Pub Date : 2020-03-12DOI: 10.1093/oso/9780198833949.003.0010
Jed Rasula
On 17 December 2016, I had the good fortune to see a video installation at the Park Avenue Armory in New York City. Written, directed, and produced by Julian Rosefeldt, largely in and around Berlin, Manifesto staged thirteen scenarios—simultaneously looped on massive screens in the cavernous armory—in which extracts from nearly seventy avant-garde manifestos were performed by Cate Blanchett, featured in thirteen strikingly different roles. Her virtuosity redeployed even the most emphatic manifesto rhetoric into monologues that seem spontaneously uttered in a series of vivid locales, ranging from a cemetery to a fertilizer factory, a film studio, a drab apartment block, a former Olympic village, a puppet workshop, a recycling facility, and more. Blanchett, in effect, perpetuates the spirit of Fernando Pessoa, as if she were embodying heteronyms, not playing roles. ...
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Pub Date : 2020-03-12DOI: 10.1093/oso/9780198833949.003.0007
Jed Rasula
The title of this chapter comes from Marinetti’s uomo moltiplicato, a rallying cry for Italian Futurism. The artifice of optimism is here arrayed in a carnival procession or roll call of name changes, names in flux in the sprawl of pseudonyms endemic in modernism. The supreme instance of this phenomenon is Portuguese poet Fernando Pessoa with his host of heteronyms, alternate identities with their own unique practices. The case of Pessoa illustrates and affirms Nietzsche’s hypothesis of the subject as multiple, appraised by William Butler Yeats as “the emotion of multitude.” The pseudonyms and heteronyms populate the modern arts as if “making it new” commenced with the proper name.
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Pub Date : 2020-03-12DOI: 10.1093/oso/9780198833949.003.0008
Jed Rasula
After the Great War, the emerging values in art were purification and organization. Furthermore, Constructivism emerged in the early USSR as a determined effort to rethink the role of art in the milieu of a social tabula rasa. Artistic attempts to reconstitute primal qualities were linked with the effort to revitalize art by vanquishing “Art” altogether. The quest for a new realism affirmed the primal qualities in art as abstract or concrete, the terms of which were recapitulated in the 1936 publication Circle. Contemporaneously, Finnegans Wake was being serialized in the journal Transition, and James Joyce’s “Work in Progress” came to exemplify a new mythology for all the arts. The chapter concludes with a look at the exponents of abstraction and Surrealism in their American exile during the Second World War, as these opposing initiatives began to merge in their quest for a new mythology.
第一次世界大战后，艺术中出现了净化和组织的价值观。此外，建构主义出现在苏联早期，作为一种坚定的努力，重新思考艺术在社会白板环境中的作用。重建原始品质的艺术尝试与通过彻底征服“艺术”来振兴艺术的努力联系在一起。对新现实主义的追求肯定了艺术中抽象或具体的原始品质，这些品质在1936年的出版物中得到了概括。与此同时，《芬尼根守灵》(Finnegans Wake)在《过渡》(Transition)杂志上连载，詹姆斯·乔伊斯(James Joyce)的《正在进行的工作》(Work in Progress)成为所有艺术领域新神话的典范。这一章的最后，我们来看看抽象主义和超现实主义的倡导者们在二战期间被流放到美国时的表现，当时这些对立的创举开始在寻求新的神话的过程中融合在一起。
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Pub Date : 2020-03-12DOI: 10.1093/oso/9780198833949.003.0006
Jed Rasula
A paramount example of “making it new” in the early twentieth century was the unprecedented global phenomenon of jazz. This chapter chronicles the impact of jazz, understood not strictly as music but as agent of American modernity as the implacable engine of the new. During the Twenties a reciprocity between modernism and jazz was taken for granted; jazz was lifestyle modernism. In Europe jazz was welcomed as a vehicle of postwar revitalization. In America it was denounced as a fad or craze, albeit defended by some as a new artform, along with film, comics, vaudeville, and other popular entertainments. Debates about folk authenticity versus commercial exploitation, primitivism versus the ultra-modern, as well as racial and cultural purity swarmed around jazz for more than a decade. It also became a surrogate subject for modernism in music, with Stravinsky held up as avatar of all things progressive and/or regressive—and, it was assumed, a spawn of jazz.
{"title":"Jazzbandism","authors":"Jed Rasula","doi":"10.1093/oso/9780198833949.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780198833949.003.0006","url":null,"abstract":"A paramount example of “making it new” in the early twentieth century was the unprecedented global phenomenon of jazz. This chapter chronicles the impact of jazz, understood not strictly as music but as agent of American modernity as the implacable engine of the new. During the Twenties a reciprocity between modernism and jazz was taken for granted; jazz was lifestyle modernism. In Europe jazz was welcomed as a vehicle of postwar revitalization. In America it was denounced as a fad or craze, albeit defended by some as a new artform, along with film, comics, vaudeville, and other popular entertainments. Debates about folk authenticity versus commercial exploitation, primitivism versus the ultra-modern, as well as racial and cultural purity swarmed around jazz for more than a decade. It also became a surrogate subject for modernism in music, with Stravinsky held up as avatar of all things progressive and/or regressive—and, it was assumed, a spawn of jazz.","PeriodicalId":422876,"journal":{"name":"Acrobatic Modernism from the Avant-Garde to Prehistory","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122921795","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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