Journal articles: 'Avant-garde poetry'

1

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

2

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

7

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

8

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

11

Hul, Ołeksandra. "Chinese avant-garde poetry in times of mind, mayhem and money through the interpretation of Maghiel van Crevel." Bibliotekarz Podlaski. Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 45, no. 4 (December 20, 2019): 409–22. http://dx.doi.org/10.36770/bp.236.

Full text

Abstract:

The article is written in the form of a book review. It tells about the Chinese avant-garde poetry as a tendency in the literature of the turn of the 20th and the 21st centuries. We are acquainted with the contemporary poetry through the eyes of Maghiel van Crevel, who, being a famous professor-sinologist, describes the lyrical vanguard with all its peculiarities. In his book he shows the real background of the exile poetry. The reader can not only see the positive sides of the modern poetry, but can also understand the controversial nature of the “Misty poetry” in its entirety. The article gives a brief history of contemporary poetry. It covers the period of forbidden underground poetry during the times of cultural revolution, and shows all the transformation stages of the Chinese avant-garde in literature. In the article we can trace the attitude of Maghiel van Crevel towards the Western art influence on the Chinese culture and poetry. He skillfully expresses his thoughts and feelings by using the words of the others and citing the leading Chinese literary critics. The most interesting thing is that the author of the book focuses his attention on the poets who do not belong to the key representatives of the poetic avant-garde. This helps the reader to understand that a poet is an ordinary person and can write in a simple manner using the colloquial speech just to be closer to other people. The key aim and goals of the Article is to become a vivid literary guide to the avant-garde poetry environment and to give some clues to the reasons of the poetry in exile.

APA, Harvard, Vancouver, ISO, and other styles

12

Orska, Joanna. "Poeci-tłumacze jako „awangarda” lat 90." Wielogłos, no. 1 (43) (2020): 57–73. http://dx.doi.org/10.4467/2084395xwi.20.005.12153.

Full text

Abstract:

Poets-Translators as the “Avant-Garde” of the 1990s David Lehman in his book The Last Avant-Garde. The Making of the New York School of Poets sustains the avant-garde character of the New York School (painters and poets), pointing to the resistance of the public to their works as to one of the symptoms showing their anti-normative and emancipatory message. New experimental poetry in post-transformational Poland of the 1990s was, in general, following the innovations of foreign neo-avant-garde practices – in respect to the methods, interests, and creative ideas. The New York School tradition became the main source of inspiration, due to its reception by poets-translators of the circle of “Literatura na Świecie” magazine: Piotr Sommer, Bohdan Zadura, Andrzej Sosnowski, and Tadeusz Pióro. This article shows that their literary statements on art, which could be seen as programmatic in the avant- -garde way, displayed certain outlines similar to the New York School ideas. One might risk the thesis that at the turn of the centuries in Poland not only American neo-avant-garde poetry aroused the interest of Polish poets-translators. Also the programme of the New York School poets, however vague, became important for their experience and it was being “translated” alongside the poems, though its features would turn out different in Polish conditions.

APA, Harvard, Vancouver, ISO, and other styles

13

Perloff, Marjorie. "From Language Poetry to the New Concretism: The Evolution of the Avant-Garde." Literature of the Americas, no. 12 (2022): 10–36. http://dx.doi.org/10.22455/2541-7894-2022-12-10-36.

Full text

Abstract:

The article examines the trajectory of the Western avant-garde in the 20th century, in connection with the group formations characteristic of these movements. Movements such as the Russian avant-garde and European Dadaism are classified according to various criteria, and their rise and fall is traced. After a broad overview of avant-garde movements, the first part of the essay analyzes the cases of the modern avant-garde movement “Language Poetry”. The article then goes on to detail the theoretical principles of the “language movement” founded in the late 1970s, and then explore how this radical movement has developed over the past twenty years. Language poetics, closely associated with French poststructuralist aesthetics and Marxist ideology, was gradually assimilated into the mainstream, and its stylistic features were absorbed into more traditional modes. The movement is now mostly over, but it has produced a number of important poets such as Susan Howe and Charles Bernstein, Lyn Hejinian and Steve McCaffery. These poets now associate themselves outside the language movement they used to be part of and are eventually arriving their own styles. In the last part of the article, the author refers to the Latin American movement of concretism as a phenomenon that synthesizes the achievements of the Russian and European avant-garde and the American neo-avant-garde.

APA, Harvard, Vancouver, ISO, and other styles

14

Tokarz, Bożena. "Przekład w perspektywie awangardowości." Między Oryginałem a Przekładem 26, no. 49 (September 30, 2020): 83–100. http://dx.doi.org/10.12797/moap.26.2020.49.05.

Full text

Abstract:

Translation in the Perspective of Avant-garde Avant-garde is a kind of precursor that precedes some fundamental change. Translation can provoke such a change in the host literature, presenting works that have the potential to make a turn in it, or it can become revolutionary in the art of translation. The avant-garde function of Polish literature in Slovenia is fuzzy. It is present in the minds of some authors although they do not exhibit it in an explicit way. Therefore, it is not possible to assign its translations an avant-garde role in the interwar period, which abounded with stormy transformations of European art and not only. The Polish historical avantgarde was unknown to the reader, and the poetry of one of the central poetic groups, the Krakow Avant-Garde, has remained so. The translations of avant-garde prose and drama of that time are late to fulfill such a function because they only appeared after the 1970s.

APA, Harvard, Vancouver, ISO, and other styles

15

Szaruga (Wirpsza), Leszek (Aleksander). "On various kinds of involvement of Avant-Garde." Tekstualia 4, no. 59 (December 20, 2019): 173–90. http://dx.doi.org/10.5604/01.3001.0013.6443.

Full text

Abstract:

The article analyses selected poems and tractates of poetry, with a special focus on the solutions regarding versifi cation, rhythm, and language (dialectological structures, syntactical forms and neologisms characteristic of poetic writing in Polish and Russian, as well as the contexts of English and German languages). Because the author attempts to distinguish the specifi city of poetry and the most important areas of literary biography in selected areas, he asks what the ways of poetry are, trying to present his point of view about the intellectual climate of the end of the 19th century, when the refl ection of language was the strongest and fundamental sign to identity. Besides, he shows what happened in the poetry of Marinetti, Majakowski, Benn, Brecht, Becher, Pound, Jasieński, Brzechwa, and Czyżewski. The article deals with the problem of historical, sociological, political, cultural and religious dialogue in poetry. The dialogue is dedicated to the search of a new language of expression. The author presents what the status of the poetry is at the beginning of the 20th century and what are the ways of poetry spreading and using language as a medium not only of communication, but also an identifi cation of unbelievable, impossibility, and as a consequence what are the strategies in poetry in addition to language (Russian and Polish, but also English and German). All of these paradigms determined functions of lyrics, which can be named an intertextual creativity. The author tries to answer the fundamental question about human condition and identity, the meaning of poetic sign, individual human possibilities towards history and politics, as well as the ways of using different connections with literature, art, religion (especially mysticism), philosophy and intertextual components which described the worldview of poetry.

APA, Harvard, Vancouver, ISO, and other styles

16

Probstein, Ian. "Charles Bernstein: Avant-Garde Is a Constant Renewal." boundary 2 48, no. 4 (November 1, 2021): 215–30. http://dx.doi.org/10.1215/01903659-9382271.

Full text

Abstract:

Abstract The essay explores the work of Charles Bernstein in light of constant renewal. John Ashbery, as one of the brightest representatives of the New York School, and Charles Bernstein, as a representative of the language (L = A = N = G = U = A = G = E), have similar attitudes toward language. They have much in common in terms of poetics: in the rejection of loud phrases, prophetic statements, emotions, confessionalism, and certain self-centeredness. Poetry is a private matter for both. Both have poetics built on the “oddness that stays odd,” as Bernstein himself put it, paraphrasing Pound's “news that stays news.” Both are aimed at renovating the language, and the verses of both are built on fragmentation, collage, moving from one statement to another without preparation. However, in Ashbery, whose poems are surreal, these transitions are smoother, based on an apparent connection, what Bernstein calls “hypotaxis” or “associative parataxis.” In contrast, Bernstein's poetry is built on parataxis; it is “bumpy,” in the poet's own words.

APA, Harvard, Vancouver, ISO, and other styles

17

Djuric, Dubravka. "The feminist avant-garde and feminaissance in american poetry and the visual arts." Bulletin de l'Institut etnographique 69, no. 2 (2021): 275–87. http://dx.doi.org/10.2298/gei2102275d.

Full text

Abstract:

In this article, I will discuss the appearance and meaning of the terms feminist avant/garde and feminaissance. I will point to the differences in the mediums of these two fields of cultural production (verbal art and visual art). I am interested in the way these terms help us to construe histories but also impact the contemporary production of radical feminist practices. The notion of the feminist avant-garde was introduced by the American critic Elizabeth A. Frost in 2003 in order to point to the feminist avant-garde poetry tradition. In 2016, the curator Gabrielle Schor introduced the same term, using it for the international exhibition of performance artists from the 1970s. In both fields, the term avant-garde had been used to refer to male artistic and poetry practices. By applying it to radical women?s poetry and performance practices, these practices became visible, valued and recognizable. Feminaissance was introduced in the US in 2007 and referred to the several exhibitions dedicated to female art. The term expressed the optimistic re-actualization of female art, but at the same time, it provoked polemics regarding the contemporary construction of feminist art history. In the field of experimental poetry, feminaissance was used with the same meaning in 2007, at a conference dedicated to feminist experimentation. Within the visual arts, the term feminaissance foregrounded the problematics of the historization of female art, while in experimental poetry this discussion took place around the feminist positions of essentialism and anti-essentialism.

APA, Harvard, Vancouver, ISO, and other styles

18

Dorkin, Andrew. "Humouring Futurity: Avant-Garde Poetry for Children?" CounterText 7, no. 3 (December 2021): 350–89. http://dx.doi.org/10.3366/count.2021.0241.

Full text

Abstract:

This essay humours the possibility of a kinder-garde, in which poets humour children so that children might humour poetry's futurity. I propose humouring as a critical approach premised on a compliant tension with a text, a subversive toleration that undermines ‘aetonormative’ seriousness and upholds ‘childish’ humour as valuable play-with-value. The Kindergarde anthology (ed. Dana Teen Lomax 2013 ) claims to translate avant-gardism for a child audience, linking its experimental poems to the experimentation of children's play. Using carnivalisation, détournement, defamiliarisation, and other forms of what Ryan Fitzpatrick and Jonathan Ball term ‘experimentation-with-humour’, Kindergarde constructs inclusive spaces for humoured subversion, in which children can sidestep oppressive adult normativity. The child's humoured humouring of adult power is discussed here by re-reading children's literature's ‘impossible relation’ (after Jacqueline Rose) in terms of Michel Serres’ ‘parasite’, Judy Little's feminist ‘humouring’ of male language, and Lee Edelman's queering of ‘reproductive futurism.’ Asserting that it is the condition of twenty-first-century poetry to be humoured – as a ‘minor literature’ (Deleuze and Guattari) with a ‘minor attitude’ (Georges Bataille) – my humouring of the Kindergarde builds toward a post-literary vision of the kinder-gardist as futurity-humourist.

APA, Harvard, Vancouver, ISO, and other styles

19

Davis, Alex. "DEFERRED ACTION: Irish Neo-Avant-Garde Poetry." Angelaki 5, no. 1 (April 2000): 81–93. http://dx.doi.org/10.1080/09697250050134045.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

Taylor, Richard. "Meter and measure in Avant-garde poetry." Neohelicon 21, no. 1 (March 1994): 143–64. http://dx.doi.org/10.1007/bf02093045.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

Stevanović, Ana. "Genre subversiveness of the avant-garde poetry." Kultura, no. 163 (2019): 79–96. http://dx.doi.org/10.5937/kultura1963079s.

Full text

APA, Harvard, Vancouver, ISO, and other styles

22

Pulkkinen, Veijo. "The Hidden Sigh: The End of the Avant-Garde in Olavi Paavolainen and Aaro Hellaakoski." Journal of Finnish Studies 19, no. 1 (June 1, 2016): 27–54. http://dx.doi.org/10.5406/28315081.19.1.04.

Full text

Abstract:

Abstract This article presents a new perspective on research in Finnish modernist literature by examining the idea of the end of the avant-garde in Olavi Paavolainen's (1903–64) and Aaro Hellaakoski's (1893–1952) views on modernism in the late 1920s. Paavolainen was one of the most prominent figures in the contemporary debate on modernism; Hellaakoski's typographically experimental poetry collection Jääpeili (Ice mirror) is considered to be a pioneer in Finnish modern poetry. In this article, the end of the avant-garde refers to the impression that the most experimental trends had already passed elsewhere in Europe. In Finland, the end of the avant-garde was, on the one hand, used as a weapon against modernists, but on the other, it also played a significant role in the understanding of the present state of art by the defenders of modernism.

APA, Harvard, Vancouver, ISO, and other styles

23

Dreyzis, Yulia A. "Performative Strategies in Contemporary Chinese Avant-garde Poetry." Oriental Studies 19, no. 10 (2020): 100–116. http://dx.doi.org/10.25205/1818-7919-2020-19-10-100-116.

Full text

Abstract:

The paper presents an attempt to explore the problem of mediality in Chinese poetry of the last thirty years. New Chinese poetry is particularly susceptible to the influence of the latest concepts of modern art and now more than ever needs a clear contextualization in relation to other forms of culture and avant-garde practice. This can be achieved through applying an analysis paradigm for performative word art developed by Dr. Tomáš Glanc in the context of Czech and Russian neo-avant-garde. It perceives experimental poetry as a form that fulfills a shift of the word thus making it labile. Examples of this phenomena can be found in Chinese poetry in the works of Ouyang Jianghe, Yang Xiaobin, Ouyang Yu, Xia Yu, Chen Li, Xu Bing, Wuqing and many more experimental artists. Their creative use of word shift principles shows how performative strategies are adapted in contemporary Chinese poetry keeping in mind the specific hanzi (character) medium that it is based upon. It seems both a continuation of a long-existing tradition and a radical exploration of the ‘iconic turn’ in the field of language.

APA, Harvard, Vancouver, ISO, and other styles

24

Sonboldel, Farshad. "Another Avant-Garde: Rethinking Tondar Kia’s Approach to Poetic Expression in a Transnational Context." International Journal of Persian Literature 8 (September 1, 2023): 61–85. http://dx.doi.org/10.5325/intejperslite.8.0061.

Full text

Abstract:

Abstract This article explores the concept of avant-garde artistic expression and argues that it should be regarded as a transcultural phenomenon that surpasses geographical boundaries. It emphasizes the importance of adopting a transnational perspective to fully grasp the intricate interactions between diverse avant-garde movements across cultures and regions. To illustrate this point, the article focuses on the Iranian avant-garde poet Tondar Kia, challenging the perception that his work is merely a replication of Western movements. Instead, it proposes that a transnational lens enables a more comprehensive understanding of the distinctive contributions made by Iranian avant-garde poets to the global avant-garde movement. The article extensively examines Kia’s work within the local context of Persian literary evolution while also shedding light on the transnational aspects present in his compositions. It highlights Kia’s critique of established aesthetic norms, particularly the notion of organic unity, and explores his innovative approaches to rhythm, tone, and polyphony in Persian poetry.

APA, Harvard, Vancouver, ISO, and other styles

25

Dakić, Mirela, and Marina Protrka Štimec. "A Double Margin." Fluminensia 35, no. 1 (2023): 221–45. http://dx.doi.org/10.31820/f.35.1.2.

Full text

Abstract:

Studying the share of women in the historical avant-garde movements, Susan Rubin Suleiman (1990) supported Marguerite Duras's assessment of the avant-garde women writers as being “doubly intolerable” – since they do not correspond to the usual revolutionary point of view or that of women. Suleiman introduced the concept of the double margin to refer to the problem of critical and historical reception of women’s avant-garde writing. Since the procedures of the double marginalisation of women’s avant-garde poetics can be observed in different cultural contexts and literary fields, in this paper we will analyse the critical and historical reception of women writers on the Croatian and Yugoslav literary scene who contributed to the literary magazine Krugovi (Circles, 1952–1958) in the 1950s. Although this generation of writers interprets the aspiration of poetry towards a “universal language” (A. Rimbaud) following the avant-garde usages of grammar, figures of speech, and a depoeticised vocabulary, the traditional readings of women's poetics are often based on the expression of women’s experience, the mind and body split, and the biographical interpretation. On the other hand, the oeuvres of women from the Krugovi generation call for a revaluation of the relation between their poetic strategies and the possible gender politics of their poetry. Therefore, we will demonstrate the possibilities of this revaluation by turning to poetical choices, treatment of the lyric subject and the genre in the texts of Vesna Krmpotić, Vesna Parun, and Irena Vrkljan.

APA, Harvard, Vancouver, ISO, and other styles

26

Mijatović, Aleksandar. "Knotting Loops in the European Avant-Garde(s) The Poetic Image in Ezra Pound’s, A. B. Šimić’s and André Breton’s Anti/Ana-Aesthetics, and its Relation to Painting." Zagreber germanistische Beiträge 32, no. 1 (December 20, 2023): 67–80. http://dx.doi.org/10.17234/zgb.32.4.

Full text

Abstract:

The essay offers a (re)construction of an avant-garde network consisting of imagism, expressionism, and surrealism in literature and art. It proposes a reassessment of Ezra Pound’s and André Breton’s concepts of the poetic image, and compares them to their counterpart in the writing and poetry of Croatian expressionist writer Antun Branko Šimić. Through this reconstruction of one node in the avant-garde network, the paper proposes a theory of avant-garde as a twofold structure of de-figuration and transfiguration, which performs the role of re-figuring reality. This proposal solves a principal tension in Peter Bürger’s argument expounded in "Theorie der Avantgarde".

APA, Harvard, Vancouver, ISO, and other styles

27

Ulanov, Alexander M. "Russian and American Poetry: Towards New Language Abilities." Literature of the Americas, no. 16 (2024): 425–33. http://dx.doi.org/10.22455/2541-7894-2024-16-425-433.

Full text

Abstract:

The book by Vladimir Feshchenko, a Russian researcher of the language of poetry and a publisher of avant-garde literature, is devoted to Russian and American poetry of the language experiment in the 20th and early 21st century. Using examples from Andrei Bely, Russian futurists, Alexander Vvedensky, Ezra Pound, Gertrude Stein, E.E. Cummings to the American poets of “language writing” and modern Russian-speaking young poets, the similarity of the philosophical and linguistic foundations of the language experiment, the convergence and differences of literatures, the personal interaction of authors from both countries are considered in the book. The analysis of a number of American and Russian poems from the point of view of the language of poetry is given. V. Feshchenko's book is of interest to researchers of Russian and American poetry, the avant-garde, the language of poetry, and the interaction of literatures.

APA, Harvard, Vancouver, ISO, and other styles

28

Tsvigun, Tatyana V., and Aleksey N. Chernyakov. "Pushkin as a personal myth of the Russian avantgarde." Slovo.ru: Baltic accent 11, no. 2 (2020): 69–79. http://dx.doi.org/10.5922/2225-5346-2020-2-6.

Full text

Abstract:

This article analyses strategies for cultural appropriation and the appropriation of Pushkin’s personality and oeuvre by the Russian avant-garde. The treatment of Pushkin by the avant-garde is considered as a peculiar variant of cultural apophaticism when the object of reflection is asserted through its consistent negation. The factography of the Russian avant-garde proves that, from its earliest stages the creative system has been constructing its own Pushkin myth, within which the poet has the role of both an object of cultural overcoming and the reference point for the development of a new art. Through negation, the avant-garde strives to ‘discharge’ Pushkin and to show his strangeness to classical cultural models. By making the poet its own, the avant-garde uses him to secure its position in the literary field. Another focus of the article is the place and role of the Pushkin substrate in the poetry and theoretical treatises of Aleksei Kruchyonykh. In his works Pushkin is an object of poetical overcoming and a pole of attraction-repulsion. He is a touchstone, a reference point for the conceptualisation of a new literature. In developing his theory of the shift, Kruchyonykh views Pushkin as a ‘sound-poet’. That analytical position made it possible to move from dismissing him as ‘a deaf singer’ to the avant-gardist glorification of Pushkin as a genius who worked with the sound texture of the poem. Kruchyonykh demonstrates that for Pushkin the shift is a powerful semantic generator of poetry, a tool that makes an error ‘the rule of breaking rules’: semantic deviations turn into neologisms, whereas the shift itself enters the realm of productive poetic techniques.

APA, Harvard, Vancouver, ISO, and other styles

29

MIDDLETON, PETER. "Folk Poetry and the American Avant-Garde: Placing Lorine Niedecker." Journal of American Studies 31, no. 2 (August 1997): 203–18. http://dx.doi.org/10.1017/s002187589700563x.

Full text

Abstract:

What is the effect of placing speech in a poem? What is the effect of placing a poem in a collection of poems by other poets? These ordinary cultural acts of displacement are taken for granted by most writers and readers, but for the Objectivist poet Lorine Niedecker they represented highly conscious acts alien to her everyday world. Although her fellow Objectivists were marginalized by the literary world for much of their careers, they mostly lived and worked within the metropolitan cultures where their avant-garde poetry was read. She spent almost all her life in rural Wisconsin in relative poverty, keeping her writing life quite separate from her various working-class jobs and the local community. By reading her relations with the poetic avant-garde in terms of these acts of displacement, it is possible to appreciate the complexity of a poetic style that can appear to dissolve meaning into a limpid clarity that leaves nothing to interpret, and to recognize that the poetic avant-garde makes rarely questioned assumptions about the universal transmissibility of poetry.

APA, Harvard, Vancouver, ISO, and other styles

30

van crevel, maghiel. "not quite karaoke: poetry in contemporary china." China Quarterly 183 (September 2005): 644–69. http://dx.doi.org/10.1017/s0305741005000408.

Full text

Abstract:

marketization is a prime feature of arts and culture in contemporary china. strikingly, while avant-garde poetry is hardly involved in this trend, and some of its commentators feel a sense of crisis as a result, it continues to flourish as a small but stable, high-cultural niche area that boasts increasing textual richness and a well-positioned constituency. an explanation of this phenomenon must take into account multiple re-inventions of traditional chinese notions of poetry and poethood, amid rapidly changing circumstances throughout the contemporary era. less culturally specific but no less essential, another factor is the very nature of the genre of avant-garde poetry in its social context and of artistic experiment per se, creating a problem for cultural analysis that makes numbers the measure of all things.

APA, Harvard, Vancouver, ISO, and other styles

31

Lam, Joshua. "A Poetics of Thingification: Dawn Lundy Martin and the Black Took Collective." boundary 2 49, no. 4 (November 1, 2022): 67–110. http://dx.doi.org/10.1215/01903659-10045160.

Full text

Abstract:

Abstract In the last two decades, African American poets working in innovative and avant-garde forms have produced poetry focused upon the theme of racial objectification. Individual and collaborative projects by Dawn Lundy Martin, Duriel E. Harris, and Ronaldo V. Wilson, who write and perform together as the Black Took Collective, practice what this article calls a poetics of thingification: a poetry that draws attention to language's capacity for reification in general and for racial objectification in particular. Drawing upon thing theory and recent scholarship on race and avant-garde poetry, this article focuses on Dawn Lundy Martin's poetics in order to demonstrate how poets combine innovative techniques with racial stereotypes to scrutinize hegemonic expectations at the level of poetic form, especially within the tradition of African American poetry. Rather than adopting the humanizing rhetoric and lyrical modes of conventional African American poetry, these poets use the trope of the objectified Black body to deconstruct linguistic processes of racial reification from within.

APA, Harvard, Vancouver, ISO, and other styles

32

Walton, Stephen, and Virginia A. La Charite. "Twentieth-Century French Avant-Garde Poetry, 1907-1990." SubStance 23, no. 1 (1994): 135. http://dx.doi.org/10.2307/3684803.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

Rothwell, Andrew, and Virginia A. La Charite. "Twentieth-Century French Avant-Garde Poetry, 1907-1990." Modern Language Review 90, no. 1 (January 1995): 209. http://dx.doi.org/10.2307/3733334.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

Jocić, Miloš, and Stefan Hayden. "Medieval Multimedia and Neo Avant-Garde Visual Poetry." Serbian Studies: Journal of the North American Society for Serbian Studies 32, no. 1-2 (2021): 15–27. http://dx.doi.org/10.1353/ser.2021.0005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

35

Tuma, Keith. "Contemporary American Poetry and the Pseudo Avant-Garde." Chicago Review 36, no. 3/4 (1989): 43. http://dx.doi.org/10.2307/25305455.

Full text

APA, Harvard, Vancouver, ISO, and other styles

36

MacDonald, S. "Poetry and Avant-Garde Film: Three Recent Contributions." Poetics Today 28, no. 1 (March 1, 2007): 1–41. http://dx.doi.org/10.1215/03335372-2006-014.

Full text

APA, Harvard, Vancouver, ISO, and other styles

37

Damon, M. "Avant-Garde or Borderguard: (Latino) Identity in Poetry." American Literary History 10, no. 3 (March 1, 1998): 478–96. http://dx.doi.org/10.1093/alh/10.3.478.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

Hongki Kim. "Dialectical Images: William Carlos Williams’s Avant-Garde Poetry." Journal of English Language and Literature 56, no. 3 (July 2010): 445–59. http://dx.doi.org/10.15794/jell.2010.56.3.003.

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Brown, E. "Paratextual Communities: American Avant-Garde Poetry since 1950." American Literature 75, no. 1 (March 1, 2003): 205–7. http://dx.doi.org/10.1215/00029831-75-1-205.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

MacDonald, Scott. "Avant-Doc: Eight Intersections." Film Quarterly 64, no. 2 (2010): 50–57. http://dx.doi.org/10.1525/fq.2010.64.2.50.

Full text

Abstract:

An overview of the interlinking aesthetic and institutional histories of avant-garde and documentary film in terms of: early experiments; city symphonies; visual poetry and politics; film societies; sound options; the Flaherty Seminar; the personal; contemplating nature.

APA, Harvard, Vancouver, ISO, and other styles

41

Weststeijn, Willem G. "Sergei Sigei and Aleksei Kruchenykh: Visual Poetry in the Russian Avant-Garde and Neo-Avant-Garde." Arts 11, no. 5 (September 29, 2022): 98. http://dx.doi.org/10.3390/arts11050098.

Full text

Abstract:

One of the characteristic features of the Russian Avant-garde is the close connection between painting and poetry. Futurist poets (Vladimir Maiakovskii, Aleksei Kruchenykh) were educated as artists, their books were illustrated by the famous painters of their time (Mikhail Larionov, Nataliia Goncharova). Some of the Futurists designed their own books and did all kinds of typographical experiments. One of the most productive writers, designers, editors and publishers of such books was Aleksei Kruchenykh (1886–1968), who only recently has been given honour where it is due. One of his admirers is the Neo-avant-garde poet-artist Sergei Sigei (1947–2014), who was the first to publish some of Kruchenykh’s hitherto unpublished works and in many respects repeated, changed, and further developed his forerunner’s experiments with typographical signs and book production. Some of Sigei’s unique handmade books are dedicated to Kruchenykh. Sigei, the leader of the group of the ‘transfurists’ (Ry Nikonova, Boris Konstriktor, A. Nik, Vladimir Erl’) may be considered the main representative of the Russian Neo-avant-garde.

APA, Harvard, Vancouver, ISO, and other styles

42

Mier-Cruz, Benjamin. "Spiderwebs of Mental Gum Arabic: The Modernist Machines of Elmer Diktonius." Journal of Finnish Studies 26, no. 2 (2023): 156–79. http://dx.doi.org/10.5406/28315081.26.2.03.

Full text

Abstract:

Abstract This article examines Elmer Diktonius's avant-gardist poetry, prose, and literary criticism, published between 1921 and 1951. Diktonius often entangles Swedish and Finnish in his writing, inducing a disorienting effect that contributes to his avant-garde agenda and separates him from the literary establishment of his day. Looking at his Swedish-language poetry and personal letters illustrates a viscous material poetics fashioned by the author's soldering of languages, genres, rhythms, and sounds. Considering the skillful ways Diktonius processed language reveals how the author challenged literary categories separating poetry from prose and epistle from art.

APA, Harvard, Vancouver, ISO, and other styles

43

Rodríguez González, Alberto. "El Corno Emplumado y la vanguardia en el umbral de la nueva era." Sincronía XXV, no. 80 (July 3, 2021): 383–416. http://dx.doi.org/10.32870/sincronia.axxv.n80.18b21.

Full text

Abstract:

This article analyzes the case of the Mexican magazine El Corno Emplumado and its role as an avant-garde publication based on Renato Poggioli's idea of avant-garde movement and the notions of epoch threshold and aesthetics of threshold formulated by Hans Robert Jauss and Luciana del Gizzo, respectively. The intention is to examine the way in which the magazine edited by Margaret Randall and Sergio Mondragón updates the utopian impulse of the avant-gardes based on their vision that social change at the beginning of the 60s of the 20th century would come thanks to renewal spirituality that only art and poetry could provide. Additionally, it investigates the way in which the magazine reconfigures the avantgarde myth of the new beginning from its postulate of the advent of a new era, the era of the man of air. All this in order to discuss the possibility of thinking about the presence of an avant-garde continuity in Mexican literature throughout the 20th century.

APA, Harvard, Vancouver, ISO, and other styles

44

Védrine, Hélène. "Adverts in ‘Little Reviews’ (1890–1930): Networks, Poetry and Design." Journal of European Periodical Studies 1, no. 2 (December 31, 2016): 87. http://dx.doi.org/10.21825/jeps.v1i2.2648.

Full text

Abstract:

Between the 1880s and the 1920s, advertising proved fundamental to art and literature reviews since it fostered a new link between visual and consumerist culture. This article is based on fin de siècle and avant-garde magazines read in dialogue. It samples French and Belgian magazines illustrating innovations to 1880s periodicals and 1920s modernist magazines. The paper highlights the use of visual techniques in advertisements (page design, typography, etc.) that strengthen aesthetic and political stances. Advertising rhetoric masks aesthetic manifestos but also social and political agenda, revealed by visual displays of text. Publicity is also an important medium for poetic experimentation, embedded in ordinary advertising design already in the 1890s. Its subversive use informs new means of artistic expression, considered avant-garde innovations (collage, cadavre exquis, or typographic combinations). Advertising later represents new modernist stances within avant-garde magazines. Surrealism and Dada exploited publicity to promote their revolutionary aesthetic. In the 1920s, advertising being increasingly professionalized, specific designers used new visual means, strengthened artistic exchanges, and gradually erased the division between art and commercial culture in magazines. Thus modernism became part of a visual culture resonant with consumer commodities. Advertising ultimately exemplifies an interesting change in periodicals’ patterns, across literature and art reviews to the mainstream press, through posters, and decorative or architectural designs.

APA, Harvard, Vancouver, ISO, and other styles

45

Feshchenko, Vladimir. "Graphic Translation of Experimental Verse as a Strategy of Poetic Text’s Transcreation." Studia Metrica et Poetica 6, no. 1 (August 29, 2019): 94–115. http://dx.doi.org/10.12697/smp.2019.6.1.04.

Full text

Abstract:

The article examines the problem of translating experimental poetic texts into other languages. The focus is on the transfer of verse’s spatial design between the source and the target languages. We analyze some cases of unconventional poetry translation with particular attention to verbal/visual properties of avant-garde poems. Stéphane Mallarmé’s, Guillaume Apollinaire’s, Augusto de Campos’ and Dmitry A. Prigov’s visual poetry provides examples of autographic (hand-written or hand-drawn) and allographic (typewritten or typeset) texts. The former, as we argue, are problematic for translation, just like pictures in painting, whereas the latter may be rendered in another language. The analysis of E. E. Cummings’ allographic experimental verse allows to propose a special strategy for translating this kind of texts. By analogy with ‘phonetic translation’, this strategy can be called ‘graphic translation’. This type of translation preserves the visual and metagraphemic forms of the original text, rearranging its lexical elements in translation. It specifically applies to visually-oriented avant-garde and experimental texts. Graphic translation ‘transcreates’ the text to a certain degree and this contributes to preserve and reinforce the experimental nature of avant-garde verse in languages other than its own.

APA, Harvard, Vancouver, ISO, and other styles

46

MUSSER, JORDAN. "The Avant-Garde is in the Audience: On the Popular Avant-Gardism of Linton Kwesi Johnson's Dub Poetry." Twentieth-Century Music 16, no. 3 (September 12, 2019): 457–99. http://dx.doi.org/10.1017/s147857221900029x.

Full text

Abstract:

AbstractThis article presents a historical study of black British poet and recording artist Linton Kwesi Johnson. Drawing on archival research, I argue that Johnson's hybrid literary and reggae-based practice, known as ‘dub poetry’, offers fresh insight into the status of ‘the popular’ in histories and theories of the avant-garde, and of black avant-gardism specifically. I begin by discussing Johnson's participation in the Caribbean Artists Movement, a hub for diasporic arts in 1960–70s London, whereupon I show how dub poetry transposed the ideas of Johnson's colleague, pan-African Marxist C. L. R. James, in simultaneously documenting and instigating grassroots efforts at community centres where Johnson worked, notably the Race Today Collective. I contend that Johnson forged a cultural programme that paralleled James's well-known rejection of the elitist model of the political vanguard: Johnson furnished a ‘popular avant-garde’, as I call it, whose community-oriented ethos was realized via popular media like the LP and mass-democratic – populist – action campaigns.

APA, Harvard, Vancouver, ISO, and other styles

47

Carvalho, Maria do Socorro Fernandes de. "“Toda a minha vida escrevi”: leitura de três livros de Melo e Castro / All My Life I Wrote”: Reading Three Books by Melo e Castro." Revista do Centro de Estudos Portugueses 40, no. 63 (April 8, 2020): 51. http://dx.doi.org/10.17851/2359-0076.40.63.51-58.

Full text

Abstract:

Resumo: Este pequeno texto parte da constatação de recorrências literárias entre a Poesia Experimental de E. M. Melo e Castro e a Poesia Concreta brasileira, que tem origem no diálogo intertextual ocorrido no cerne das rupturas literárias das vanguardas nas décadas de 1950 e 1960 no Brasil e em Portugal. Trato dessas relações a partir da leitura de três livros de poesia escritos pelo poeta português: Queda livre, de 1961, Ideogramas, de 1962 e Poligonia do soneto, de 1963.Palavras-chave: experimentação; poesia concreta; vanguarda; ruptura; modernidade.Abstract: This text is based on the observation of literary recurrences between E. M. Melo e Castro’s Experimental Poetry and Brazilian Concrete Poetry, which originates from the intertextual dialogue that took place at the heart of the literary ruptures of the avant-garde in the 1950s and 1960s in Brazil and Portugal. I deal with these relations from the reading of three poetry books written by the Portuguese poet: Queda Livre, 1961, Ideogramas, 1962 and Poligonia do soneto, 1963.Keywords: experimentation; concrete poetry; avant-garde; rupture; modernity.

APA, Harvard, Vancouver, ISO, and other styles

48

전봉관. "Avant-garde and Decadence in 1930's Korean Poetry." Korean Poetics Studies ll, no. 20 (December 2007): 41–61. http://dx.doi.org/10.15705/kopoet..20.200712.002.

Full text

APA, Harvard, Vancouver, ISO, and other styles

49

Levinger, Esther. "Czech Avant-Garde Art: Poetry for the Five Senses." Art Bulletin 81, no. 3 (September 1999): 513. http://dx.doi.org/10.2307/3051355.

Full text

APA, Harvard, Vancouver, ISO, and other styles

50

Cornis-Pope, Marcel, and K. David Jackson. "Experimental Visual Concrete: Avant-Garde Poetry since the 1960s." World Literature Today 72, no. 1 (1998): 219. http://dx.doi.org/10.2307/40153741.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Journal articles on the topic 'Avant-garde poetry'

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles