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By Dietrich Scheunemann

This selection of serious essays explores new ways to the research of avant-garde literature and artwork, movie and structure. It deals a theoretical framework that avoids narrowly outlined notions of the avant-garde. It takes under consideration the range of creative goals and instructions of some of the avant-garde pursuits and encourages a large and open exploration of the multifaceted and sometimes contradictory nature of the nice number of avant-gardist recommendations. person essays pay attention to cubist college and dadaist photomontage, on summary portray through contributors of the Dutch crew De Stijl, on verbal chemistry and dadaist poetry and on physique paintings from futurism to surrealism. additionally, the gathering needs to open up the dialogue of the avant-garde to a radical research of neo-avant-garde actions within the Nineteen Fifties and Sixties. for many years the appreciation of neo-avant-garde artwork and literature, movie and structure suffered from a common and all-inclusive rebuke. This quantity is designed to give a contribution to a step forward in the direction of a extra efficient and extra specified research of this examine box. Contributions contain a dialogue of Warhol’s multiples in addition to Duchamp’s editioned readymades, types of concrete and electronic poetry in addition to the architectural “Non-Plan”. the most physique of the amount relies on shows and discussions of a three-day study seminar held on the college of Edinburgh in September 2002. The learn crew shaped round the Avant-Garde undertaking at Edinburgh will proceed with its efforts to complex a brand new idea of the avant-garde within the coming years. Contents Preface I. Theorising the Avant-Garde Dietrich SCHEUNEMANN: From college to the a number of. at the family tree of Avant-Garde and Neo-Avant-Garde Rhys WILLIAMS: Wilhelm Worringer and the ancient Avant-Garde Hubert van den BERG: at the Historiographic contrast among ancient and Neo-Avant-Garde II. Reviewing the Autonomy of artwork Michael WHITE: Abstraction, Sublation and the Avant-Garde: The Case of De Stijl David HOPKINS: Sameness and distinction: Duchamp’s Editioned Readymades and the Neo-Avant-Garde Ben HIGHMORE: Paint it Black: advert Reinhardt’s Paradoxical Avant-Gardism III. at the Alchemy of the observe Keith ASPLEY: Verbal Chemistry and urban Poetry Anna SCHAFFNER: How the Letters Learnt to bounce: On Language Dissection in Dadaist, Concrete and electronic Poetry Jacob EDMOND: American Language Poetry and the Definition of the Avant-Garde IV. physique Arts Günter BERGHAUS: From Futurism to Neo-Futurism: Continuities and New Departures in Twentieth-Century Avant-Garde functionality Olga TAXIDOU: Actor or Puppet: The physique within the Theatres of the Avant-Garde Uta FELTEN: Fragmentation of the physique in Spanish Surrealism V. the leading edge in Cinema and structure David MACRAE: the outside of phantasm: Avant-Garde Apperception and Antecedence in Structural/Materialist movie Gérard LEBLANC: What Avant-Garde? Richard WILLIAMS: the bounds of “Non-Plan”: structure and the Avant-Garde VI. Crossing the Genres Jennifer VALCKE: Montage within the Arts: A Reassessment Tania ØRUM: capability and Metaphors of swap: expertise and the Danish Avant-Garde of the Nineteen Sixties Klaus BEEKMAN: Literature less than the impression of movie: On Dutch Author-Critics of the Avant-Garde and Neo-Avant-Garde record of Illustrations Index

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Tzara, Tristan 1916 “Note pour les Bourgeois”. In: Cabaret Voltaire, ed. Hugo Ball. Zurich, 6–7. Warhol, Andy, and Pat Hackett 1980 POPism. The Warhol ‘60s. New York: Harcourt Brace Jovanovich. Wilson, Simon 1999 “Pop”. In: Modern Art. Impressionism to Post-Modernism, ed. David Britt. London: Thames & Hudson, 305– 357. Wilhelm Worringer and the Historical Avant-Garde RHYS W. WILLIAMS It may seem paradoxical to contribute to a volume which seeks to explore the multi-facetted interrelationships between the historical and neo-avant-garde by focussing attention on a relatively obscure German art historian whose connections even to the historical German avant-garde are at best tenuous.

Any reproduction of a photomontage communicates its meaning and reveals its aesthetic significance as precisely as the original does. Photomontages share this feature with Duchamp’s readymades. The term original has since lost its traditional value and significance. Bürger presents the photomontage as a reading picture constructed in the rigid fashion of a Baroque emblem. This is appropriate if one refers to the political work of Heartfield in the early 1930s in which the original dadaist form of the photomontage was simplified and more clearly organised for political effect.

1984 Theory of the Avant-Garde. Minneapolis: University of Minnesota Press. 1992 The Decline of Modernism. Cambridge: Polity. Dachy, Marc 1990 Döblin, Alfred 1963 The Dada Movement 1915–1923. New York: Rizzoli. “An Romanautoren und ihre Kritiker. Berliner Programm”. In: Döblin, Aufsätze zur Literatur, 15–19. Dulac, Germaine 1978 “The Avant-Garde Cinema”. In: The Avant-Garde Film. A Reader of Theory and Criticism, ed. P. Adams Sitney. New York: New York University Press, 43–48. Enzensberger, Hans Magnus 1980 “Die Aporien der Avantgarde”.

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