Ecos en la escritura (Échos dans l’écriture) vise à explorer la représentation de l’expérience dans le roman d’avant-garde latino-américain. D’après les idées de Walter Benjamin, nous définissons « l’expérience » comme une façon de donner du sens, tant à une série de perceptions et affections corporelles, qu’au récit historique d’une culture. Depuis la fin du 19e et le début du 20e siècle, l’expérience est radicalement transformée par l’émergence des nouveaux médias et des nouvelles technologies d’inscription, telles que la photographie, le cinéma, le phonographe, la machine à écrire et la radio. Ainsi, en dialogue avec la théorie des médias de Friedrich Kittler et Katherine Hayles et, dans un contexte latino-américain, avec les œuvres de Rubén Gallo et Flora Süssekind, nous analysons un groupe des romans d’avant-garde pour montrer les effets des technologies d’inscription sur les modalités de représentation. Le corpus comprend les romans suivants : Los siete locos (1929) y Los lanzallamas (1931), de Roberto Arlt; Cubagua (1931) de Enrique Bernardo Núñez; La casa de cartón (1928) de Martín Adán; Un año (1935) y Ayer (1935) de Juan Emar; Débora (1927) de Pablo Palacio; Museo de la novela de la Eterna (1925/1967) de Macedonio Fernández. Nous lisons les nouvelles modalités de représentation comme une manière de contestation des modes de représentation du roman réaliste du 19e siècle. Afin de montrer les différentes façons dont ces romans reflètent les changements dans l’expérience, nous avons organisé les chapitres pour démontrer l’éloignement du réalisme et l’incursion progressive des technologies d’inscription. La technologie des médias apparaît, tout d’abord, représentée sous forme de thème ou de manière subtile dans les descriptions de la perception des personnages. Ensuite, la technologie apparaît de manière plus explicite, affectant les modalités de la représentation et la qualité même de l’écriture, en accentuant le virage méta-narratif par lequel le roman d’avant-garde dissout la diégèse du roman réaliste. Enfin, la préoccupation d’avant-garde pour les médias est dirigée vers le substrat matériel du roman, le livre imprimé, dont la disparition ouvre la possibilité à d’autres formes d’inspiration. Ainsi, par l’étude de l’avant-garde latino-américaine, nous réfléchissons aux effets de la technologie dans la formation de l’expérience, et aussi sur les relations entre l’expérience et les formes de représentation. / Ecos en la escritura (Echoes in Writing) explores how the Latin American avant-garde novels represent a type of modern experience. Drawing from the ideas of Walter Benjamin, we define “experience” as a way of making sense of a series of perceptions and bodily affections, on the one hand, and of a certain historical discourse and historicity, on the other. From the 19th century and first decades of the 20th, experience is radically transformed as a result of the emergence of new media and inscription technologies, such as the photography and the cinema, the phonograph, the typewriter, and the radio. In dialogue with the media theorists Friedrich Kittler and Katherine Hayles, and, in Latin American contexts, with the writings of Rubén Gallo and Flora Süssekind, we analyze a group of Latin American avant-garde novels to show the effects of inscription technology on the modalities of literary representation. The corpus includes the following novels: Los siete locos (1929) y Los lanzallamas (1931) by Roberto Arlt; Cubagua (1931) by Enrique Bernárdo Núñez; La casa de cartón (1928) by Martín Adán; Un año (1935) and Ayer (1935) by Juan Emar; Débora (1927) by Pablo Palacio; Museo de la novela de la Eterna (1925/1967) by Macedonio Fernández. We read the new modalities of representation as a contestation of the modes of representations embodied in the 19th century realist novel, still prevalent in the early 20th century. In our presentation of these novels’ representation of the profound shift in experience, we have organized the chapters to demonstrate the move away from the realism and the progressive incursions of inscription technologies. Media technologies first appear as a theme or in a more subtle descriptions of perceptions for the characters, and are later shown to affect the modalities of representation, the very quality of writing, and to inspire a meta-narrative turn that effectively dissolves the diegesis typical of the popular realist novel. Finally, the avant-garde concern for media turns to the novel’s material substratum, the printed book, whose disappearance allows for others forms of inspirations to appear. Throughout this research on the Latin American avant-garde we think about the effects of technology on the constitution and formation of experience, and about the relations between experience and forms of representation. / Ecos en la escritura tiene como objetivo explorar la representación de la experiencia en la novela de vanguardia latinoamericanas. A partir de las ideas de Walter Benjamin, definimos “experiencia” como una manera de dar sentido tanto a una serie de percepciones y afecciones corporales como al relato histórico de una cultura. Desde finales del siglo 19 y comienzos del 20, la experiencia se transforma radicalmente con el surgimiento de nuevos medios y tecnologías de inscripción, tales como fotografía y el cine, el fonógrafo, la máquina de escribir y la radio. Así, en diálogo con la teoría de los medios de Friedrich Kittler y Katherine Hayles, y, en un contexto latinoamericano, con los trabajos de Rubén Gallo y Flora Süssekind, analizamos un grupo de novelas vanguardistas para mostrar los efectos de las tecnologías de inscripción en las modalidades de representación. El corpus se delimita a las siguientes novelas: Los siete locos (1929) y Los lanzallamas (1931) , de Roberto Arlt; Cubagua (1931) de Enrique Bernardo Núñez; La casa de cartón (1928) de Martín Adán; Un año (1935) y Ayer (1935) de Juan Emar; Débora (1927) de Pablo Palacio; Museo de la novela de la Eterna (1925/1967) de Macedonio Fernández. Leemos las nuevas modalidades de representación como una forma de contestación a los modos de representación de la novela realista del siglo 19, aún en vigencia en el siglo 20. Para mostrar las diferentes maneras en que estas novelas reflejan los cambios en la experiencia, hemos organizado los capítulos en función de demostrar el alejamiento del realismo y la progresiva incursión de las tecnologías de inscripción. La tecnología de medios aparece, en primer lugar, representada como tema o bien de manera sutil en descripciones de la percepción de los personajes. Luego, en segundo lugar, la tecnología aparece de manera más explícita, afectando las modalidades de representación y la cualidad misma de la escritura, acentuando el giro metanarrativo con el cual la novela de vanguardia disuelve la diégesis propia de la novela realista. Finalmente, la preocupación de la vanguardia por los medios se dirige al sustrato material de la novela, el libro impreso, cuya desaparición abre la posibilidad de otras formas de inspiración. Así, a través de un estudio sobre las vanguardias latinoamericanas podemos reflexionar sobre el efecto de la tecnología en la formación de la experiencia y también sobre la relación entre experiencia y formas de representación.

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Bočková, A.: Artificialism as a specific Czech inter-war style [Diploma thesis] Prague, 2016 - Charles University, Faculty of Education, Department of Art Education. 118 p. This diploma thesis has the character of comparative analysis, which deals with the Artificialism as specific Czech style in the period between two world wars. This work maps its position in the interwar art. It finds resource for a development of art and literary style similar to poetism or the Devetsil association. The poetism brings a new view of the world. The Artificialism is its visual equivalent that provides identification of the painter and poet, or poetry and image, or the topic of memories of memories. The thesis also presents the main and only two members of Artificialism - Styrsky and Toyen, and discusses their work, ideas, practices and theoretical works. I analyse the tensioned relationship between Artificialism and surrealism in the conclusion. The important finding is that artificialism is the original and most peculiar style of the interwar avant-garde, not only an intermediate step between Cubism and Surrealism, as it was presented in last years. On the base of theoretical part there was made the concept of practically proven didactic series, with reference to the Framework Education Programme and to the...

ENG Esotericism and Occultism in the Italian Literature of the Early Twentieth Century The purpose of this research is to bring contribution to the branch of academic studies dedicated to Western Esotericism with aim to clarify the relationship between this literary field and culture in general. Numerous studies were made in this area of research, specifically tackling the influence of Esotericism on modern and contemporary literature. The goal was to show, in particular, the contribution Italian authors had to establishing of esoteric directions in literature, throughout a limited time-span (last decades of the 19th until the early 20th century). The research, based mainly upon concrete examples and documented resources, portrays the attempt of many writers and entire cultural trends in Italy, during the period considered, to adopt an original approach to expressing themselves, one which will in turn help them to overcome the literary boundaries of that time. This direction found fruitful ground and rooted itself in the esoteric culture, the occult sciences, in the lyrical dimension of dreams and of the unconscious. This study shows the relationship between esotericism and Italian science and culture scene between "fin de siècle and avant-garde", with emphasis on the undeniable influence the...

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This dissertation explores the analysis and creation of compositions from the standpoint of texture and momentum. It is comprised of four chapters. The first presents a number of concepts as tools for analysis, including textural typography and transformation, perception of time and psychological engagement of an audience, and respiration as a metaphor for musical momentum. The second and third chapters apply these tools to Gerard Grisey's "Periodes" and "Partiels," and Brian Ferneyhough's "Lemma-Icon-Epigram." The fourth explores specific methodologies used in composing my dissertation piece, "Phase," including the application of number systems ranging from formal to local levels.

[ES] La presente Tesis aborda el cine de no ficción construido en base a reglas preestablecidas, constricciones o estrategias formales heterodoxas. Piezas fílmicas y videográficas radicales en su forma y en su aproximación a lo real que desafían las convenciones del cine documental y se vinculan con otras prácticas artísticas. Esta investigación teórico-práctica se centra, por un lado, en la búsqueda y análisis de obras de no ficción con una clara vocación minimalista, ligadas al documental de vanguardia, el cine experimental y el videoarte, que se fundamentan en estrategias muy precisas, no como un mero hecho anecdótico, sino como elemento básico que determina la construcción de las mismas. La selección de los filmes y de los videos se ha llevado a cabo analizando sus cualidades para establecer tipologías de estudio y definir la base de modelos teóricos de análisis. Según la técnica o mecanismo utilizado, las cualidades de las películas que se analizan se basan en la restricción del espacio-tiempo, la elección de un único dispositivo formal o algoritmo que estructura toda la pieza, el empleo de estrategias reduccionistas en las que se omiten procedimientos esenciales del cine (como el abandono de la cámara o del montaje) o el uso de fórmulas propias del juego (como el azar o la participación), entre otras. No obstante, nuestro propósito no es tanto hacer un ejercicio de clasificación como de análisis y comprensión de estas fórmulas renovadoras que abren nuevas vías en el cine de lo real. Asimismo, a partir del análisis anterior, nos hemos propuesto idear y generar fórmulas (reglas del juego) que puedan servir de soporte a nuevas obras, ya sean propias o de otros y que presentamos en forma de catálogos y, además, hemos puesto en práctica algunas de estas estrategias en obras videográficas propias e inéditas. / [CA] La present Tesi aborda el cinema de no ficció construït sobre la base de regles preestablides, constriccions o estratègies formals heterodoxes. Peces fílmiques i videogràfiques radicals en la seua forma i en la seua aproximació al real que desafien les convencions del cinema documental i es vinculen amb altres pràctiques artístiques. Aquesta investigació teoricopràctica se centra, d'una banda, en la cerca i anàlisi d'obres de no ficció amb una clara vocació minimalista, lligades al documental d'avantguarda, el cinema experimental i el videoart, que es fonamenten en estratègies molt precises, no com un mer fet anecdòtic, sinó com a element bàsic que determina la construcció d'aquestes. La selecció dels films i dels vídeos s'ha dut a terme analitzant les seues qualitats per a establir tipologies d'estudi i definir la base de models teòrics d'anàlisis. Segons la tècnica o mecanisme utilitzat, les qualitats de les pel·lícules que s'analitzen es basen en la restricció de l'espaitemps, l'elecció d'un únic dispositiu formal o algorisme que estructura tota la peça, l'ús d'estratègies reduccionistes en les quals s'ometen procediments essencials del cinema (com l'abandó de la càmera o del muntatge) o l'ús de fórmules pròpies del joc (com l'atzar o la participació), entre altres. No obstant això, el nostre propòsit no és tant fer un exercici de classificació com d'anàlisi i comprensió d'aquestes fórmules renovadores que obrin noves vies al cinema del real. Així mateix, a partir de l'anàlisi anterior, ens hem proposat idear i generar fórmules (regles del joc) que puguen servir de suport a noves obres, ja siguen pròpies o d'uns altres i que presentem en forma de catàlegs i, a més, hem posat en pràctica algunes d'aquestes estratègies en obres videogràfiques pròpies i inèdites. / [EN] This thesis deals with non-fiction cinema built upon the premise of pre-established rules, constraints or heterodox formal strategies. Radical filmic and videographic pieces both in terms of their form their approach to reality that defy the conventions of documentary cinema and are related to other artistic practices. On the one hand, this theoretical-practical research is centred around the search and analysis of non-fiction works with a clear minimalist vocation, linked to avant-garde documentary, experimental cinema and video art, which are based on very precise strategies, not just as a mere anecdote, but rather as a basic element that determines their construction. The selection of films and videos has been carried out by analysing their qualities to establish study typologies and hence define the basis for theoretical analysis models. Depending on the technique or mechanism used, the qualities of the films that are analysed are based on the restriction of space-time, the choice of a single formal device or algorithm that structures the entire piece, the use of reductionist strategies in which essential cinema procedures are omitted (such as abandoning the camera or montage)or the use of game-related formulas (such as chance or participation), among others. Nevertheless, our purpose is not so much to carry out a classification as to analyse and understand these renovating formulas that open up new avenues in the cinema of reality. Similarly, drawing from the previous analysis, we have suggested to devise and generate formulas (rules of the game) that can serve as support for new works -whether they are our own or those of others- and that we present in the form of catalogues and, in addition, we have put into practice some of these strategies in our own and unpublished videographic works. / Marín Ramos, R. (2022). Reglas del juego: Pautas, constricciones y dispositivos creativos en el cine de no ficción [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/183361 / TESIS

The work focuses on the analysis of the poetics of Vladimir Nabokov's novel Invitation to a Beheading in terms of its cultural context. Specifically deals with its relation to the Soviet theatrical avant-garde, with mythopoetic symbolism and early avant-garde. We approach to the novel as a parody of the post-revolutionary avant-garde Soviet theater experiments. Special attention is paid to the fact that due to the theatralization of the text, i.e. assimilation of the novel space with the theatricals, diegesis of Invitation to a Beheading is divided into two equal opposing worlds, each of which represents particular poetics. World built around main character of Cincinnatus is comparable to symbolism, namely to the symbol and symbolistic perception of Andrei Bely. The central principle of this reality is semiotization of the world. The surrounding fictional world creates its opposite as it is shaped by the principle of desemiotization which - as a central aspect of formalistic-futuristic avant- garde - systematically dismantles hero's world. However neither of these worlds is winning. In the end it is the synthesis, which helps the hero get emancipated from the novel's world. The Invitation to a Beheading can therefore be interpreted as original artist's world manifesto which through presentation and...

1 Abstract The thesis "The image of a woman in the press at interwar Czechoslovakia" deals with the visual presentation of a woman who was an integral part of the First Republic press. The thesis attempts to provide an analysis of selected periodicals (magazines especially for women) in terms of the depiction of women. The thesis surveys the changes in society and lifestyle in this epoch of our history which complements the cultural-historical background of the time and familiarity with contemporary press. The thesis focuses primarily on issues of women's emancipation, which were at that time very current and projected also into all areas of the art. Emancipation influenced significantly the whole Czech artistic creation. We can find some evidence especially in the press, which also mediated the reflection of period. The thesis focuses only on the most important press at these times with regard to its scope. Eva revue was especially important for emancipatory efforts and is compared here with men's magazine Gentleman and avant-garde magazine ReD. The main part of the thesis focuses on the actual image of women, generally and in specific cases. The thesis deals with the image of a woman in selected sections of the interwar women's magazines - fashion, sport and motoring. The thesis compares some newspapers...