexpression de formes dérégulées d'AtPIP1;2 et d'AtPIP2;1 dans, respectivement, les mutants pip1;2 et pip2;1, indique que les régulations de l'activité intrinsèque de ces isoformes sont importantes pour leurs fonctions stomatiques. L'ensemble des résultats suggère qu'AtPIP1;2 et AtPIP2;1 ont des fonctions majeures et distinctes dans le transport d'eau et d'H2O2 lors de la fermeture stomatique induite par l'ABA chez Arabidopsis thaliana. / Stomatal movements are mediated by drastic changes in guard cell volume. A role in these processes for water channel proteins named aquaporins has been proposed but not demonstrated. Transcriptome analyses have indicated that several plasma membrane aquaporins (PIPs) including AtPIP1;2 and AtPIP2;1 are expressed in Arabidopsis thaliana guard cells. In the present work, we investigated the function of these two aquaporins in stomatal movements. The stomata of pip1;2 and pip2;1 knock-out mutants showed a normal opening response to light and low CO2, a normal closing response to darkness and high CO2, but were almost insensitive to abscisic acid (ABA)-induced stomatal closure. A direct role of AtPIP1;2 and AtPIP2;1 in water transport was investigated by measurement of guard cell protoplast water permeability (Pf) under darkness, light and light with ABA. The Pf of pip2;1 guard cell protoplasts was significantly reduced, specifically in the presence of ABA. As extracellular hydrogen peroxyde (H2O2) production is essential for intracellular ABA signalling, we also investigated the possibility that AtPIP1;2 and AtPIP2;1 facilitate the diffusion of H2O2 through the guard cell plasma membrane. Time-dependent accumulation of reactive oxygen species in response to ABA was abolished in pip2;1 but not pip1;2 guard cells. In another type of approach, the regulation of the two aquaporins was investigated after production in the yeast Pichia pastoris and functional reconstitution in proteoliposomes. Structure-function analysis was achieved in the case of AtPIP2;1, showing that cytoplasmic residue His199 is involved in both divalent-cation- and proton-mediated gating. In contrast, mutation of Arg124 rendered AtPIP2;1 largely insensitive to calcium while remaining fully sensitive to protons. Over-expression of deregulated forms of AtPIP1;2 and AtPIP2;1 in pip1;2 and pip2;1, respectively, indicated that the gating regulation of these proteins may play an important role in their guard cells functions. Altogether, our results suggest that AtPIP2;1, and to a lesser extent AtPIP1;2, play important and distinct roles in water and H2O2 fluxes during ABA-induced stomatal closure in Arabidopsis thaliana.

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.

This thesis concerns the similarities between Flann O'Brien's novel The Third Policeman and fin-de-siècle literature, more specifically decadent literature and literature of the early avant-garde. The fact that, apart from metafiction, O'Brien's novel does not deal with aesthetics (neither when it comes to the form nor when it comes to the topic) does not invalidate the presence of fin-de-siècle elements or strategies in it; the elements only change and thus adapt to their new environment. Many of them become ironic, other ones actively contribute to the metafictional scope of the novel. The first chapter explains the parallels between The Third Policeman and fin- de-siècle literature in general. It concentrates primarily on decadent literature and its central theme of "unnaturalness." Unnaturalness occurs in variegated forms, such as artifice, artificiality or make-believe. Unnaturalness can be detected also in the protagonists themselves and even (in compliance with the metafiction of the novel) in the form of O'Brien's hellish world where the narrator finds himself. Discovering and experiencing various forms of unnaturalness go hand in hand with sense perception which is what the chapter also refers to - The Third Policeman remarkably reflects descriptions of sense experiences known from...

The thesis concentrates mainly on mapping of specific term "Life style" and compares its conceptions with classical theory of style with respect to period context. The authors who participated in development of the term "Life style" in a Czech aesthetics are introduced in the thesis: Karel Honzík, Oldřich Stefan, Ladislav Žák and mainly Bohuslav Brouk, who was engaged in the topic the most by far. The aim of the thesis is to analyze and understand specific and original interpretation of style proclaimed by Bohuslav Brouk and his peers and followers. The second aim is to do a subsequent research of the status of the aesthetic function in the theory of "Life style". Powered by TCPDF (www.tcpdf.org)

Nesta dissertação, procuramos, a partir da Grande Exposição Universal de Londres em 1851, o início de um debate mais intenso de aproximação da arte com a indústria para, assim, perceber como elementos estéticos começam a permear a vida cotidiana. Essas questões ganham fôlego com as vanguardas, principalmente, com a Bauhaus de Walter Gropius e com o ready-made de Marcel Duchamp. Problematizar como cada um desses artistas buscou o novo, para aproximar Arte e Vida, usando estratégias diferentes, mas recorrendo ao mesmo suporte: o objeto. Ao longo do século XX, perceberemos como, no pós-segunda guerra, há uma mudança no contexto histórico e como as artes plásticas e aplicadas respondem ao debate: arte e indústria, ready-made e Bauhaus. Veremos que as respostas serão com a pop art e as vanguardas italianas do design. Nas décadas de 1960 e 1970, analisamos a sobrecarga da narrativa moderna, tendo a implosão do conjunto residencial Pruitt-Igoe como marco desse processo. O resultado é o ocaso das vanguardas e a centralidade da cultura Kitsch, que inverte a questão levantada por elas de aproximar arte e vida; agora, é a vida cotidiana naquilo que tem de mais banal que se aproxima da arte. As consequências dessa mudança são as repetições de imagens do passado e a descontinuidade na história da arte. Assim, demonstraremos como a arte e os objetos de uso colaboraram com a construção do modo de vida nessa nova tradição. / In this research, we have studied, as from the Great Exhibition of the Works of Industry of All Nations in 1851, in London, the start-up of a more intense debate on the approximation of Art with Industry for, thus, realizing how aesthetic elements begin to make part of everyday life. Such issues are increased with the Avant-Gardes mainly with Walter Gropiuss Bauhaus and the Marcel Duchamps Ready-mades. We have also studied how each of these artists had searched the \"new\" to approach Art and Life using different strategies but the same support: the object. During the 20th century, after the second World War, we may realize that there is a change in the historical context and how Visual Arts and Applied Arts answer to the debate: Art and Industry, Ready-made and Bauhaus. We may see that the answers will be with Pop Art and the Italian Design Vanguards. In the decades of 1960 and 1970, we have analised the overload on the modern narrative, having the implosion of the Pruitt-Igoe residential condo as this process\' milestone. The result is the Avant- Gardes twilight and the Kitsch culture centrality, which inverts the issue they bring up in order to approach Art and Life; now, on the other hand, it\'s everyday life that is close to Art in what it has of most banal. This change consequences are the repetitions of past images and the discontinuity in Art History. Thus, we may demonstrate how Art and objects of use have contributed with the way life construction in this new tradition.

Historically, Surrealism is defined as a literary and artistic movement which developed from Dadaism in the early twentieth century. Many artistic and literary historians assess that the lifespan of Surrealism did not persist beyond the 1960’s – that in fact, after notable surrealist such as René Magritte, Man Ray, Max Ernst and Salvador Dali challenged the limited cultural assumption of rationalism, the pursuit to explore and visualize the subconscious faded from artistic ambition. However, the purpose of this paper is to propose an alternative notion that suggests that digital interactive mediums – such as contemporary games and virtual technologies – have revitalized Surrealism, enabling game developers to build upon the initial philosophies made popular by the avant-garde movement. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2017. / FAU Electronic Theses and Dissertations Collection

Privilegiando os textos produzidos por Ad Reinhardt como fonte primária, o trabalho procurou apontar o desenvolvimento de seu pensamento e o lugar de seus escritos em relação aos debates da crítica de arte que nortearam a produção das vanguardas norteamericanas até a década de sessenta do século XX e analisou a influência de seus escritos em autores que escreveram nesta mesma década. Primeiramente, o trabalho investigou as apropriações que as idéias vinculadas às vanguardas artísticas européias sofreram em confronto com as necessidades peculiares ao ambiente cultural norte-americano dos anos trinta. Num segundo momento, analisou-se como este debate é atualizado a ponto de servir de base para a criação e produção de uma vanguarda artística norte-americana, que, por sua vez, é oficializada e institucionalizada nos anos do pós-guerra. Anos estes que, não por acaso, marcam a tentativa de imposição mundial, no pleno andamento da guerra fria, do american way of life através da consolidação da cultura de classe média. Nesse contexto, tendo em vista o posicionamento de Ad Reinhardt, o questionamento se encaminha em direção aos limites e possibilidades do viés crítico implícito em seus escritos em relação às sociedades articuladas em torno do consumo de mercadorias, tal como ficou configurado na experiência norte-americana do pós-guerra. Nesse sentido, a investigação se conduziu para a verificação das circunstâncias nas quais os textos de Reinhardt são lidos, especialmente por seus colegas, a partir de meados dos anos sessenta. Em suma, este itinerário, ao final de seu percurso, procurou demonstrar a importância, em meio ao debate do modernismo norte americano, do conceito central de Ad Reinahdrt: Art-as-Art e das idéias a ele relacionadas. / Considering the texts produced by Ad Reinhardt as a primary source, the study aimed to show the development of his thinking and the place of his writings in the domain of the discussions of art criticism that guided the production of North American avant-garde to the sixties of the twentieth century and examined the influence of his writings on authors who wrote in this same decade. Firstly, the work investigated the appropriations that the ideas linked to European artistic avant-garde suffered by comparison with the needs peculiar to the American cultural environment of the thirties. In a second moment, it analyzed how this debate is updated to serve as a basis for the creation and production of an artistic avant-garde of U.S., which, in turn, is made official and institutionalized in the post-war years. Years that, not by chance, marks the attempt to impose worldwide, in full progress of the cold war, the \"American way of life\" by consolidating the culture of middle class. In this context, considering the position of Ad Reinhardt, the question is shifted toward the limits and possibilities of the critic position implicit in his writings in contrast with the society articulated around the consumption of goods, as was set up in the post-war North American experience. In this sense, research is guided to verify the circumstances in which the Reinhardts texts are read, especially by his colleagues from the mid-sixties. In short, this route, at the end of its journey, sought to demonstrate the importance, in the midst of the debate on North American modernism, of the central concept of Ad Reinhardt: Art-as-Art, and the ideas related to it

A Poética Multifacetada de Jerome Rothenberg investiga o modo operacional da poética de Jerome Rothenberg (1931). Nascido em Nova York, em 1931, Rothenberg fez parte de uma geração intermediária entre movimentos poéticos bastante conhecidos de público e crítica: a poesia beatnik dos anos 1950 e 1960 e a language poetry do início da década de 1970. Junto com o poeta Robert Kelly, Rothenberg concebe a deep image nos anos 1960, movimento de curta duração, mas essencial para seu desenvolvimento poético. Rothenberg é conhecido principalmente por ter criado o termo etnopoesia e por seus experimentos com o que chamou tradução total, ao traduzir a poesia indígena norteamericana. A tradução total foi um método inovador de considerar a musicalidade, a presença de distorções de palavras ou palavras sem sentido, e outros mecanismos poéticos das artes verbais indígenas como parte integrante da composição. Dessa forma, o resultado da tradução deveria necessariamente contemplar todos esses aspectos. A partir de seu dito o primitivo é complexo Rothenberg passa a considerar aspectos poéticos da produção oriunda de culturas orais, ditas primitivas, como a base de seu conceito de etnopoesia. Sua busca pelo primitivo também o conecta diretamente com outros autores lidos como experimentais na poesia, de William Blake e Walt Whitman a Allen Ginsberg, passando por uma tríade modernista: Ezra Pound, William Carlos Williams e Gertrude Stein. A hipótese desta tese é demonstrar que o impulso etnopoético, aparentemente restrito ao seu trabalho como antologista e suas traduções, na realidade é mais abrangente e inclui sua própria produção poética. A etnopoesia se torna o conceito pelo qual podemos ler o seu retorno à sua ancestralidade judaica e seus poemas que tratam de temas como a vida dos judeus na Polônia dos anos 1930, a tradição mística da cabala e o Holocausto. A tese aborda também questões como inserção no meio poético, autoria, influência e originalidade / The Multifaceted Poetry of Jerome Rothenberg deals with the methods applied by Jerome Rothenbergs poetics. Born in New York, in 1931, Rothenberg was part of a generation in between well known poetic movements: the beatnik poetry from the 1950s e 1960s and the language poetry of the 1970s. With fellow poet Robert Kelly, Rothenberg starts the deep image in the 1960, a short-lived movement, yet an essential one for his poetic development. Rothenberg is better known for having coined the term etnopoetry and for his experimentations with what he called total translation, while working with North-American Indian poetry. Total translation was an innovative method in considering musicality, the presence of word distortions or meaningless words and other poetic mechanisms of Indian poetry as an integral part of a poem or song, so that the resultant translation would necessarily contemplate all these aspects. From the perspective of his saying primitive is complex, Rothenberg starts considering the characteristics of poetry from oral culture, or those called primitive, as the basis for his concept of an etnopoetics. His search for the primitive also connects him with authors read as experimental in poetry, from William Blake and Walt Whitman to Allen Ginsberg, passing through the modernist triad Ezra Pound, William Carlos Williams and Gertrude Stein. The hypothesis of this thesis is to show how the etnopoetic impulse, apparently restricted to his work as anthologist and translator, is, in reality, much more broad in its spectrum and includes his own poetic production. Etnopoetry then becomes the concept we can use to read his return to his Jewish ancestrality and the poems dealing with topics such as the life of Jews in Poland in the 1930s, the mystical kabbalah and the Holocaust. This thesis also shows his insertion in the poetic scene, and debates questions like authorship, influence, and originality