Results for 'Avant-garde (Aesthetics) '

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  1. Part III: Chinese Aesthetics. Introduction: From the Classical to the Modern / Gao Jianping ; Several Inspirations from Traditional Chinese Aesthetics / Ye Lang ; The Theoretical Significance of Painting as Performance / Gao Jianping ; A Study in the Onto-Aesthetics of Beauty and Art: Fullness (chongshi) and Emptiness (kongling) as Two Polarities in Chinese Aesthetics / Cheng Chung-ying ; On the Modernisation of Chinese Aesthetics.Peng Feng & Reflections on Avant-Garde Theory in A. Chinese-Western Cross-Cultural Context - 2010 - In Ken'ichi Sasaki (ed.), Asian Aesthetics. Singapore: National Univeristy of Singapore Press.
     
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  2. Retro-Avant-Garde: Aesthetic Revival and the Con/Figuration of Twentieth-Century Time.Tyrus Miller - 2004 - Filozofski Vestnik 25 (2).
    The concept of retro-avant-garde was first advanced by artists working in the late socialist and post-socialist contexts of Eastern Europe, Central Europe, and the territories of the ex-Yugoslavia. In general, its semantic field has been defined by a range of post-modern and mostly post-socialist art practices that draw formal, philosophical, and social inspiration from the politicized, powerfully utopian avant-gardes of the early decades of the twentieth-century, especially in the USSR and East-Central Europe. However, its paradoxical reference forward (...)
     
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  3.  8
    Une avant-garde sans avant-garde.Olivier Zahm - 2017 - [Zurich]: JRP Ringier. Edited by Donatien Grau.
    Un essai sur l'avant-garde des années 1990 (un recueil des textes les plus significatifs d'Olivier Zahm – co-fondateur et directeur du magazine Purple, concepteur de plus d'une cinquantaine d'expositions dans le monde –, écrits sur les trente dernières années, qui offre une lecture radicale de l'art, des années 1990 à nos jours).
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  4.  87
    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 (...)
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  5.  11
    The Total Art of Stalinism: Avante-Garde, Aesthetic Dictatorship, and Beyond by Boris Groys.Mikhail Epstein - 2019 - Common Knowledge 25 (1-3):444-445.
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  6.  10
    The avant-garde: race, religion, war.Mike Sell - 2011 - New York: Seagull Books.
    The Avant-Garde: Race Religion War tells an unprecedented story of radical cultural production in the modern era. Rejecting the idea that the avant-garde is only about art and insisting that it is much more than a European phenomenon, Mike Sell redefines the historical, geographical, ideological, disciplinary and theoretical boundaries of avant-garde studies.
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  7.  4
    Aesthetic revolutions and twentieth-century avant-garde movements.Aleš Erjavec (ed.) - 2015 - London: Duke University Press.
    This collection categorizes aesthetic avant-garde art as art that seeks to politically transform society and argues that such art is essential for political revolution. It provides seven in-depth analyses of twentieth-century aesthetic avant-garde art movements and examines them in relation to revolutionary politics.
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  8.  28
    Neo-avant-garde.David Hopkins & Anna Katharina Schaffner (eds.) - 2006 - Amsterdam: 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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  9.  37
    Avant-garde fascism: the mobilization of myth, art, and culture in France, 1909-1939.Mark Antliff - 2007 - Durham: 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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  10.  10
    The avant-garde finds Andy Hardy.Robert Beverley Ray - 1995 - Cambridge: Harvard University Press.
    Here is a mystery: in 1939, when the Hollywood Studio System, at the peak of its power, produced such films as Gone with the Wind, Ninotchka, Stagecoach, The Wizard of Oz, Mr. Smith Goes to Washington, and Wuthering Heights, the movies' number-one box-office attraction was not Gable, Garbo, Wayne, Garland, Stewart, or Olivier. In 1939, 1940, and 1941, the most popular performer in the American cinema was Mickey Rooney, who owed his success primarily to a low-budget MGM series that concentrated (...)
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  11.  19
    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 (cubism, expressionism, fauvism, Dada, abstractionism, surrealism) 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 (or diverse media) and on treating it as an aim in itself, not, as it should (...)
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  12.  9
    Decentring the Avant-Garde.Per Bäckström & Benedikt Hjartarson (eds.) - 2014 - Amsterdam: Editions Rodopi.
    Decentring the Avant-Garde presents a collection of articles dealing with the topography of the avant-garde. The focus is on different responses to avant-garde aesthetics in regions traditionally depicted as cultural, geographical and linguistic peripheries. Avant-garde activities in the periphery have to date mostly been described in terms of a passive reception of new artistic trends and currents originating in cultural centres such as Paris or Berlin. Contesting this traditional view, Decentring the (...)
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  13.  9
    The aesthetics of matter: modernism, the avant-garde and material exchange.Sarah Posman, Anne Reverseau, David Ayers, Sascha Bru & Benedikt Hjartarson (eds.) - 2013 - Berlin: De Gruyter.
    This volume proposes an in-depth exploration of the materiality of art and writing in modernism and the avant-garde. The essays explore how the avant-gardes and modernism attempted to establish the material specificity and hybridityof media and art forms. The collection sheds light on the full range and import of the aesthetics of matter in avant-garde and modernist practice across all art forms from the 19th century to the present day.
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  14. Avant-Gardes, Afrofuturism, and Philosophical Readings of Rhythm.Iain Campbell - 2019 - In Reynaldo Anderson & Clinton R. Fluker (eds.), The Black Speculative Arts Movement: Black Futurity, Art+Design. Lexington Books. pp. 27-49.
    Here I will put forward a claim about rhythm – that rhythm is relation. To develop this I will explore the entanglement of and antagonism between two notions of the musical avant-garde and its theorization. The first of these is derived from the European classical tradition, the second concerns Afrodiasporic musical practices. This essay comes in two parts. The first will consider some music-theoretical and philosophical ideas about rhythm in the post-classical avant-garde. Here I will explore (...)
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  15.  19
    The Avant-Garde and Technology: Toward Technological Fundamentalism in Turn-of-the-Century Europe.Frank Trommler - 1995 - Science in Context 8 (2):397-416.
    The ArgumentThe avant-garde's fascination with technology around 1900 grew out of several motivations: to shock the antitechnological bourgeois public; to experience a sense of mastery toward the material world, especially with cars, airplanes, and other machines; and to overcome the nineteenth-century separation of art and technology. The article highlights the radical shifts in the perception of technology that correspond with the emerging hands-on encounter with technological objects in homes, cities and at the workplace at the turn of the (...)
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  16.  48
    The aesthetic implications of avant-garde music.Herbert M. Schueller - 1977 - Journal of Aesthetics and Art Criticism 35 (4):397-410.
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  17.  19
    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 (...)
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  18.  10
    The popular avant-garde.Renée M. Silverman (ed.) - 2010 - New York, NY: Rodopi.
    The avant-garde has been popular for some time, but its popularity has tended to fly under the radar. This ¿popular avant-garde,¿ conceived as the meeting ground of the avant-garde and popular, avoids the divorce of art and praxis of which the avant-garde has been accused. The Popular Avant-Garde takes stock of the debates about both the ¿historical¿ (¿modernist¿) and posterior avant-gardes, and sets them in relation to popular culture and (...)
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  19.  5
    Art, Mimesis, and the Avant-Garde: Aspects of a Philosophy of Difference.Andrew E. Benjamin - 1991 - New York: Routledge.
    First published in 1991. Routledge is an imprint of Taylor & Francis, an informa company.
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  20. Aesthetics of the Avant-Garde.Gregg Horowitz - 2003 - In Jerrold Levinson (ed.), The Oxford handbook of aesthetics. New York: Oxford University Press. pp. 749--760.
     
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  21.  8
    American avant-garde cinema's philosophy of the in-between.Rebecca Sheehan - 2020 - New York: Oxford University Press.
    Can films philosophize rather than simply represent philosophical ideas developed outside of the cinematic medium? Taking up this question crucial to the emergent field of film philosophy, this book argues that the films of the American avant-garde do "do" philosophy and illuminates the ethical and political stakes of their aesthetic interventions. The book traces the avant-garde's philosophy by developing a history and theory of its investment in dimensional, conceptual, and material in-betweens, clarifying how this cinema's reflections (...)
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  22.  5
    Paradoxes de l'avant-garde: la modernité artistique à l'épreuve de sa nationalisation.Thomas Hunkeler, Fabien Dubosson & Adriana Copaciu (eds.) - 2014 - Paris: Classiques Garnier.
    Les avant-gardes se sont affirmées par leur volonté de rupture avec les traditions esthétiques et idéologiques de leur époque. Les positions ambivalentes des acteurs de l'avant-garde sont pourtant nombreuses. Cet ouvrage analyse ce paradoxe à travers différents exemples.
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  23. In Praise of a Strategic Beauty. Mario Perniola's Aesthetics between Stoicism, the Baroque and the Avant-Gardes.Enea Bianchi - 2020 - Polish Journal of Aesthetics 4 (59):29-42.
    Several scholars (Bartoloni 2019, Bukdahl 2017, Vogt 2019) focused on Mario Perniola's perspective on art, post-human sexuality and political theory. Yet little has been written on the philosophical and literary sources - specifically Stoicism, the Baroque and the Avant-Gardes - which influenced his standpoint. The objective of this paper is to develop Perniola's conception of a strategically oriented beauty, which implies a connection between the aesthetic element and the political-effectual one.
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  24.  5
    Surveying the avant-garde: questions on modernism, art, and the Americas in transatlantic magazines.Lori Cole - 2018 - University Park, Pennsylvania: The Pennsylvania State University Press.
    Examines art and literature of the Americas through the lens of the questionnaire, a genre as central as the manifesto to the history of the avant-garde. Demonstrates how modernism and the avant-garde were debated at the very moment of their development and consolidation"--Provided by publisher.
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  25.  78
    Art, mimesis, and the avant-garde: aspects of a philosophy of difference.Andrew E. Benjamin - 1991 - New York: 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 (...)
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  26.  8
    Theory of the Avant-Garde.Peter Bürger - 1984 - Univ of Minnesota Press.
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  27.  4
    La naissance des avant-gardes occidentales: 1909-1922.Anne Tomiche - 2015 - Paris: Armand Colin.
    Avant et pendant la Première Guerre mondiale, en Occident, ont fleuri des mouvements qui, parce qu'ils ont conjointement revendiqué un renouvellement radical des pratiques artistiques et une remise en question sociale plus large, ont a posteriori été appelés «avant-gardes». Ce sont ces mouvements qui, du futurisme italien à dada en passant par le futurisme russe, l'imagisme et le vorticisme, sont au centre de cet ouvrage. Aucun, au moment de sa fondation, ne s'est pensé d'«avant-garde». Tous ont (...)
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  28.  9
    The European Avant-Garde – A Hundred Years Later.Polona Tratnik (ed.) - 2024 - Boston: BRILL.
    The book brings forth original revisions of the theories of the avant-garde, the works of the avant-garde, the idea of the avant-garde as being the vanguard, the leading force of change. It addresses the returning of the avant-garde during the twentieth century and today.
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  29.  4
    Revolutionary time and the avant-garde.John Roberts - 2015 - New York: Verso.
    Since the decidedly bleak beginning of the twenty-first century, art practice has become increasingly politicized. Yet, few sustained defenses of the avant-garde have been put forward. Revolutionary Time and the Avant-Garde is the first book of its kind to look at the legacy of the avant-garde in relation to the deepening crisis of capitalist non-reproduction. An invigorating revitalization of the Frankfurt School legacy, Roberts's book is unique in its penetrating definition and defense of the (...)
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  30.  10
    Krausism and the Spanish avant-garde: the impact of philosophy on national culture.Christian Rubio - 2017 - Amherst, New York: Cambria Press.
    This is the first study that directly links Krausism to the Spanish avant-garde. To this end, the book is presented in chronological order in efforts to highlight how Krausism evolved and affected the culture of Spain. Those changes occurred in the fields of education, politics, philosophy, literature, and arts, to name a few.
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  31.  29
    Modern Aesthetics on Trial: Revisiting a Century of Avant-Gardes.Aleš Erjavec & Oana Serban - 2017 - Annals of the University of Bucharest - Philosophy Series 66 (1).
    This interview is inspired the most important working-hypothesis presented in the volume Aesthetic Revolutions and the Twentieth-Century Avant-Garde Movements, edited by Aleš Erjavec, that questions the legitimacy of the distinction between aesthetic and artistic avant-gardes, supported by the relationship of each concept with the modern revolutionary politics. The relevance of this contrast for determining modernity both in its ideological shape and its continuity, in the terms of postmodernity will be criticized in our discussion with professor Erjavec, reflecting (...)
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  32.  14
    The Russian avant-garde and radical modernism: an introductory reader.Denis G. Ioffe & Frederick H. White (eds.) - 2012 - Brighton, MA: Academic Studies Press.
    A remarkable volume, the Russian avant-garde and radical modernism brings together the most significant movements and figures in Russian experimental art, cinema and literature of the early twentieth century (both pre-Soviet and Soviet) and presents them in commentary by leading scholars in the field" -- p. [4] of cover.
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  33.  2
    The idea of the avant garde: and what it means today.Marc James Léger (ed.) - 2014 - Oakland, CA: Left Curve.
    This book is premised on the view that the idea of the avant garde has an increased importance in these times of global political crisis. Much cultural production today is shaped by a biopolitics that construes all creative and knowledge production in terms of capital accumulation. A different kind of culture is possible. This collection of writings, essays, interviews and artworks by many of today's most radical cultural practitioners and astute commentators on matters avant garde mediates (...)
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  34.  59
    The Kantian aesthetic: from knowledge to the avant-garde.Paul Crowther - 2010 - New York: Oxford University Press.
    This is done by exploring some of his other ideas concerning how critical comparisons inform our cultivation of taste, and art's relation to genius.
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  35. Five faces of modernity: modernism, avant-garde, decadence, kitsch, postmodernism.Matei Călinescu - 1987 - Durham: Duke University Press. Edited by Matei Călinescu.
    _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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  36.  46
    The Avant-Garde and Creativity: A Gricean Account.Noël Carroll - 2021 - Journal of Aesthetic Education 55 (1):1-12.
    In this article, I discuss the historical imperative for art to create new forms. This imperative has become especially pronounced in the Age of the Avant-Garde. For that reason, I focus on the way in which avant-garde creativity typically proceeds. To that end, I rely on Paul Grice’s theory of communication.
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  37.  17
    Lyotard and Democratic Aesthetics: The Sublime, the Avant-Garde, and the Unpresentable.Javier Burdman - 2024 - Journal of Social and Political Philosophy 3 (1):37-51.
    In recent years, democratic theorists have inquired into the aesthetic dimension of contemporary politics. Influenced by Hannah Arendt and Jacques Rancière, these scholars claim that there is an analogy between democratic politics and aesthetic experiences, since both involve the confrontation of an indeterminacy that cannot be overcome by means of rational argumentation. Contributing to this perspective, but challenging some of Rancière’s insights, this article shows the importance of Jean-François Lyotard’s writings on aesthetics for understanding what I call ‘democratic (...)’. This aesthetics, I argue, consists in works of art that bring representation to its limits, thus arousing an experience of the unpresentable. Influenced by Immanuel Kant’s analysis of the sublime, Lyotard claims that avant-garde art, by disrupting the rules of representational art, put representation as such into question. This experience of the unpresentable contributes to cultivating a readiness to listening to voices that are not yet heard, because they lack a discourse by which to express themselves. Given that politics in postmodernity, following Lyotard, consists in shifting the dividing line between the sayable and the unsayable, avant-garde art is conductive to a postmodern politics – which, I argue, is analogous to democratic politics. (shrink)
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  38.  4
    Women, destruction, and the avant-garde: a paradigm for animal liberation.Kim Socha - 2012 - New York: Rodopi.
    This interdisciplinary study fuses analysis of feminist literature and manifestos, radical political theory, critical vanguard studies, women's performance art, and popular culture to argue for the animal liberation movement as successor to the liberationist visions of the early twentieth-century avant-gardes, most especially the Surrealists. These vanguard groups are judiciously critiqued for their refusal to confront their own misogyny, a quandary that continues to plague animal activists, thereby disallowing for cohesion and full recognition of women's value within a culturally marginalized (...)
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  39. Part 3. Aesthetics, Movements, Technology. New Wave, European Avant-Gardes, and the Unmaking of Rock Music / Chris Mustazza ; Cycling on Acid : The Literariness of Altered Experiences in Psychedelic Rock.Tymon Adamczewski - 2022 - In Ryan Hibbett (ed.), Lit-rock: literary capital in popular music. New York: Bloomsbury Academic.
     
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  40. Part 3. Aesthetics, Movements, Technology. New Wave, European Avant-Gardes, and the Unmaking of Rock Music / Chris Mustazza ; Cycling on Acid : The Literariness of Altered Experiences in Psychedelic Rock.Tymon Adamczewski - 2022 - In Ryan Hibbett (ed.), Lit-rock: literary capital in popular music. New York: Bloomsbury Academic.
     
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  41.  39
    AvantGarde of What?”: Surrealism Reconceived as Political Culture.Kirsten Strom - 2004 - Journal of Aesthetics and Art Criticism 62 (1):37–49.
  42.  37
    The Kantian Aesthetic: From Knowledge to the Avant-Garde by crowther, paul.Brian Watkins - 2011 - Journal of Aesthetics and Art Criticism 69 (2):244-247.
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  43. The pulse of modernism: experimental physiology and aesthetic avant-gardes circa 1900.Robert Michael Brain - 2008 - Studies in History and Philosophy of Science Part A 39 (3):393-417.
    When discussing the changing sense of reality around 1900 in the cultural arts the lexicon of early modernism reigns supreme. This essay contends that a critical condition for the possibility of many of the turn of the century modernist movements in the arts can be found in exchange of instruments, concepts, and media of representation between the sciences and the arts. One route of interaction came through physiological aesthetics, the attempt to ‘elucidate physiologically the nature of our Aesthetic feelings’ (...)
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  44.  14
    The Aesthetics of Anarchy: Art and Ideology in the Early Russian Avant-Garde.Nina Gourianova - 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 (...)
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  45.  26
    Avant-Garde Art and the Problem of Theory.Noël Carroll - 1995 - The Journal of Aesthetic Education 29 (3):1.
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  46.  12
    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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  47.  17
    The aesthetics of falling: Contingency in avant-garde art from Charles Baudelaire to Lars von Trier.Christian Refsum - 2011 - Empedocles: European Journal for the Philosophy of Communication 2 (1):79-94.
    This article presents how the act of falling has been used as a metaphor for invention within avant-garde art and aesthetics. It takes Lars von Trier’s documentary The Five Obstacles (2003) as its point of departure and seeks to historically contextualize the figure of falling by discussing Charles Baudelaire’s essay ‘De l’essence du rire et généralement du comique dans les arts plastiques’/‘On the Essence of Laughter’ (1955 [1855–1857]). The article also discusses the fascination with falling in early (...)
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  48.  8
    The Wallflower Avant-Garde: Modernism, Sexuality, and Queer Ekphrasis.Brian Glavey - 2016 - Oxford University Press USA.
    The Wallflower Avant-Garde highlights a strain of formalism visible in both modernist literature and contemporary queer studies, drawing attention to an aesthetic that is as quiet and quirky as it is queer. In studies of Gertrude Stein, Djuna Barnes, Richard Bruce Nugent, Frank O'Hara, and John Ashbery, Brian Glavey argues for a recalibrated understanding of the relation between sexuality and the aesthetic, revealing a non-oppositional avant-gardism that opts out of some of the binaristic imperatives that have structured (...)
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  49.  21
    The Kantian Aesthetic: From Knowledge to the Avant-Garde, by Paul Crowther.Daniel Wilson - 2012 - Australasian Journal of Philosophy 90 (3):616 - 616.
    Australasian Journal of Philosophy, Volume 90, Issue 3, Page 616, September 2012.
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  50.  8
    Beyond Aesthetics and Politics: "Philosophical and Axiological Studies on the Avant-Garde, Pragmatism, and Postmodernism".Krzysztof Piotr Skowroński (ed.) - 2013 - Editions Rodopi.
    The book presents five philosophical and axiological studies devoted to the relationship between aesthetics and politics. It shows this relationship throughout the works of some avant-gardists, pragmatists, and postmodernists. It is also a voice in the discussion about the meaning of the fine arts and aesthetics in the context of the political aims and norms. This voice claims that the political dimension of art and aesthetics should be studied much more seriously than it has been till (...)
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