Results for 'Avant-garde'

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Bibliography: Avant-Garde Film in Aesthetics
  1. Five Faces of Modernity: Modernism, Avant-Garde, Decadence, Kitsch, Postmodernism.Matei Calinescu - 1987 - Duke University Press.
    _Five Faces of Modernity_ is a series of semantic and cultural biographies of words that have taken on special significance in the last century and a half or so: _modernity_, _avant-garde_, _decadence_, _kitsch_, and _postmodernism_. The concept of modernity—the notion that we, the living, are different and somehow superior to our predecessors and that our civilization is likely to be succeeded by one even superior to ours—is a relatively recent Western invention and one whose time may already have passed, if (...)
     
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  2.  64
    Temporalization as Transcendental Aesthetics - Avant-Garde, Modern, Contemporary.Peter Osborne - 2013 - Nordic Journal of Aesthetics 23 (44-45).
    Reflections on the relationship of aesthetics to politics tend to circle, almost compulsively, around a relatively stable set of conceptual oppositions, inherited from German philosophies of the late 18th century. This essay proposes an expansion of the theoretical terms of the debate by extending the field of transcendental aesthetics into the domain of historical temporalization. Fundamental art-historical categories may thereby be incorporated, philosophically transformed, into ‘aesthetics’ as forms of historical temporalization: avant-garde, modern, contemporary. The essay expounds two theses, in (...)
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  3.  27
    Postpositivism and the Logic of the Avant-Garde.Serge Grigoriev - 2019 - History and Theory 58 (1):89-111.
    The purpose of this paper is to explore the conditions under which the post-positivist interest in rewriting or reinterpreting history could operate legitimately from an historical point of view. The first part of the paper outlines and explains some of the key thematic elements of historical post-positivism. The second, proceeds to investigate how these elements can be configured and related to each other within Arthur Danto’s influential account of the development of contemporary art, and especially the avant-garde. The intention (...)
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  4.  64
    Art, Mimesis and the Avant-Garde: Aspects of a Philosophy of Difference.Andrew Benjamin - 1991 - Routledge.
    Art, Mimesis and the Avant-Garde explores the relationship between art and philosophy. Andrew Benjamin argues for a reworking of the task of philosophy in terms of the centrality of ontology. It is in relation to this centrality, understood through the differences between modes of being, that art, mimesis, and the avant-garde come to be presented. A fundamental part of this book is the original interpretations of important contemporary painters and their themes: Lucian Freud's self-portraits, Francis Bacon 's use (...)
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  5.  23
    A New Avant-Garde?Gerald Keaney - 2011 - Rethinking Marxism 23 (4):556-564.
    Many artists who identify as politically committed are suspicious of art due to the Situationist argument that revolutionary art is impossible. If right, the argument also rules out a future artistic avant-garde. I believe that, by concentrating on the truthtelling possibilities of art, we can meet the Situationist argument. To do so, it is necessary to change the relationship art has to everyday life. We can then speculate on the form of a future avant-garde.
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  6.  15
    Avant-Garde: Making War, Revolutionary Politics and Art.Dragana Jeremic-Molnar & Aleksandar Molnar - 2008 - Filozofija I Društvo 19 (2):191-220.
    In the article the authors are dealing with the militant potential of the concept of avant-garde. Emerging in the politics and art in the first half of the 19th century and designed to ruin almost the whole tradition of 'bourgeois' enlightenment, political and artistic avant-garde was never capable of emancipating itself from its roots in strategic military thinking. Its true essence was to create battlefields in every domain of public life where the chance was given to ruin civil (...)
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    The Avant-Garde’s Visual Arts in the Context of Santayana’s Idea of Vital Liberty.Krzysztof Skowroński - 2012 - Human Affairs 22 (2):142-160.
    In the present paper, the author looks at the political dimension of some trends in the visual arts within twentieth-century avant-garde groups through George Santayana’s idea of vital liberty. Santayana accused the avant-gardists of social and political escapism, and of becoming unintentionally involved in secondary issues. In his view, the emphasis they placed on the medium and on treating it as an aim in itself, not, as it should be, as a transmitter through which a stimulating relationship with the (...)
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  8.  34
    Making Theory/Constructing Art: On the Authority of the Avant-Garde.Daniel Alan Herwitz - 1993 - University of Chicago Press.
    Artists and critics regularly enlist theory in the creation and assessment of artworks, but few have scrutinized the art theories themselves. Here, Daniel examines and critiques the norms, assumptions, historical conditions, and institutions that have framed the development and uses of art theory. Spurred by the theoretical claims of Arthur Danto, a leader in the philosophy of the avant-garde, Herwitz reexamines the art and theory of major figures in the avant-garde movement including John Cage, Jean-François Lyotard, Jean Baudrillard, (...)
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  9.  19
    Neo-Avant-Garde.David Hopkins & Anna Katharina Schaffner (eds.) - 2006 - Rodopi.
    'ART' AND 'LIFE'... AND DEATH: MARCEL DUCHAMP, ROBERT MORRIS AND NEO-AVANT- GARDE IRONY DAVID HOPKINS Peter Bürger charges avant-garde art of the and 60s ...
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  10. Russian Avant-Garde and Radical Modernism: An Introductory Reader.Denis G. Ioffe & Frederick H. White (eds.) - 2012 - Academic Studies Press.
    I. An introduction -- II. Russian futurism and the related currents -- III. Russian suprematism and constructivism -- IV. The OBERIU circle (Daniil Kharms and his associates) -- V. Russian experimental performance and theater -- VI. Avant-garde cinematography: Sergei Eisenstein and Dziga Vertov.
     
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  11. Theory of the Avant-Garde.Peter Burger - 1984 - Univ of Minnesota Press.
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  12. The Cult of the Avant-Garde Artist.Donald B. Kuspit - 1993
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  13. La Révolution du Langage Poétique l'Avant-Garde À la Fin du Xixe Siècle : Lautréamont Et Mallarmé.Julia Kristeva - 1974
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  14.  13
    Art in Progress: A Philosophical Response to the End of the Avant-Garde.Maarten Doorman - 2003 - Amsterdam University Press.
    In this challenging essay, Maarten Doorman argues that in art, belief in progress is still relevant, if not essential. The radical freedoms of postmodernism, he claims, have had a crippling effect on art, leaving it in danger of becoming meaningless. Art can only acquire meaning through context the concept of progress, then, is ideal as the primary criterion for establishing that context. The history of art, in fact, can be seen as a process of constant accumulation, works of art commenting (...)
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  15. Theorizing the Avant-Garde Modernism, Expressionism, and the Problem of Postmodernity.Richard Murphy - 1999
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  16. Avant-Garde Florence From Modernism to Fascism.Walter L. Adamson - 1993
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  17. Esprit de Corps the Art of the Parisian Avant-Garde and the First World War, 1914-1925.Kenneth E. Silver - 1989
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  18.  29
    Avant-Garde Fascism: The Mobilization of Myth, Art, and Culture in France, 1909-1939.Mark Antliff - 2007 - Duke University Press.
    Fascism, modernism and modernity -- The Jew as anti-artist : Georges Sorel and the aesthetics of the anti- Enlightenment -- La Cité française : Georges Valois, Le Corbusier and fascist theories of urbanism -- Machine primitives : Philippe Lamour and the fascist cult of youth -- Classical violence : Thierry Maulnier and the legacy of the Cercle Proudhon.
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  19. Jaroslav Rössler: Czech Avant-Garde Photographer.Vladimír Birgus & Jan Mlcoch (eds.) - 2006 - MIT Press.
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  20. Leger and the Avant-Garde.Christopher Green & Fernand Léger - 1976
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  21. The British Avant-Garde the Theory and Politics of Tradition.Josephine M. Guy - 1991
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  22. The Avant-Garde.Thomas B. Hess & John Ashbery - 1968 - Macmillan.
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  23. Fascist Modernism: Aesthetics, Politics, and the Avant-Garde.Andrew Hewitt - 1993 - Stanford University Press.
    Using the literary work of Filippo Tommaso Marinetti, the founder of the Italian Futurist movement and an early associate of Mussolini, the author explores the point of contact between a "progressive" aesthetic practice and a "reactionary" political ideology.
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  24. Health and Happiness in 20th-Century Avant-Garde Art.Donald B. Kuspit & Lynn Gamwell - 1996
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  25. Psychostrategies of Avant-Garde Art.Donald Kuspit - 2002 - Journal of Aesthetics and Art Criticism 60 (3):279-280.
     
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  26. The Avant-Garde Finds Andy Hardy.Robert B. Ray - 1995 - Harvard University Press.
     
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  27. The Russian Avant-Garde Book, 1910-1934.Margit Rowell, Deborah Wye & N. Museum of Modern Art York - 2002
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  28. The Avant-Garde: Race, Religion, War.Mike Sell - 2011 - Seagull Books.
     
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  29. Popular Avant-Garde.Renée M. Silverman (ed.) - 2010 - Rodopi.
     
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  30. Seurat and the Avant-Garde.Paul Smith - 1997
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  31. Women, Destruction, and the Avant-Garde: A Paradigm for Animal Liberation.Kim Socha - 2012 - Rodopi.
  32. The Will to Chance: Necessity and Arbitrariness in the Czech Avant-Garde From Poetism to Surrealism.Malynne M. Sternstein - 2007 - Slavica Publishers.
    Against arbitrariness -- The plastic word -- The simultaneous vision -- Each of us tracks his own toad -- The bed in the background : the erotics of chance in the discourses of Czech surrealism -- The poet and the hangman.
     
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  33. Avant-Garde Und Industrie.Stanislaus von Moos, Chris Smeenk & Technische Hogeschool Delft - 1983
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  34. Speaking for Vice Homosexuality in the Art of Charles Demuth, Marsden Hartley, and the First American Avant-Garde.Jonathan Weinberg, Charles Demuth & Marsden Hartley - 1993
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  35. The Challenge of the Avant-Garde.Paul Wood (ed.) - 1999 - Yale University Press.
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  36.  46
    John Zorn: Autonomy and the Avant-Garde.Ted Gordon - 2012 - Avant: Trends in Interdisciplinary Studies 3 (T):329-343.
    This essay is an excerpt for a larger paper exploring the concept of autonomy as it emerges in the life and work of the composer, performer, record label executive and club-owner John Zorn. Zorn’s activities over his wide-ranging career span from performing at jazz lofts in the 1970s to winning the MacArthur “genius” grant in 2008, while maintaining his status as a prolific composer and producer of avant-garde music. In interviews, documentaries, and in his music, Zorn often comments on (...)
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  37.  26
    Global Justice and Avant-Garde Political Agency.Lea Ypi - 2011 - Oxford University Press.
    Global Justice and Avant-Garde Political Agency offers a fresh, nuanced example of political theory in an activist mode. Setting the debate on global justice in the context of recent methodological disputes on the relationship between ideal and nonideal theorizing, Ypi's dialectical account shows how principles and agency really can interact.
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  38.  17
    Lea Ypi on Global Justice and Avant-Garde Political Agency: Some Reflections.David Miller - 2013 - Ethics and Global Politics 6 (2):93-99.
    Lea Ypi’s book Global Justice and Avant-Garde Political Agency is a very rich book, and one cannot hope to do it justice in the space of a short discussion.1 In this commentary I will focus on the second part of her title, reserving for another occasion her interesting discussion of equality and sufficiency as principles of global justice. Here I will restrict myself to some remarks about method in political theory, and especially the idea of avant-garde political theory, (...)
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  39.  2
    The Eames Office, the Cold War and the Avant-Garde: Making the Lab of Tomorrow.Ryan Bishop - forthcoming - Theory, Culture and Society:026327642095804.
    The design office of Charles and Ray Eames was a collaborative, interdisciplinary, multimedia affair linking Hollywood, the State Department, universities, the corporate sector and international fairs during the height of the Cold War. Bringing together design, furniture, cutting-edge technology and experimental, avant-garde informed-multiscreen projections, the Eames Office operated as a humanities/IT/media/arts lab. For the 1964 World’s Fair, the Eameses created ‘The Information Machine’ for IBM. The techniques of display and experimental juxtaposition of images, sound and new media capacities later (...)
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  40. The Aesthetics of Anarchy: Art and Ideology in the Early Russian Avant-Garde.Nina Gurianova - 2012 - University of California Press.
    In this groundbreaking study, Nina Gurianova identifies the early Russian avant-garde as a distinctive movement in its own right and not a preliminary stage to the Constructivism of the 1920s. Gurianova identifies what she terms an “aesthetics of anarchy”—art-making without rules—that greatly influenced early twentieth-century modernists. Setting the early Russian avant-garde movement firmly within a broader European context, Gurianova draws on a wealth of primary and archival sources by individual writers and artists, Russian theorists, theorizing artists, and German (...)
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  41.  10
    Listening to the Avant-Garde.Rahul Rao - 2013 - Ethics and Global Politics 6 (2):101-107.
    In her book Global Justice and Avant-Garde Political Agency, Lea Ypi revisits the debate over the scope of justice between cosmopolitans and statists, which has been constitutive of the field of international normative theory. Against statists, Ypi defends the global scope of egalitarian principles of justice, deriving them from a causally fundamental relationship between relative and absolute deprivation. Against cosmopolitans, she demonstrates that associative political relations play an essential role in implementing egalitarian principles of global justice and that condemnations (...)
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  42.  68
    The Paradox of Public Art: Democratic Space, the Avant-Garde, and Richard Serra's "Tilted Arc".Caroline Levine - 2002 - Philosophy and Geography 5 (1):51 – 68.
    This essay interprets the controversy over Richard Serra's monumental sculpture, Tilted Arc , which was designed for a public plaza in downtown Manhattan in 1979 and then torn down five years later after intense public outcry. Levine reads this controversy as characteristic of contemporary debates over the arts, which continue the tradition of the nineteenth century avant-garde, pitting art against a wider public, and insisting that art must deliberately resist mainstream tastes and values in favor of marginality and innovation. (...)
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  43.  78
    Art-House Cinema, Avant-Garde Film, and Dramatic Modernism. Cardullo - 2011 - Journal of Aesthetic Education 45 (2):1-16.
    The most important modes of film practice, in my view, are art-house cinema and the avant-garde, both of which contrast with the classical Hollywood mode of film practice. While the latter is characterized by its commercial imperative, corporate hierarchies, and a high degree of specialization as well as a division of labor, the avant-garde is an “artisanal” or “personal” mode. Avant-garde films tend to be made by individuals or very small groups of collaborators, financed either by the (...)
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  44. Franciszka Themerson's "Ubu Comic Strip" : Autography, Caricature, and the Avant Garde.Barnaby Dicker - 2010 - In Renée M. Silverman (ed.), Popular Avant-Garde. Rodopi.
     
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  45. Reading Freire in London : Jo Spence's Photographs Between Popular and Avant-Garde.Siona Wilson - 2010 - In Renée M. Silverman (ed.), Popular Avant-Garde. Rodopi.
     
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  46.  35
    Introducing Avant-Garde Film, on Michael O'Pray Avant-Garde Film: Forms, Themes and Passions.William C. Wees - 2004 - Film-Philosophy 8 (2).
    Michael O'Pray _Avant-Garde Film: Forms, Themes and Passions_ London and New York: Wallflower, 2003 ISBN 1 903364 56 6 136 pp.
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  47.  35
    The Bankruptcy of Left-Wing Kulturkritik: The “After the Avant-Garde” Conference.Richard Wolin - 1985 - Telos: Critical Theory of the Contemporary 1985 (63):168-173.
    The words of the keynote speaker at the “After the Avant-Garde” Conference (University of Houston, March 6-9, 1985) were destined to fall on deaf ears. Here was the 55-year-old Hans Magnus Enzensberger—poet, essayist, editor of Kursbuch —who 15 years earlier had argued for a left-wing “takeover” of the media for revolutionary ends. Yet this night he had a more Socratic wisdom to convey: an innate distrust of the concept of the avant-garde, a notion that suggests the obligation of (...)
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  48.  27
    The Notion “Ideology” in the Context of the Russian Avant-Garde.Dennis Ioffe - 2012 - Cultura 9 (1):135-154.
    This article discusses the role of ideology in the Avant-Garde of both Russia and Western Europe. For this purpose, it is necessary to clearly delineate “ideology”and “politics,” which takes up the first part of this study. A number of different views of these aspects, as expressed by several critical approaches with respect to the Russian Avant-Garde, are confronted and critically examined.
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  49.  23
    Theory of the Avant-Garde.Daglind Sonolet - 1984 - Telos: Critical Theory of the Contemporary 1984 (61):186-197.
    Last Spring two important German books on aesthetics finally appeared in English: Adorno's unfinished Aesthetic Theory, intended to summarize his philosophy and sociology of modern culture, and Büger's Theory of the Avant-Garde, in many ways a dialogue with Adorno and critical theory. Peter Bürger, a professor of French and comparative literature at the university of Bremen, has published extensively on a broad spectrum of classical to avant-garde literature, generally trying to combine an outline of a sociology of culture (...)
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  50.  6
    The Avant-Garde and the End of Art.Krzysztof Ziarek - 2014 - Filozofski Vestnik 35 (2).
    Modernism remains a complex and complicated term, contested not only with regard to its historical meaning or period boundaries but also with regard to its relevance for aesthetics and, more broadly, for the contemporary understanding of art. Is modernism the culmination of modernity, its crowning moment or perhaps its tipping point toward the purported postmodernity/postmodernism, or is the radical challenge instigated by modernism’s artistic inventiveness—what I call its avant-garde momentum—still extant and current beyond the apparent succession of modernism by (...)
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