By Sascha Bru
The 1st quantity of the hot sequence ""European Avant-Garde and Modernism Studies"" makes a speciality of the relation among the avant-garde, modernism and Europe. It combines interdisciplinary and intermedial examine on experimental aesthetics and poetics. The essays, written by means of specialists from greater than fifteen nations, search to deliver out the complexity of the ecu avant-garde and modernism by way of touching on it to Europe´s elaborate background, multiculturalism and multilingualism. they target to inquire into the divergent cultural perspectives on Europe taking form in avant-garde and modernist practices and to chart a composite snapshot of the ""other Europe(s)"" that experience emerged from the (contemporary) avant-garde and experimental modernism. How did the avant-garde and modernism in (and outdoors) Europe provide form to neighborhood, nationwide and pan-European varieties of identification and group? To what volume does the transnational alternate and cross-fertilisation of aesthetic traits illustrate the well-rehearsed declare that the avant-gardes shape a mostly eu phenomenon? facing canonised in addition to lesser recognized exponents of modernism and the avant-garde all through Europe, this ebook will entice all these drawn to eu cultural, literary and artwork heritage.
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Extra resources for Europa! Europa?: The Avant-Garde, Modernism and the Fate of a Continent (European Avant-Garde and Modernism Studies)
Here, they turn out to be exemplary. Podbevšek’s radical avant-garde position was fully and provocatively manifested in his para-textual strategies, his (public) manners of presenting himself, and his ideas. For a short period of time, Podbevšek _____________ 16 17 18 Especially influential were the articles on Italian futurism such as Gruden’s detailed article, “L’Italia futurista”, in: Dom in svet, 26, 1913, 333-7, 377-81, 413-5, 453-6. For the young Podbevšek, these reports were his main source of inspiration.
This stereo approach may risk re-establishing the dichotomy of modernism versus the avant-garde, and the next hapless step might then be to use it to categorize works and aesthetic practices in a mutually exclusive fashion. But it should be obvious that my two lists overlap. There is no clear dividing line between the two. The difference is fluid, yet dynamic. 38 Through the metalevel often implicit in that moment, there is also the whole issue of textual self-referentiality, which I could have included in both these lists.
There were those who opposed both the new modern poetry and abstract painting and the American presence for similar reasons: these were foreign elements that undermined the native culture. But then there were those who supported the military contract (which was also economic of course), but saw the new poetry and the painting as threatening foreign presences. Conversely, many of the artists and writers who were radicalizing their aesthetic fields were outspoken opponents of the NATO alliance and the American connection.