Originally presented as the author's thesis (doctoral--Academy of Fine Arts, 2001). / Includes bibliographical references (p. 184-188) and index.

The thesis will be divided into the following parts: the introduction will focus on the objectives of the research, review of literature, and the blueprint of methodology. Chapter One will define some basic concepts and introduce the historical background. Chapter Two will explore the relationship between modern city and the Avant-garde drama in terms of "modern city", thus leading to four relevant parts: new ways to understand space and time, cultural transformation, global spectacle and new media. Chapter Three will turn to the definition of the Avant-garde drama, discussing the relationship between the specific areas of drama (drama practitioners, motives of the drama, stage scenery, spectatorship, and body) and the modern city. Chapter Four will analyze in details the cases in two metropolis: Beijing and Shanghai, particularly comparing their cultural background, production situation, the type and quality of the production and the spectator groups. The variation of the urban culture influences the production choices of the Avant-garde drama; while the Avant-garde drama reflects the cultural transformation of different cities. In addition, this chapter will briefly analyze the drama as a carrier of cultural interaction of cities, and I will conduct a comparative study in this interchange and interaction. The results of the above research will be concluded in the final chapter. / The thesis will discourse on the context of contemporary mainland China, and analyze the inner tensions lying in a complex matrix of contending relationships between the modern city and the Avant-garde drama. I will try to explore the characteristics, situation, evolution and future possibilities of the dramas in the context of modern urban society, while probing into the situation and symptoms of modern Chinese cities in relation to the Avant-garde drama. I will find out the construction of the power relationships concomitant with the cultural transformation in mainland China from 1990s, and will explore the possibility of the Avant-garde theatre as a public space as well as the modern city's stimulation and facilitation of this possibility. / 李婭菲. / Advisers: Thomas Luk; Natalia Chan. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: 1840. / Thesis (doctoral)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (p. 214-230). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. Ann Arbor, MI : ProQuest Information and Learning Company, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Li Yafei.

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

This dissertation is a comparative study of the Russian and Czech avant-gardes and their responses to the crises of representation and artistic language in the first decades of the 20th century. In particular, it examines the theoretical and creative output of two artists who worked at the intersection of the word and image: the poet Vladimir Mayakovsky and the visual artist Karel Teige. Both artists were central figures in the founding and theoretical articulation of Russian Futurism and Czech Poetism, respectively. The chapters trace these artists’ artistic evolutions, from their earliest conceptions of a crisis in art to the development of solutions for overcoming this crisis. The theoretical and creative output of these figures is examined both within the artists’ individual oeuvres, as well as in light of their respective artistic movements and the broader tendencies of the international avant-garde. Chapter 1 traces Mayakovsky’s response to the crisis from his initial impulse toward abstraction, characteristic of the Russian Cubo-Futurist movement in the verbal and visual arts more broadly, to the introduction of a political agenda into his art. On the basis of Mayakovsky’s participation in collective Futurist publications, his individually authored theoretical essays, and narrative poems, this chapter argues that the poet’s solution to the crisis of language coalesced around the possibility of realizing democratic representation in art. The chapter shows that in poems written between 1914 and 1921, Mayakovsky was concerned with the question of how to accommodate others’ voices in lyric poetry, how to allow them to speak in and through his works. His vision of a more democratic form of representation necessitated the poet’s metaphorical self-sacrifice, which he repeatedly performed in his poems on the level of plot. This sacrifice enabled him to realize his vision of democratic representation in the idea of collective authorship performed in his narrative poem 150,000,000. Chapter 2 highlights Karel Teige’s response to the crisis of artistic language and representation in his theoretical essays and artworks. By contrast to Mayakovsky’s politicized response, Teige prioritized formal innovation. More specifically, this chapter argues that Teige viewed the fusion of the word and image in a multimedia art form as a solution to the parallel crises that afflicted the visual and the verbal arts. This desired fusion remained a constant of Teige’s artistic solutions throughout the 1920s. His first attempts to overcome the crisis are contained in the Poetist conception of “image poetry,” which incorporated words, painted images, photographs, and other materials. The photograph, understood as a direct imprint of reality, introduced the element of the real into image poetry and thereby transfigured the word and image. After image poetry, Teige went on to replay his formal solution to the crisis of representation in another fused form—the typophoto, which was integrated into the experimental multimedia book ABCs (1926). The introduction and conclusion frame these case studies in terms of the broader trends that inform the artistic experiments of these figures. More specifically, the introductory chapter grapples with questions of how the crisis of language and representation at the turn of the 20th century can be conceptualized. Arguing that the artistic experimentation of the 1910s and the 1920s represents a continuity of what Foucault calls the modern episteme, the introduction at the same time seeks to address the fissures and breaks represented by abstraction in art and the proto-structuralist understanding of the sign in linguistics. The conclusion addresses the role of figurative language in the articulation of the crisis and maintains that while the language of crisis was productive for artistic experiment, it confined the avant-garde to perpetual renewal of forms and artistic language.

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

Orientador: Marcio Seligmann-Silva / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-05T21:15:30Z (GMT). No. of bitstreams: 1 BritoJunior_AntonioBarrosde_M.pdf: 1183590 bytes, checksum: 16676ba4bc4f7572761d10c569f1a4ad (MD5) Previous issue date: 2006 / Resumo: Esta dissertação lida com os conceitos de obra aberta, vanguarda e kitsch, nas obras teórico-críticas do semiólogo italiano Umberto Eco, com o objetivo de observar como o conceito de obra aberta esclarece e fundamenta uma dialética entre norma e invenção, em artes, e entre vanguarda e kistch, no cenário artístico contemporâneo. Na primeira parte, revisamos as bases epistemológicas de Eco, em particular os trabalhos de Luigi Pareyson e dos formalistas russos; em seguida, tratamos dos principais conceitos de sua teoria semiótica, a fim de compreender (a) o conceito de abertura, mediante a dicotomia entre mensagens estéticas e mensagens referenciais; (b) como a abertura promovida pelas mensagens estéticas desafiam os hábitos interpretativos impostos pelo uso repetitivo das mensagens referenciais; e (c) como é possível, a partir disso, construir uma ideologia contestadora. De posse de um modelo estrutural, buscamos compreender como se dá a dialética entre vanguarda e kitsch, analisando as suas respectivas implicações ideológicas face aos argumentos anteriores. Na segunda parte, propusemos uma discussão da poética do Pós-modernismo com base nas reflexões acima, evidenciando a sua possibilidade de difundir, mediante uma linguagem paródica, uma ideologia contestadora, na medida em que ela exibe um elevado grau de abertura. Finalizamos com um breve estudo dos romances de Eco, apontando para uma contradição entre o que ele postula como valor artístico no plano teórico e o que ele produz como ficcionista / Abstract: This dissertation deals with the concepts of open work, avant-garde and kitsch present in the theoretical and critical works of the Italian semiologist Umberto Eco, in order to observe how the concept of open work sheds light upon and founds a dialectic between norm and invention in the field of the arts, and between avant-garde and kitsch in the contemporary artistic scenery. In the first section, we review Eco¿s epistemological basis, in particular the works of Luigi Pareyson and the works of the Russian formalists; afterward, we deal with the main notions within Eco¿s semiotic theory, in order to grasp (a) the concept of openness, by means of the dichotomy between aesthetical messages and referential messages; (b) how the openness fostered by the aesthetical messages challenges the interpretative habits imposed by the repetitive use of the referential messages; and (c) how is it possible, since that, to build a controvert ideology. In possession of a structuralist model, we intend to comprehend how the dialectic between avant-garde and kitsch art sustain itself, by the analysis of their respective ideological implication in face of the preceding argumentation. In the second section of this dissertation, we propose a discussion of the poetics of postmodernism based on the ideas above, trying to evince its possibility to diffuse a controvert ideology by means of the parody, while it shows a high degree of openness. We finalize this dissertation with a short study of Eco¿s novels, when we point to a contradiction between what he postulates as the artistic value in the field of theory and what he actually produces as novel writer / Mestrado / Teoria e Critica Literaria / Mestre em Teoria e História Literária

Orientador: Iara Lis Franco Schiavinatto / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-11T21:48:18Z (GMT). No. of bitstreams: 1 Zerwes_ErikaCazzonatto_M.pdf: 7142214 bytes, checksum: 5ff053df25eee0a0095af8bfefeba586 (MD5) Previous issue date: 2008 / Resumo: Buscou-se com este estudo analisar as fotografias produzidas pelo construtivista russo Aleksandr Rodchenko, entre 1924 e 1930, a partir de suas tramas internas, e a relação entre as imagens e o engajamento político do artista. Em sua concepção, a arte possuía um papel efetivo na construção da sociedade. Isto se daria com o emprego de uma estética fotográfica revolucionária, que, demandando uma postura ativa de seu observador, engendraria um novo homem. Este ficou conhecido como Novo Homem Soviético, noção utópica partilhada pela vanguarda russa. A partir de sua ligação com o formalismo e o futurismo russos, bem como com o grupo LEF, fundado em 1923 pelo poeta Maiakovski, Rodchenko foi pioneiro na construção de uma nova visualidade, que julgava mais coerente com o mundo moderno. Nestes seis anos, ele empenhou-se na reinvenção do fazer e da linguagem fotográficos, explorando sua singularidade técnica. / Abstract: This study intents to analyze the photographs made by the Russian constructivist Aleksandr Rodchenko from 1924 to 1930, in its inner conformities and the relation between his images and his political engagement. To him, art had an important role in the construction of society. It would be done with a revolutionary photographic aesthetics which demanded from the observer an active posture that would create a new man. This new man became known as the New Soviet Man, a utopist notion that was shared by the Russian avant-garde. From his knowledge of formalist and futurist theories and the LEF group, founded by the poet Mayakovsky in 1923, Rodchenko pioneered in the construction of a new visuality which according to him was more coherent to the modern world. In these six years, he committed himself to the reinvention of photographic making and language, exploring its technical singularity. / Mestrado / Politica, Memoria e Cidade / Mestre em História

Orientador: Nelson Alfredo Aguilar / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-04T02:08:28Z (GMT). No. of bitstreams: 1 Dunaeva_CristinaAntonioevna_M.pdf: 563718 bytes, checksum: 9e1ff31ec246ac81abb6304ae37d9f1b (MD5) Previous issue date: 2005 / Resumo: De Sistemas Novos na Arte (O nóvikh sistiémakh v isskûstvie), 1919, é o primeiro tratado teórico de Kazímir Sievierínovitch Maliévitch (1878, Kíiev ¿ 1935, Leningrado), um dos principais artistas da vanguarda russa, criador do suprematismo, teórico da arte, filósofo e pedagogo. No tratado Maliévitch apresenta e analisa os sistemas novos da arte: o impressionismo, o cubismo, o futurismo, a obra pictórica de Cézanne, Van Gogh e Gauguin, assim como a crítica da arte dita primitiva, a arte da Grécia clássica e a romana, o primitivismo moderno e o academismo. A crítica da arte está ligada à reflexão filosófica sobre o contexto histórico e cultural do surgimento da arte moderna e do suprematismo. O tratado está relacionado às atividades pedagógicas desenvolvidas por Maliévitch. Em 1918 ele é o professor dos Ateliês Artísticos Livres do Estado (SVOMAS ¿ Svobódnyie Khudójestviennyie Mastierskíie), em Petrogrado, e em 1919 ¿ o Mestre-Chefe dos I e II Ateliês Artísticos Livres do Estado em Moscou. Em Vítiebsk cria o grupo UNOVIS (Afirmadores da Arte Nova ¿ Utvierdítieli Nóvogo Isskûstva) e embasa o ensinamento na análise dos sistemas pictóricos. O pintor afirmava que o livro editado em Vítiebsk fora a transcrição de uma das palestras supostamente dadas em Moscou1 / Abstract: ¿On The New Systems of Art¿, 1919, it¿s a first theoretical work of Kazimir Severinovich Malevich. This Russian artist of avant-garde, philosopher and pedagogue was the creator of the suprematism. In this work Malevich introduce the new systems of modern art, such as the impressionism, the cubism, the futurism, the painting of Cézanne, Van Gogh and Gaugain; and also represent the critics on the primeval art, the classic art of Greece and Rome, the modern primitivism and academic art. This critic is connected to philosophical reflection about the historical and cultural context of the birth of modern art and suprematism. In this period of time (1919) Malevich was a professor of the State Free Artistic Workshops (SVOMAS) in Petrograd and master of the I and II State Free Artistic Workshops in Moscow. In Vitebsk he created the Affirmers of the New Art (UNOVIS) group and instructed the pupils on the new systems of the art / Mestrado / Historia da Arte / Mestre em História

Charlotte Moorman (1933–1991) was a Juilliard-trained cellist whose life and work made an indelible mark on the development of the American avant-garde. In her career, Moorman acted as a performer, collaborator, composer, administrator and muse. She solely founded the inaugural New York Avant Garde Festival, and subsequently directed fifteen of these festivals between 1963 and 1980, the feat for which she is most widely acknowledged today. Yet, her revolutionary performance practice, which blurred the lines between her life, her body, and her work, and brought into focus the dynamics of corporeality, the feminine body, female nudity and sexuality, and gendered politics within the contexts of musical performance, has so far escaped serious consideration in the written histories of the American avant-garde. This dissertation describes the nature of Moorman's practice as one that evolved to become inherently and irrevocably embodied, explores how this approach fell at odds with the pervasive avant-garde philosophies of music, and illustrates how her work troubles even a feminist musicological analysis. Further, through a contemporary critique of Moorman's oeuvre which centralizes the social, cultural, and political implications of her body in performance as integral to the work, this project offers a retrospective visibility to the artist which allows for a reframing of her practice as foundational to the aesthetic development of the postwar musical avant-garde. By way of these efforts, Moorman's legacy is presented as one that is both historically significant and vital to current and future musicological discourse.

The prevalence of images of the fragmented bodies of nonhuman animals is largely unaccounted for in the history of interwar European art, photography, and cinema, a result of the historical marginalization of the slaughterhouse to the edges of Western culture. But despite, and sometimes because of, the suppression of the visibility of the abattoir, visions of the grisly world of modern animal production form a sizeable and important subset of avant-garde art, photography, film, and literature beginning in the 1920s. No significant studies have placed images of real, disassembled animals into a broader account of avant-garde photography, nor have they made the connection between the great increase in photographic and filmic art and media in the period and the simultaneously rapid growth of animal production leading up to and during it. I argue that the interwar period witnessed a profound interplay between the industrial slaughterhouse, visual culture, and avant-garde art, marked by the dual meaning of Nicole Shukin’s conceptualization of rendering as both the creating of images of and the material processing of nonhuman animal bodies. I assert that through the use of animal-derived gelatin, the industrial processing of animals helped to fuel the explosive growth of photography, cinema, and thus visual culture in the period. I examine a number of examples of artistic and photographic works that picture slaughter animals, ironically through a medium (photography) that is materially tied to the history and conditions of the abattoir, revealing a poignant connection between the content of the images seen and the form of their material substrate. I further read the photographic projects under study in this dissertation as each in their own way turning our attention to the material precarity of the animal body, both human and nonhuman, and a questioning of the human/animal divide that had been accelerating since the nineteenth century.