European Avant-garde: New Perspectives : Avantgarde, Avantgardekritik, Avantgardeforschung

Priekinis viršelis
Dietrich (editor) Scheunemann
Rodopi, 2000 - 274 psl.
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This collection of critical essays is designed to lay the foundations for a new theory of the European avant-garde. It starts from the assumption that not one all-embracing intention of all avant-garde movements - i.e. the intention of "reintegrating art into the practice of life" (Peter Bürger) - but the challenge of new cultural technologies, in particular photography and cinema, constitutes the main driving force of the formation and further development of the avant-garde. This approach permits to establish a theoretical framework that takes into account the diversity of artistic aims and directions of the various art movements and encourages a wide and open exploration of the multifaceted and often contradictory nature of the great variety of avant-gardist innovations. Following the theoretical foundation of the new approach, individual contributions concentrate on a diverse range of avant-gardist concepts, trends and manifestations from cubist painting and the literary work of Apollinaire and Gertrude Stein to the screeching voices of futurism, dadaist photomontage and film, surrealist photographs and sculptures and neo-avant-gardist theories as developed by the French group OuLiPo. The volume closes with new insights gained from placing the avant-garde in the contexts of literary institutions and psychoanalytical and sociological concepts. The main body of the volume is based on presentations and discussions of a three-day research seminar held at Yale University, New Haven, in February 2000. The research group formed on this occasion will continue with its efforts to elaborate a new theory of the avant-garde in the coming years.

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Bernd Kiefer
Ian Revie
Dietrich Scheunemann
H Martin Puchner
David Macrae
Expression and Reproduction in Early AvantGarde Film 137
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18 psl. - I should like to strip the novel of every element that does not specifically belong to the novel. Just as photography in the past freed painting from its concern for a certain sort of accuracy, so the phonograph will eventually no doubt rid the novel of the kind of dialogue which is drawn from the life and which realists take so much pride in. Outward events, accidents, traumatisms, belong to the cinema. The novel should leave them to it.

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