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Theory undeclared avant-garde magazines as a guide to abstract expressionist images and ideas /Gibson, Ann. January 1984 (has links)
Thesis (Ph. D.)--University of Delaware, 1984. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 405-437).
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Experimentation and nationalism in Francisco Mignone's works for basson a performance guide to the IInd wind quintet and Concertino /Gillick, Amy Suzanne, January 2008 (has links)
Thesis (D.M.A.)--UCLA, 2008. / Vita. Includes bibliographical references (leaves 105-108) and discography (leaves 101-104).
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"Revolution or death" the Situationist International, capitalism and communication /Bellemare, Michel Luc, January 1900 (has links)
Thesis (M.A.)--Carleton University, 2001. / Includes bibliographical references (p. 221-225). Also available in electronic format on the Internet.
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Between the Atlantic and L'Atlantique a theoretical study of contemporary experimental French and American poetry /Swensen, Cole. January 1900 (has links)
Thesis (Ph. D.)--University of California, Santa Cruz, 1994. / Typescript. Includes bibliographical references (leaves 276-284).
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Uplifted spirits, earthbound machines studies on artists and the dream of flight, 1900-1935 /Siukonen, Jyrki, January 2001 (has links)
Originally presented as the author's thesis (doctoral--Academy of Fine Arts, 2001). / Includes bibliographical references (p. 184-188) and index.
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Drama der russischen und tschechischen Avantgarde als szenischer Text : zur Theorie und Praxis des epischen und lyrischen Dramas bei Vladimir Majakovskij und Vitězslav Nezval /Schwarz, Wolfgang Friedrich, January 1900 (has links)
Diss. : Philosophische Fakultät : Saarbrücken : 1978-1979. - Bibliogr. p. 333-362. -
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Mellan improvisation och komposition : att spela Torsten Nilssons CrucifigaturFergin, Elias January 2018 (has links)
Följande studie handlar om Torsten Nilssons verk Crucifigatur, ett avantgardistiskt musikstycke för orgel komponerat 1968. Det ingår i en svit om sju stycken, kallade ”improvisationer”. Här möts organisten av en varierad notbild ömsom grafiskt ömsom traditionellt noterad. I studien beskriver jag min strategi för att lära mig verket, som innefattar både teoretiska studier samt lektioner och inspelningsanalys, och reflekterar över resultatet. Det ligger i styckets natur att det blir lika många tolkningar som organister, och det finns inga sanningar exakt hur det skall utföras. Ofta finns flera tänkbara och bra lösningar. Jag har i denna studie presenterat mina tankar och förslag på hur stycket kan utformas och instuderas, grundat på efterforskningar, notanalys och samtal med min lärare Nils Larsson. Den musikhistoriska kontexten har även getts stort utrymme. För den som är nyfiken på musiken, tiden eller stycket specifikt hoppas jag denna uppsats kan ge nya perspektiv och infallsvinklar.
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Translation as cultural contraband: translating and writing Russian literature in ArgentinaFauzetdinova, Adel Ramilevna 08 November 2017 (has links)
My dissertation examines the role Russian literature translations played in the shaping of Argentine literature during the first three decades of the twentieth century. By examining the processes of selection, translation, retranslation, and adaptation of Russian works, it analyzes the ways in which translation participated in the redefinition of Argentina’s cultural and literary relations with Europe. Through comparative analysis of the originals and their translations, it traces how translation made Russian literature somber and tragic, and transformed its realism into a detailed copying of reality. It argues that such realism, which was imitated by the Leftist avant-garde group Boedo, that aimed to democratize literature, exposed the incongruence of any representation of reality, which helped the Florida group—the followers of the European avant-garde—to call for a different kind of realism, one that would expose the fiction of literature and reality. By examining the work of Macedonio Fernández, César Tiempo and Roberto Arlt, I trace how Florida’s parody of Boedo’s copying of Russian literary translations were crucial in the development of parody in Argentine literature, helped reinstate the parody and humor that had been overlooked by the translation, and paved the way for the Boom writers.
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Hacia Una Lectura Visual Del Poema Visual Figurativo En La Vanguardia HispanoamericanaJanuary 2011 (has links)
abstract: In the first thirty years of the XX century, an old literary visual tradition was reborn in a series of new striking visual texts better known as calligrams. They were produced by some avant-garde poets such as Vicente Huidobro, José Juan Tablada, Alberto Hidalgo and Carlos Oquendo de Amat in Latin America, and Juan Larrea, Guillermo de Torre, Francisco Vighi, Luis Mosquera, and others in Spain. However, with few exceptions, the interpretation of those written drawings has caught little attention from literary critics. This research, contrasted to that of Willard Bohn's, is a contribution to the deciphering of such literary art form, designated here as the figurative visual poem. It is a proposal for its visual reading which draws from the fact that this type of text is concretely a drawing formed by written verses. As such, it can be regarded as a plastic writing, combining pictorial and verbal signs in one perceptible configuration on the page. The result of this semiotic operation is a hybrid product in which the iconic forms become symbolic and vice versa. It is in fact, an art object which should be approached as a text that can be seen as well as read. The study leads to the conclusion that Willard Bohn misreads the order in which language and image are articulated in the visual poem identified with the second order semiological system proposed by Roland Barthes, placing preeminence on language over image. This results in reading the avant-garde visual figurative poem in an ekphrastic fashion. Consequently, the role of the image in the system is left in an ambiguous realm at the time of deciphering this hybrid text. Our contribution to re-conducting this undertaking has been equally drawn from a semiotic stance taken from Louis Hjemslev that balances language and image as correlates of a semiotic function. Due to the signaling nature of both, language and figure, a visual poem becomes an iconic metaphor as well as a metaphoric icon, and moreover a self-referential sign, thus justifying its status of an autonomous art. / Dissertation/Thesis / Ph.D. Spanish 2011
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La figure de l’auteur comme producteur : littérature et connaissance chez Walter Benjamin, Georg Lukács et Theodor W. AdornoLeguerrier, Louis-Thomas 08 1900 (has links)
No description available.
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