Relevant bibliographies by topics / Avant-garde

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Avant-garde'

Author: Grafiati
Published: 4 June 2021
Last updated: 9 June 2025

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Journal articles on the topic "Avant-garde"

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Olsen, Lance. "The Avant-Garde after the Avant-Garde." American Book Review 28, no. 4 (2007): 12. http://dx.doi.org/10.1353/abr.2007.0109.

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Mangion, Éric. "Une avant-avant-garde." Rue Descartes 69, no. 3 (2010): 39. http://dx.doi.org/10.3917/rdes.069.0039.

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Merritt, Constance. "Avant Garde." Callaloo 14, no. 3 (1991): 689. http://dx.doi.org/10.2307/2931491.

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Merritt, Constance. "Avant Garde." Callaloo 24, no. 3 (2001): 835. http://dx.doi.org/10.1353/cal.2001.0182.

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Sers, Philippe, and Jonathan P. Eburne. "The Radical Avant-Garde and the Contemporary Avant-Garde." New Literary History 41, no. 4 (2010): 847–54. http://dx.doi.org/10.1353/nlh.2010.0036.

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Oblučar, Branislav. "Avangarda poslije avangarde u hrvatskoj poeziji." Poznańskie Studia Slawistyczne, no. 18 (April 28, 2020): 159–73. http://dx.doi.org/10.14746/pss.2020.18.9.

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The article discusses the problem of the avant-garde in Croatian poetry during the second half of 20th century. It supports the thesis about the continuity of the avant-garde before and after World War II, and perceives the artistic and literary experiments of the neo and post-avant-garde as a part of a long avant-garde tradition. The analysis brings forward the different perceptions of avant-garde in the works of Radovan Ivšić and Josip Sever, and post-avant-garde poets of 1970s and 80s.
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Trusewicz, Szymon. "Zaangażowanie i autonomia poezji awangardowej." Białostockie Studia Literaturoznawcze, no. 20 (2022): 183–95. http://dx.doi.org/10.15290/bsl.2022.20.10.

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The article reviews in the context of contemporary avant-garde theories the book by Alina Świeściak Współczynnik sztuki. Polska poezja awangardowa i postawangardowa między autonomią i zaangażowaniem [The Art Factor. Polish Avant-garde and Post-avant-garde Poetry Between Autonomy and Commitment]. The reviewed monograph is a discussion of examples of poetry of the historical avant–garde, neo-avant-garde and post-avant-garde and demonstrates the intertwining tendencies that liberate literature and engage it socially. According to the author of the review, Świeściak remains sensitive to both historical and ahistorical definitions of the avant-garde. In the researcher’s proposed interpretations, the interplay of autonomy and engagement was shown in different perspectives, depending on the unique character of the poetics in question.
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Ilić, Boris. "Avant-garde arts In sociological perspective: Renato pogiolli and Boris Groys." Kultura, no. 174-175 (2022): 197–212. http://dx.doi.org/10.5937/kultura2275197i.

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The paper deals with the possibilities of perceiving avant-garde arts on the example of prominent authors: Renato Poggioli in the book The Theory of the Avant-garde, and Boris Groys in the book In the Flow. Both of these works, through which the sociological perspective of avant-garde arts is presented, are separated by a historical gap of over fifty years. Poggioli focuses on defining the basic socio-cultural features of avant-garde arts, mostly studying it as a relatively isolated social phenomenon. He demands that avant-garde arts should be studied as a sociological and psychological fact. Groys views avant-garde, and all contemporary art, as a product of global socio-economic and cultural-historical assemblies. He starts from the idea of material flow as an all-pervading force that affects all actors of social and cultural life. Sociological insight is necessary for the complete study of avant-garde. He states that it was the avant-garde artists who expressed an awareness of the inevitability of the flow. The aim of research is to provide the possibility of sociological consideration of avant-garde art, as a way of understanding characteristics of the culture of modern society.
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Foitoș, Alexandru. "The status of the Romanian literary avant-garde after 2000: from marginalization to recovery." Swedish Journal of Romanian Studies 7, no. 1 (May 15, 2024): 22–36. http://dx.doi.org/10.35824/sjrs.v7i1.25859.

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The present paper proposes a theoretical approach related to the critical reception of the Romanian literary avant-garde after 2000, a literary phenomenon in‑between marginalization and recovery tendencies. Starting from interwar critical studies from Romania (E. Lovinescu, G. Călinescu, etc.), with predominantly negative perspectives regarding the critical reception of the avant-garde, we will observe how certain clichés of the reception of the phenomenon, seen as “extremist”, as marginal, were perpetuated, with the “barrier” of the apparently impossible literary canonization. After 2000, however, literary studies discuss the historicization of the avant-garde phenomenon, which therefore became canonical in Romanian literary history. However, several elements of the “niche” avant-garde remained in the subsidiary, in the “shadow”. This is what we call the marginal(ized), the secondary avant-garde, which includes a series of less known and researched avant-garde writers, but who contributed to the complex shaping of the avant-garde imaginary. We will analyse several types of works published after 2000, in order to highlight the complexity of the avant-garde, under constant recovery: literary anthologies (Ion Pop, Nicolae Bârna), avant-garde dictionaries (Lucian Pricop, Dan Grigorescu), several critical studies after 2000 (Ion Bogdan Lefter, Ovidiu Morar, Emilia Drogoreanu, Paul Cernat, Dan Gulea, Emanuel Modoc, Delia Ungureanu, Daniel Clinci, Petre Răileanu, Gabriela Glăvan, Ion Pop, etc.). Many of them focus on the recovery trends of some forgotten writers, with the possibility of their inclusion in the central, canonical avant-garde, while other studies pursue new research methodologies, such as the avant-garde seen in a transnational context, in world literature context, etc. An issue that we develop in the context of this extended future research, which is also highlighted upon in the present work, is that of post-Urmuz epigonism within Romanian literary avant-garde, a fact that explains the placement of many writers in the sphere of critical marginalization. Thus, many texts by less researched writers are forgotten, being always associated with the central avant-garde models, especially Urmuz, but also Tristan Tzara or other influential writers within the central avant‑garde groups. It is precisely this problem that made us analyse the way in which the writers who are part of the marginal dimension of the avant-garde are recovered through contemporary literary studies from Romania.
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Pavlovets, Mikhail G. "Russian Poetic Neo-avant-garde of the 2nd Half of the 20th Century: On Issue of the Term’s Use Boundaries." Studia Litterarum 8, no. 2 (2023): 10–31. http://dx.doi.org/10.22455/2500-4247-2023-8-2-10-31.

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The article is devoted to the neo-avant-garde literary trend that emerged in the Soviet underground of the 2nd half of the 20th century. The paper states that the use of the term “neo-avant-garde” with respect to post-war avant-garde has already become conventional in European art and art studies, however it has not yet established in the Russian scientific vocabulary. Moreover, in the field of literary study a significant amount of research material has been collected, which allows us to indicate the existence of Russian poetic neo-avant-garde in the 2nd half of the 20th century. Its authors primarily were either localized within the uncensored literary underground, or abroad as emigres. The article concludes that the Russian neo-avant-garde differed from historical avant-garde (1900–1930s) in the same ways Western neo-avant-garde did: it rejected the socio-political utopianism in favor of an aesthetical utopia that implied the avoidance of any ideology with a virtually escapist concentration on solving solely art tasks. In addition, neo-avant-garde was interested in the issues of revival, continuation and completion of traditions of historical avant-garde, which in its own times manifested declaratively the breakup with every single tradition. Neo-avantgardists mainly inherited the most radical searches of historical avant-garde authors, who often converged their poetry with the boundaries of art as a whole or with zones of visual, acoustic, performative or other art that adjoin verbal poetry.
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Dissertations / Theses on the topic "Avant-garde"

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Gubbiotti, Clodina. "The Italian neo-avant-garde : between the historical avant-garde and postmodernism." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/30232.

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The present work argues that the Italian neo-avant-garde’s understanding and expression of the social value of formalised language and literariness is to be closely related to Modernist and Avant-gardist cultural dynamics, and not to a Post-modernist regime of cultural values. Chapter 1 presents the Italian neo-avant-garde as a phenomenon to be posited within the scenario of the changing role of the humanist intellectual in 50s and 60s Italy. Avant-garde art as a notion and tradition is tackled through Bürger and Bourdieu’s theorisations. Chapter 2 focuses on how Italian Futurism disproves any idealistic notion of avant-garde art as good political praxis. It also explores the rhetorical codifications of the avant-garde’s self-mythologizing discursive practices through the analysis of the Futurists’ use and appropriation of the genre of the manifesto. Chapter 3 analyses the neo-avant-garde’s corpus of theoretical writing and shows that, despite the fact they did not write a proper manifesto, the rhetorical codifications of the avant-garde’s self-reflexive discourse are still present in their individually written texts. Chapter 4 frames the Italian neo-avant-garde within the broader framework of the historical avant-garde while highlighting their use of and relationship with science and scientific discourse, especially in Eco’s works. Chapter 5 is a lengthy analysis of the use of the technique of the montage in <i>poesia novissima</i>. It carries out a critical comparison between the discursive, ideology-oriented and anti-hedonistic use of <i>montaged </i>linguistic material characterising the experimentalism of the <i>Novissimi</i> and the iconic use of language characterising the multimediatic experiments of <i>poesia totale</i>, concrete poetry and technological poetry. The conclusion highlights the modalities, or in Bourdieu’s terms, the <i>distinction marks</i>, by which the Italian neo-avant-garde challenges, appropriates, changes and finally <i>performs</i> the practice of avant-garde art as truly innovative art.
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Rebelo, Anita Flanders. "U.S. avant-garde literature." reponame:Repositório Institucional da UFSC, 2013. https://repositorio.ufsc.br/handle/123456789/106189.

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Dissertação (mestrado) - Universidade Federal de Santa Catarina, Florianópolis, 1982.<br>Made available in DSpace on 2013-12-05T19:33:27Z (GMT). No. of bitstreams: 1 321767.pdf: 68643577 bytes, checksum: a792bc8b4dcca23413498b3d370b7681 (MD5)
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Ferrari, Rossella. "Pop goes the Avant-Garde : Meng Jinghui and contemporary Chinese Avant-Garde Theatre." Thesis, SOAS, University of London, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439774.

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Faroult, David. "Avant-garde cinématographique et avant-garde politique : Cinéthique et le "groupe" Dziga Vertov." Paris 3, 2002. http://www.theses.fr/2002PA030121.

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L'avant-garde cinématographique française des années 1970, représentée par : le "groupe" Dziga Vertov (1969 - 1973), fondé notamment par Jean-Luc Godard et Jean-Pierre Gorin et le collectif Cinéthique (1969-1985) éditant une revue homonyme,était caractérisée par l'ambition d'une pratique cinématographique articulant avant-garde esthétique et avant-garde politique (au sens léniniste). Saisir l'actualité de leur démarche, suppose de : 1ʿ) systématiser leurs présupposés et acquis théoriques, fondés sur une conception marxiste-léniniste (au sens " maoi͏̈ste ") : étudier la fonction sociale du cinéma qui, en tant que produit idéologique, contribue à la reproduction des conditions de la production ; 2ʿ) situer historiquement leurs activités et établir la progression de leur production filmique et théorique. Cette analyse permet de retenir les thèses et positionnements des deux groupes, leur actualité et les limites de leurs apports<br>The 70's French avant-garde, represented by Dziga Vertov "group" (1969-1973), set up among others by Jean-Luc Godard and Jean-Pierre Gorin and Cinethique group (1969-1985) editing the homonym review was characterised by the ambition of a cinematographical practice which would merge the esthetical avant-garde and the political avant-garde (in a leninist view). To understand the topicality of their way approach needs to : 1ʿ systematize their presuppositions and experiences based on a marxist-leninist (in the "maoist" sense) conception : to study the social function of cinema which, as an ideological product contributes to the reproduction of the production conditions ; 2ʿ position historically their activities and establish the progression of their films and theoretical production. This analysis allowed us to emphasise the thesis and positions of the two groups, their topicality and the limits of their contribution
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Halay, Alannah Marie. "Recognising absurdity through compositional practice : comparing an Avant-Garde style with being avant garde." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/16880/.

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‘avant garde’ and ‘Avant Garde’: one term denotes artistic progression, the other describes a fixed concept. These terms are easily and often confused, and this contributes to blurring the boundaries between being progressive and adhering to a style. Unknowingly adhering to the Avant-Garde style, under the false guise of being ‘new’, perpetuates a Sisyphean nature in Avant-Garde practice today. Such practice has become inward-looking, separated from the majority of society, and therefore fails to be the ‘advance post’ it proclaims. In Camus’s terms, this is absurd. Rather than proving and accepting this absurdity, I explore the unfolding of such absurdity through compositional practice, and attempt to avoid it. This involves recognising the absurdity (and maintaining an awareness of it) as well as examining and comparing the mechanics behind the formation of the Avant-Garde style with being avant garde by way of an introspective examination of my compositional process. This practice-led method is supported by theoretical, musicological, and analytical research into existing practice. My research is supplemented by the following topics: Meno’s paradox; Heidegger’s hermeneutic framework as a development of Meno’s paradox; Adorno’s notion of naïveté; détournement as a means of recognising absurdity through practice. Examining my own compositional process, in relation to existing practice, allows me to propose that the Avant-Garde style is based on two interacting hermeneutic frameworks between ‘unfamiliarity’ and ‘familiarity’, and creative ‘freedom’ and ‘restriction’. If one is to overcome these frameworks and be genuinely avant garde, subversion of technique cannot be an end in itself but should support the truth content of a musical work; this is because a musical work is defined by its context more than its constituent musical characteristics. Subversion must happen in relation to the context of a composition, not the composition itself. Adherence to an Avant-Garde context, perpetuated by the expectations of practitioners with a knowledge of that context, prevents compositional practice from moving beyond that context and being genuinely avant garde. All one can do now is recognise this absurdity. This is not a solution, but should pave the way for future developments in this area. For now, ‘there is no longer any art that has remained inviolable.’
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Perez-Barreiro, Gabriel. "The Argentine avant-garde 1944-1950." Thesis, Online version, 1996. http://bibpurl.oclc.org/web/29655.

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Pinder, David John. "Utopian spaces of the avant-garde." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624520.

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Prager, Phillip Andrew. "Avant-garde legacies for interactive cinematics." Thesis, University of Cambridge, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.611801.

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Rievers, Henrique André Christiano. "Physiological Perspectives of Avant-garde Music." Doctoral thesis, Humboldt-Universität zu Berlin, 2021. http://edoc.hu-berlin.de/18452/24062.

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Obwohl die Theatralisierung der Musik ein entscheidender Aspekt der Neuen Musik ist, der im Szenario nach 1945 noch mehr an Bedeutung gewinnt, kann die aber auch als Ausdruck einer musikalischen Wende zum Leib verstanden werden. Um von einer Wende zum Leib in der Musik zu sprechen, muss man auch eine Form des Dualismus zu überwinden. Durch die Werke avantgardistischer Komponisten wird in dieser Arbeit versucht, ein Verständnis der Musikwahrnehmung aufzubauen.<br>It is our thesis that, even though the theatricalization of music is a crucial aspect of the Neue Musik – one that gain even more prominence on the post-1945 scenario –, it is also an expression of a corporeal turn in music. To speak of a corporeal turn in music also means an attempt to overcome a form of dualism. It is an attempt to unify music making and music perception. This is what will be attempted here. Through the works of avant-garde composers, an attempt to build an understanding of music perception in the context of a corporeal turn in music will be made. From the perception of the body and corporeity to the move from “listening” to “perceiving” and, finally, in the concept of the work of music as a phenomenal field, a physiological perception of the avant-garde will be developed.
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Охріменко, Дарія Євгенівна. "Avant-garde heritage in modern design." Thesis, Київський національний університет технологій та дизайну, 2019. https://er.knutd.edu.ua/handle/123456789/13110.

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Books on the topic "Avant-garde"

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Dietrich, Scheunemann, ed. Avant-garde/Neo-avant-garde. Amsterdam: Rodopi, 2005.

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Berghaus, Günter. Avant-garde Performance. London: Macmillan Education UK, 2005. http://dx.doi.org/10.1007/978-1-137-09358-5.

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Sweet, David LeHardy. Avant-garde Orientalism. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50373-8.

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Haus der Kulturen der Welt., Kunsthal Rotterdam, Museum of Modern Art (Oxford, England), and Kunsthallen Brandts Klaedefabrik, eds. China avant-garde. Heidelberg: Edition Braus, 1993.

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Nakov, Andrei B. Avant-garde russe. England: Art Data, 1986.

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Innes, C. D. Avant Garde Theatre. London: Taylor & Francis Inc, 2004.

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M, Bercot, ed. Avant-garde & modernité. Paris: Champion, 1988.

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1955-, Hopkins David, and Schaffner Anna Katharina, eds. Neo-avant-garde. Amsterdam: Rodopi, 2006.

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Warden, Claire. British Avant-Garde Theatre. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9781137020697.

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Curtin, Adrian. Avant-Garde Theatre Sound. New York: Palgrave Macmillan US, 2014. http://dx.doi.org/10.1057/9781137324795.

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Book chapters on the topic "Avant-garde"

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Carroll, Noël. "The Avant-Garde." In The Routledge Companion to the Philosophies of Painting and Sculpture, 140–46. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003312727-17.

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Friedman, Dan. "Avant-Garde Theatre." In Performance Activism, 75–93. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-80591-3_8.

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Schweiger, Irmy. "Avant-garde fiction." In Routledge Handbook of Modern Chinese Literature, 477–90. London; New York, NY: Routledge, 2018.| Includes bibliographical references and index.: Routledge, 2018. http://dx.doi.org/10.4324/9781315626994-39.

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Conley, Tanja D. "Avant-garde Zagreb." In Urban Architectures in Interwar Yugoslavia, 127–65. New York : Routledge, 2020. | Series: Routledge research in architectural history: Routledge, 2020. http://dx.doi.org/10.4324/9780429401640-8.

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Sweet, David LeHardy. "Introduction." In Avant-garde Orientalism, 1–27. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50373-8_1.

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Sweet, David LeHardy. "The Poetics of Travel, Postcolonial Criticism, and the Theory of the Avant-garde." In Avant-garde Orientalism, 29–70. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-50373-8_2.

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Dewsbury, J. D. "Avant-Garde/Avant-Garde Geographies." In International Encyclopedia of Human Geography, 252–56. Elsevier, 2009. http://dx.doi.org/10.1016/b978-008044910-4.00664-7.

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"Preliminary Material." In Avant-Garde / Neo-Avant-Garde, 1–7. Brill | Rodopi, 2005. http://dx.doi.org/10.1163/9789401202589_001.

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"Preface." In Avant-Garde / Neo-Avant-Garde, 9–11. Brill | Rodopi, 2005. http://dx.doi.org/10.1163/9789401202589_002.

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"From Collage to the Multiple. On the Genealogy of Avant-Garde and Neo-Avant-Garde." In Avant-Garde / Neo-Avant-Garde, 13–48. Brill | Rodopi, 2005. http://dx.doi.org/10.1163/9789401202589_003.

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Conference papers on the topic "Avant-garde"

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Kubusová, Zuzana. "Unbearable ›Art of Life‹: Idea of a Beautiful New World – Reflection of Avant-Garde Techniques in the Novel Victorious Fall." In Junge Slavistik im Dialog, 297–306. Universitätsverlag Kiel | Kiel University Publishing, 2024. https://doi.org/10.38072/2750-9605/p28.

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Der Beitrag analysiert den Roman Víťazný pád (Siegreicher Sturz, 1929) des slowakischen Autors tschechischer Herkunft Peter Jilemnický (1901–1949). Ziel dieses Artikels ist es, die Wahl verschiedener Techniken und Motive des Autors aufzudecken und zu begründen, die hauptsächlich der tschechischen Avantgarde zugeschrieben werden, um die utopische Idee der neuen Welt darzustellen.
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Schrank, Brian. "Avant-garde videogames." In ACM SIGGRAPH 2014 Studio. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2619195.2656299.

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Lang, Catherine. "Session details: Avant garde." In ITiCSE '10: Annual Conference on Innovation and Technology in Computer Science Education. New York, NY, USA: ACM, 2010. http://dx.doi.org/10.1145/3251967.

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Kazansky, Peter G., Martynas Beresna, Yasuhiko Shimotsuma, Kazuyuki Hirao, Yuri P. Svirko, and Selçuk Aktürk. "Avant-Garde Femtosecond Laser Writing." In Bragg Gratings, Photosensitivity, and Poling in Glass Waveguides. Washington, D.C.: OSA, 2010. http://dx.doi.org/10.1364/bgpp.2010.bwb1.

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Yezhova, Olga, Kalina Pashkevich, Mariana Mrachynska, and Angelina Koryakina. "AVANT-GARDE IN MODERN CLOTHING DESIGN." In MODALITĂȚI CONCEPTUALE DE DEZVOLTARE A ȘTIINȚEI MODERNE. European Scientific Platform, 2020. http://dx.doi.org/10.36074/20.11.2020.v5.27.

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Liu, Xiaozhe. "Avant-Garde Poetry in Postmodernism Literature." In 2022 3rd International Conference on Language, Art and Cultural Exchange（ICLACE 2022). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220706.045.

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Zykova, Irina V. "Typology of avant-garde idiomatics as a lexicographical problem: variability in the arrangement of a dictionary microstructure." In Lexicography of the digital age. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-19-1-2021-92.

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The paper dwells on the principles of constructing the microstructure of the dictionary “The Russian Avant-garde idiomatics: Cubo-Futurism”. It is shown that a typological variety of verbal avant-garde idiomatics makes it difficult to describe dictionary entries according to one and the same pattern. In the dictionary microstructure, the dictionary sections that prove to be obligatory for one types of avant-garde idiomatics can be non-obligatory for its other types.
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Hoegh, T. "The blue chip of the avant garde." In Projecting the Digital Future of Cinema. IEE, 2003. http://dx.doi.org/10.1049/ic:20030134.

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Tillberg, Margareta. "Russian avant-garde and color as worldview." In 9th Congress of the International Color Association, edited by Robert Chung and Allan Rodrigues. SPIE, 2002. http://dx.doi.org/10.1117/12.464641.

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Tayfor, Hussam, and Anish Kumar. "Engineering Documents from Jurassic Era to Avant-Garde." In Abu Dhabi International Petroleum Exhibition & Conference. Society of Petroleum Engineers, 2017. http://dx.doi.org/10.2118/188379-ms.

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Reports on the topic "Avant-garde"

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Klengel, Susanne. Pandemic Avant-Garde Urban Coexistence in Mário de Andrade’s Pauliceia Desvairada (1922) after the Spanish Flu. Maria Sibylla Merian Centre Conviviality-Inequality in Latin America, December 2020. http://dx.doi.org/10.46877/klengel.2020.30.

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The radical aesthetic of the historical avant-garde movements has often been explained as a reaction to the catastrophic experience of the First World War and a denouncement of the bourgeoisie’s responsibility for its horrors. This article explores a blind spot in these familiar interpretations of the international avant-garde. Not only the violence of the World War but also the experience of a worldwide deadly pandemic, the Spanish flu, have moulded the literary and artistic production of the 1920s. In this paper, I explore this hypothesis through the example of Mário de Andrade’s famous book of poetry Pauliceia desvairada (1922), which I reinterpret in the light of historical studies on the Spanish flu in São Paulo. An in-depth examination of all parts of this important early opus of the Brazilian Modernism shows that Mário de Andrade’s poetic images of urban coexistence simultaneously aim at a radical renewal of language and at a melancholic coming to terms with a traumatic pandemic past.
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Schick, Allen. An Agenda for Budgeting: Establishing a Budget Network in the LAC Region. Inter-American Development Bank, May 2005. http://dx.doi.org/10.18235/0006669.

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This presentation was commissioned by the Public Management and Transparency Network of the Regional Policy Dialogue for the VI Hemispheric Meeting celebrated on May 23rd and 24th, 2005. OECD's Senior Budget Officials Network. How it has grown over the past 25 years. The insularity of budget offices. Budget Officials rarely meet with counterparts in other countries. Countries in LAC region can learn from one another. Need for basic capacities, not avant-garde reforms. Why a LAC Network should differ from SBO more oriented to development and governance.
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