Relevant bibliographies by topics / Avant-garde poetry

Contents

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

Academic literature on the topic 'Avant-garde poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2024

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Journal articles on the topic "Avant-garde poetry"

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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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Benthien, Claudia, and Wiebke Vorrath. "German sound poetry from the neo-avant-garde to the digital age." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 7, no. 1 (December 21, 2017): 4–26. http://dx.doi.org/10.7146/se.v7i1.97176.

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This article gives insight into German-language sound poetry since the 1950s. The first section provides a brief historical introduction to the inventions of and theoretical reflections on sound poetry within the avant-garde movements of the early 20th century. The second section presents works by Ernst Jandl and Gerhard Rühm as examples of verbal poetry of the post-war neo-avant-garde. The following two sections investigate contemporary sound poetry relating to avant-garde achievements. Section three deals with two examples that may be classified as sound poetry in a broader sense: Thomas Kling’s poem broaches the issue of sound in its content and vocal performance, and Albert Ostermaier’s work offers an example of verbal poetry featured with music. The fourth section presents recent sound poetry by Nora Gomringer, Elke Schipper and Jörg Piringer, which are more distinctive examples relating to avant-garde poetry genres and use recording devices experimentally.
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김승희. "Revolution in Poetry and Poetic Revolution:Aesthetic Avant-garde and Full-bodied Avant-garde." Korean Poetics Studies ll, no. 20 (December 2007): 7–39. http://dx.doi.org/10.15705/kopoet..20.200712.001.

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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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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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Dvoynishnikova, M. P., T. F. Semian, and E. A. Smyshlyaev. "Traditions of the Russian avant-garde in children’s poetry." Culture and Text, no. 51 (2022): 167–80. http://dx.doi.org/10.37386/2305-4077-2022-4-167-180.

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The article presents the experience of understanding the traditions of Russian avant-garde in children’s poetry. In poems for children poets, whose work is traditionally classified as avant-garde, focus on the techniques of minimalism and primitivism, guided by children’s perception. The article deals with the mechanisms of organization and specifics of children’s poetry by G. Sapgir, J. Grants, as well as artistic parallels between the works of representatives of the Russian avant-garde of the 20th century and contemporary poets of the Ural region.
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Abdulghafur, Hazhar Ahmed, and Hadar Safari Naqab. "'Rebellion as an Avant-Garde Spirit in Handren's Poetry." Journal of University of Raparin 10, no. 3 (September 29, 2023): 713–37. http://dx.doi.org/10.26750/vol(10).no(3).paper31.

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The leadership of authors and artists has long been a significant issue, concerning the existence and nature of art and literature. Also, it has always been discussed that literature and art are concerning issues, inventing new things, and having perspectives that ordinary people are not capable to feel, know or do them. Thus, there has always been a sort of differentiation or specialty among artists. In the modern era, this has been known as being avant-garde. The present study is entitled 'Rebellion as an Avant-Garde Spirit in Handren's Poetry'. It is an attempt to explain and explore the avant-garde character of the poet. The study attempts to manifest avant-gardism in the rebellious character of the poet. To do so, the study analyzes the sociopolitical background of the poet's life. This has been done by using the analytical descriptive method. Through collecting and analyzing the data, the research found and can argue that the author is criticizing society and the views on Kurdish political tradition. He, therefore, can be assumed as an embodiment of an avant-garde spirit.
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Kittlová, Markéta. "Changing the World Through Poetry: Confessions, Poems and Banners of Adam Borzič." Porównania 27, no. 2 (December 15, 2020): 325–39. http://dx.doi.org/10.14746/por.2020.2.17.

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This study focuses on Adam Borzič, one of the most distinctive contemporary Czech poets. The study contextualises his work within current Czech poetry but also examines his other work that is not strictly classified as art as though it were cultural work with avant-garde features. It investigates four volumes of Borzič’s work in terms of the changes in the author’s creative gesture, which expands from his conviction that the world is at a turning point and the avant-garde longing to change the world by poetry. In the four volumes of Borzič’s poetry (written so far), this gesture is embodied through delicately intimate, acutely physical, or even gigantically all-embracing positions, where he employs motives of the heart, head, hand and mouth. The study attempts to evaluate the change in Borzič’s work in the lightof T. S. Eliot’s understanding of the social role of poetry and avant-garde longing to change reality through art. The Czech poet, Adam Borzič, is one of the most distinctive figures of the current Czech literary scene. His poetry is distinct because of its unique gesture andalso represents a strong current in the poetry production of the past decade with its emphasis on the social function of poetry7 and the poet’s role as somebody who should nurture the world through his/her work or even change it. This study attempts to portray Borzič’s work as focused on the mentioned topics and related issues of the end of the first decade of the twenty-first century and renew interest in them, contextualise his work within current Czech poetry but also investigate his other work, which is not strictly artistic but which possesses some avant-garde features.
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Van den Berg, Hubert. "Martin Puchner, Poetry of the Revolution. Marx, Manifestos, and the Avant-Gardes 2006." Nordlit 11, no. 1 (May 1, 2007): 300. http://dx.doi.org/10.7557/13.1789.

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The genre of the manifesto belongs to the key elements of avant-garde textuality. As such, the manifesto has received considerable attention in recent avant-garde research. Many articles, chapters in general studies on the avant-garde, several collections of essays, monographs and annotated anthologies have been devoted to the manifesto in the past decades. Martin Puchner's book on the avant-garde manifesto is a latecomer in this context, published some ten years after a wave of Manifestantismus struck in particular continental European avant-garde research. As in the case of any late arrival, the main question is self-evidently: what adds Puchner to already existing literature? The answer must be rather ambivalent. Puchner's book definitely fills a lacuna in the Anglophone historiography of the avant-garde.
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O'Neil, Mary Anne. "The Fortunes of Avant-Garde Poetry." Philosophy and Literature 25, no. 1 (2001): 142–54. http://dx.doi.org/10.1353/phl.2001.0017.

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Dissertations / Theses on the topic "Avant-garde poetry"

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Burkett, Matthew Luis. "The Body In Avant Garde Poetry." ScholarWorks @ UVM, 2019. https://scholarworks.uvm.edu/graddis/1150.

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This thesis examines the use of the body in avant-garde poetics, relating it to both theory and contemporary culture. An outline of how the body has been depicted, represented, and formalized in modernism is made, and contemporary issues involving the body, from what Meredith M. Render calls the “alienability” of the body to posthuman hybridity and technological transcendence. Language poetry, including the works of M. SourbeSe Philip, Clark Coolidge, Steve McCaffery, Charles Bernstein, Karen Mac Cormack, Lyn Hejinian, and Bruce Andrews is then examined for the body’s fraught usage in a generally non-referential poetics. The body’s place in conceptual writing combines contemporary technologies with a look back at Antonin Artaud’s corps sans organes.
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Racz, Imogen Anne. "Henri Laurens and the Parisien avant-garde." Thesis, University of Newcastle Upon Tyne, 2000. http://hdl.handle.net/10443/425.

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This dissertation examines the development of Henri Laurens' artistic work from 1915 to his death in 1954. It is divided into four sections: from 1915 to 1922, 1924 to 1929, 1930 to 1939 and 1939 to 1954. There are several threads that run through the dissertation. Where relevant, the influence of poetry on his work is discussed. His work is also analyzed in relation to that of the Parisian avant-garde. The first section discusses his early Cubist work. Initially it reflected the cosmopolitan influences in Paris. With the continuation of the war, his work showed the influence both of Leonce Rosenberg's 'school' of Cubism and the literary subject of contemporary Paris. The second section considers Laurens' work in relation to the expanding art market. Laurens gained a number of public commissions as well as many ones for private clients. Being site specific, all the works were different. The different needs of architectural sculpture as opposed to studio sculpture are discussed, as is his use of materials. Although the situation was not easy for avant-garde sculptors, Laurens became well respected through exposure in magazines and exhibitions. The third section considers Laurens in relation to the depression and the changing political scene. Like many of the avant-garde, he had left wing tendencies, which found form in various projects, including producing a sculpture for the Ecole Karl Marx at Villejuif. Patronage virtually ceased. However, Laurens was frequently included in articles in avant-garde journals and exhibited widely. The fourth section begins with the war. Laurens continued to live and work in Paris but was not included in official exhibitions. After the war, the press and State, which had largely disregarded members of the tcole de Paris, reversed this trend. As well as revisiting old sculptural themes, Laurens illustrated a number of books.
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Gardner, Calum. "Roland Barthes and English-language avant-garde poetry, 1970-1990." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/94082/.

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This thesis looks at the engagement of English-language poets with the writing of Roland Barthes, and considers how a reading of Barthes may help understanding of a range of challenging experimental work. The introduction to the thesis lays a groundwork of how Barthes has been read in English since the first widely available translations of his work appeared in the 1960s, and thus establishes the intellectual context in which poets have written since. Beginning in the first chapter with Veronica Forrest-Thomson, the first of these poets to have looked at Barthes in detail, it looks both at poetry and of poets’ writings in the fields of criticism and poetics. From Forrest-Thomson the thesis moves in the second chapter to North America and considers the place of Barthes, particularly his Writing Degree Zero, in the intellectual context out of which emerged what has come to be known as ‘language writing’, combining a survey of this writing with close readings of the work of Ron Silliman, Ray DiPalma, Lyn Hejinian, Bernadette Mayer, and others. In the third chapter, the investigation of this diffuse tendency in poetry is followed through various strands, focussing in particular on periodicals and archival material. Finally, the fourth chapter looks at Anne Carson, Deborah Levy, and Kristjana Gunnars, and considers Barthes’ relevance to their texts’ thinking about writing. The intersection of theory and the emotional life is explored using the theoretical lens of Chris Kraus’ experimental fiction, particularly her notion of a ‘lonely girl phenomenology’. Barthes has had a diverse range of effects on poets’ thinking about writing and their writing practices, and our understanding of Barthes as a writer, what we mean by the ‘Barthesian’, and individual notions of his such as the ‘death of the author’ and his work on the possibilities of the fragment, have changed over time. The thesis considers the potential of Barthes’ writing to help us think about literature and its future utility for poetry studies.
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Ledesma, Eduardo. "The Historic Avant-Garde, the Neo-Avant-Garde and the Digital Age: Experimental Visual-Textual Forms in the Luso-Hispanic World." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10286.

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My dissertation examines the experimental poetry of three periods, the historical avant-garde of the 1920s, the neo-avant-gardes of the 1950s, 60s, and 70s, and the digital avant-garde (from the 1990s until the present), drawing on the works of poets from the Luso-Hispanic world including the Iberian Peninsula and Latin America. Scholars such as Renato Poggioli and Peter Bürger define the avant-garde as radically new and unrepeatable, an "advanced" guard that exhausted its aesthetic and political possibilities. I challenge this view by establishing a continuity of avant-gardes that emerge during periods of technological innovation and cultural exchange, introducing new artistic modalities, engaging with emerging media and re-purposing the strategies of past avant-gardes to their own historical conditions. Experimental poetic practices such as visual, kinetic, phonetic, concrete, video poetry, and poetic performance have unfolded over time and across national boundaries in response to global, social, and technological forces. My focus is on poetry broadly understood as works that "experiment" with the interplay between the visual, the sonorous and the verbal, questioning both genre and medium specificity, and contesting traditional discipline-bound tools of analysis. In order to critically approach poems that are often not printed on a page, and depend on more than verbal communication, I draw on disciplines such as literary analysis--including close-readings--media theory, and film analysis, and deploy theories of metaphor, embodiment and affect to interpret works that focus on the materiality of language through typographic experiments, script animation, and performance. The selection includes poems by authors from the 1920s such as Josep M. Junoy, Joan Salvat-Papasseit, José Juan Tablada, Guilherme de Almeida; neo-avant-garde visual and concrete poets from the 1960s such as Joan Brossa, Julio Campal, Edgardo Vigo, and Décio Pignatari; and their contemporary counterparts working with digital media such as Ana María Uribe, Olga Delgado, María Mencía, Arnaldo Antunes, and Eduardo Kac. Examining digital poetry in the light of older poetic practices, I compare and contrast how artists have queried the status of literature as a purely script-based art, considering how notions of experimental literature have changed through time (diachronically), but also isolate each period (synchronically).
Romance Languages and Literatures
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Ma, Ming-Qian. "Poetry as re-reading : American Avant-garde poetry and the poetics of counter-method /." Evanston Illinois : Northwestern University Press, 2008. http://www.loc.gov/catdir/enhancements/fy0809/2008000308-t.html.

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Morris, Marianne. "Problems of the 'political' in British avant-garde poetry and poetics, 2003-2012." Thesis, University of the Arts London, 2013. http://ualresearchonline.arts.ac.uk/7772/.

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This investigation addresses formal and conceptual problems in poetry, identified through critical investigations of my own and my poetic peers’ work, and through theoretical and philosophical texts (Butler, 2000; Hegel, 1807; Owens, 1980; Rose, 1996; Kappeler, 1986). The notion of a ‘political’ poetry, as loosely posited by contemporary critics (Archambeau, 2009) is discussed, using Ancient Greek readings of polis (Arendt, 1958; Yunis, 1996). Subsequent related topics for discussion include critical irony, subjectivity, feminist theory, and fantasy. Source material for their identification includes my own poetry (Morris, 2006; 2007), the poetry pamphlet IRA Quid (Brady et al., 2004), and criticism on the work of J.H. Prynne (Sutherland, 2010). I then discuss the influence of these readings on my practice, and present practice work written in response to the research aims. I present my practical poetic outcomes as an extension of the theoretical questions outlined by way of analysing individual poems, and by presenting poems as their own mode of discourse within the critical text. Research is shown to have influenced my practice through an evolving methodology that responds to questions unearthed during the project. This methodology develops a body politics through compositional experiments with the typewriter (Olson, 1965; Deleuze & Guattari, 1987; Abramović, 2011), and places emphasis on live performance as crucial to ‘political’ poetry due to its affects. Also provided are case studies of poetry readings given during the research period and their effects on practice, and a summary of Lyric & Polis, a festival of poetry readings and open discussion, which I hosted in Falmouth in February 2012. A concluding section looks at future possibilities for poetic practice in light of my findings, and suggests some ways for moving on from some of the key contradictions arising in relation to unequivocal poetic statements, and the question of ‘aboutness’.
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MacPhee, Graham. "Remembering the avant-garde : vision and time in the poetry of Frank O'Hara." Thesis, University of Sussex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.263158.

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Watkin, David Watkin. "In the process of poetry : the New York School and the avant-garde." Thesis, Queen's University Belfast, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.287397.

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Nicholas, Tessa Joseph Harmon William. "Imagining community individual influence and group cohesion in American avant-garde poetry and poetics /." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2008. http://dc.lib.unc.edu/u?/etd,1563.

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Thesis (Ph. D.)--University of North Carolina at Chapel Hill, 2008.
Title from electronic title page (viewed Sep. 16, 2008). "... in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of English and Comparative Literature." Discipline: English; Department/School: English.
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Cooper, Michael T. "WELCOME TO THE PLANET: FORT LIVING ROOM O ROTTING SUN." CSUSB ScholarWorks, 2015. https://scholarworks.lib.csusb.edu/etd/192.

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O Rotting Sun is a pair of long narrative poems that leap, spanning over an epic-length manuscript—175 pages of prose block, lyrical verse, and projective verse. Its chief poetic-operational modes are: inclusion, fragmentation, textual destructions, intentional omissions, intentional misspelling, large narrative leaps; all of which engage a poetics of doubt and multiplicity. O Rotting Sun is a jarring and jangly poem of resistance, intended if possible, for being read aloud and argued with: a provocation of intense meditation, reflection, and when successful, disintegration of anger & agonism—followed by a reintegration of the reader back into a community of change and hope. These poems are an invitation to that hero’s journey which is sometimes painful, sometimes beautiful, sometimes both. I wish to welcome my heroic, wonderful, deep reader into this new world of O Rotting Sun.
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Books on the topic "Avant-garde poetry"

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Mayhew, Jonathan. The Twilight of the Avant-Garde. Liverpool: Liverpool University Press, 2009.

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Frost, Elisabeth A. The feminist avant-garde in American poetry. Iowa City, IO: University of Iowa Press, 2002.

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Ward, Geoff. Language poetry and the American avant-garde. [England]: British Association for American Studies, 1993.

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Allegrezza, William, ed. From moria poetry (2008). 2nd ed. Chicago, Illinois/Plymouth Meeting, Pennsylvania: Art Recess 2, 2023.

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Ece, Ayhan, Berk İlhan 1916-2008, Cansever Edip 1928-1986, Cemal Süreya 1931-1990, and Uyar Turgut, eds. İkinci yeni: The Turkish avant-garde. Exeter: Shearsman Books, 2009.

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David, Jackson K., Vos Eric, and Drucker Johanna 1952-, eds. Experimental, visual, concrete: Avant-garde poetry since the 1960s. Amsterdam: Rodopi, 1996.

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Ponichtera, Sarah Elizabeth. Yiddish and the Avant-Garde in American Jewish Poetry. [New York, N.Y.?]: [publisher not identified], 2012.

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Goldstein, Laura. Laura Goldstein on Opera Bufa in moria poetry. Edited by William Allegrezza. Chicago, Ill: moria poetry, 2008.

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Gatza, Geoffrey, ed. Cheltenham (poetry). Buffalo, New York, USA: Blazevox Books, 2012.

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Paz, Octavio. Children of the mire: Modern poetry from Romanticismto the avant-garde. Cambridge, Mass: Harvard University Press, 1991.

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Book chapters on the topic "Avant-garde poetry"

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Levenson, Michael. "The European Avant-Garde." In A Companion to Modernist Poetry, 157–71. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118604427.ch13.

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Jaguścik, Justyna. "Avant-garde women's poetry from China." In China's Avant-Garde, 1978–2018, 139–56. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429325304-14.

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Perry, Paul. "Maurice Scully and the Avant-Garde." In The Portable Poetry Workshop, 218–23. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-60596-2_34.

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Sheppard, Robert. "Taking Form: Experimental and Avant-Garde Forms." In The Portable Poetry Workshop, 76–84. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-60596-2_11.

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Day, Michael. "Online Avant-Garde Poetry in China Today." In New Perspectives on Contemporary Chinese Poetry, 201–17. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230610149_12.

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Milne, Drew. "Neo-Modernism and Avant-Garde Orientations." In A Concise Companion to Postwar British and Irish Poetry, 155–75. Oxford, UK: Wiley-Blackwell, 2009. http://dx.doi.org/10.1002/9781444310306.ch8.

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Golding, Alan. "“Isn’t the Avant-garde Always Pedagogical”: Experimental Poetics and/as Pedagogy." In Poetry & Pedagogy, 13–29. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-137-11449-5_2.

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Ramey, Lauri. "Diaspora and the Avant-Garde in Contemporary Black British Poetry." In Diasporic Avant-Gardes, 189–206. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1007/978-1-137-08751-5_10.

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White, John J. "Forms of restricted iconicity in modern avant-garde poetry." In Insistent Images, 129–54. Amsterdam: John Benjamins Publishing Company, 2007. http://dx.doi.org/10.1075/ill.5.14whi.

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Tarlo, Harriet. "‘A She Even Smaller Than a Me’: Gender Dramas of the Contemporary Avant-Garde." In Contemporary Women’s Poetry, 247–70. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-137-15406-4_21.

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Conference papers on the topic "Avant-garde poetry"

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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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Leskovar, Zalka, and Nace Pušnik. "Design of typeface with constructivistic properties and renovation of promotional material for memorial room." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p91.

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The diversity that occurs in the field of typography, more specifically in the planning and design of typefaces, plays an important role in our lives and in society more broadly. Therefore, purposeful product planning is important because it can facilitate our everyday communication and understanding of the environment. The goal of the collaborative project was to design a display typeface and use it in revised graphic products that, along with the typeface, fit the client, the Kosovel Memorial Room in Sežana, Slovenia. Srečko Kosovel is a well-known Slovenian poet whose work is representative of the cultural and social movement Constructivism. With new graphic products, we want to contribute to better publicity of Kosovel Memorial Room in Sežana. The theoretical part deals with the study and classification of typefaces in groups and larger sets. We also studied some basic properties of typefaces, contrast, stroke width and spacing, weight and height relationship within typefaces. We investigated the historical development of display typefaces, their properties, and their influence on various graphic products. Based on the content of the Kosovel Memorial Room, we examined the origin and development of the artistic avant-garde movement Constructivism abroad and in Slovenia. We highlighted important events in the life of Srečko Kosovel and familiarised ourselves with his work. Based on the client’s needs, the existing promotional material (brochure, posters, etc.) was analysed in more detail. In addition, we conceptually prepared the typeface design, drawing on his other graphic products. The display typeface was used in revised graphic products that we designed in collaboration with the client. The final products were presented in February 2022 and will continue to promote Srečko Kosovel’s work.
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Reports on the topic "Avant-garde poetry"

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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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