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Journal of avant-garde studies最新文献

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From the Editors 来自编辑
Pub Date : 2023-10-09 DOI: 10.1163/25896377-00201001
Benedikt Hjartarson
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引用次数: 0
Tarsila do Amaral Tarsila do Amaral
Pub Date : 2023-10-09 DOI: 10.1163/25896377-bja10010
Rosita Mariella
Abstract In the field of visual arts, painter Tarsila do Amaral was a pioneer in her revindication of ‘peripheral’ areas, as well as in her opposition to an exclusive Eurocentric vision of the world. The article highlights how her contribution was crucial to an early approach to decolonization that used the notion of antropofagia to present the colonized in an act of ‘devouring’ the colonizer, assimilating certain aspects and discarding others to process and build new, independent identities. Considering her white, upper-class and cosmopolitan background, the article also explores the limits of her colonial-related art practices and the common trap of exoticism in the arts. Using the history of Tarsila do Amaral as a case study, this study will question how artists from ‘peripheral’ areas were making use of their access to native cultures in order to be part of the established European art scene and hegemonic discourse.
在视觉艺术领域,画家塔西拉·多·阿马拉尔(Tarsila do Amaral)在她对“外围”区域的重新阐释以及她对世界的独家欧洲中心视野的反对方面是先驱。这篇文章强调了她的贡献对早期的非殖民化方法是如何至关重要的,这种方法使用了人类同化的概念,以一种“吞噬”殖民者的行为来呈现被殖民者,同化某些方面,抛弃其他方面,以处理和建立新的、独立的身份。结合她的白人、上层阶级和世界性背景,本文也探讨了她与殖民相关的艺术实践的局限性和艺术中常见的异国情调陷阱。以Tarsila do Amaral的历史为例,本研究将质疑来自“边缘”地区的艺术家如何利用他们对本土文化的访问,以成为已建立的欧洲艺术场景和霸权话语的一部分。
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引用次数: 0
Front matter 前页
Pub Date : 2023-10-09 DOI: 10.1163/25896377-00201000
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引用次数: 0
Rosa Arciniega and the Transformations of Avant-Garde Fiction 罗莎·阿辛尼加与先锋小说的转变
Pub Date : 2023-10-09 DOI: 10.1163/25896377-bja10008
Juan Herrero-Senés
Abstract The objective of this article is to provide a reevaluation of Rosa Arciniega’s (1903–1999) literary work in Spain throughout the 1930s. While her work is currently labelled as ‘social literature’, the present study will argue that this label is reductive and does not take into account the complexities, contradictions and transformations of her work. As this article will show, Arciniega sought to represent and express modernity in its most varied facets by focusing on three different areas: social denunciation, renewal of literary expression, and an appeal to romantic sentimentality. This study seeks to shed light on Arciniega’s immersion in time and the consequent grim diagnosis of modernity which led her from left-wing radicalism to more conservative positions. Formal experimentation will be seen as a key part of her literary trajectory.
摘要本文的目的是重新评价罗莎·阿辛尼加(1903-1999)在整个20世纪30年代的西班牙文学作品。虽然她的作品目前被贴上了“社会文学”的标签,但本研究将认为这个标签是简化的,没有考虑到她作品的复杂性、矛盾和转变。正如本文将展示的那样,阿西涅加试图通过关注三个不同的领域来代表和表达现代性的最多样化的方面:社会谴责,文学表达的更新,以及对浪漫多愁善感的呼吁。本研究旨在揭示阿辛尼加对时间的沉浸,以及随之而来的对现代性的严峻诊断,这使她从左翼激进主义转向更保守的立场。正式的实验将被视为她文学轨迹的关键部分。
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引用次数: 0
Avant-Garde and Kitsch in María Blanchard’s Neo-Cubism María布兰查德新立体主义的前卫与媚俗
Pub Date : 2023-10-09 DOI: 10.1163/25896377-bja10007
Xon De Ros
Abstract The exceptionality of the women artists who achieved recognition within the circles of the avant-garde in the first decades of the twentieth century involved a number of performative strategies to avoid the risk of being confined to the category of ‘women painters’. The case of María Blanchard, a Spanish painter integrated in the School of Paris, exemplifies the problematics faced by women working in the avant-garde. Her trajectory from synthetic Cubism to neo-Cubist figuration follows the pattern of many of her male contemporaries working under the sociopolitical and market pressures in the post-war period, but the simultaneous assimilation of and ironic distance from the prevailing aesthetic ideologies is a distinctive feature of her style shared by other women artists. As Cubism became mainstream and began to lose its subversive power, Blanchard’s interest in challenging conventional artistic discourses and hierarchies found expression in kitsch aesthetics.
二十世纪前几十年,在前卫艺术圈子中获得认可的女性艺术家的独特性涉及到一些表现策略,以避免被局限于“女性画家”的范畴。融入巴黎画派的西班牙画家María Blanchard的案例,体现了女性在先锋派工作中所面临的问题。从综合立体主义到新立体主义具象,她的轨迹遵循了战后时期在社会政治和市场压力下工作的许多男性同时代人的模式,但同时对主流审美意识形态的同化和讽刺距离是她的风格的一个鲜明特征,这是其他女性艺术家共有的。当立体主义成为主流并开始失去其颠覆性力量时,布兰查德对挑战传统艺术话语和等级的兴趣在媚俗美学中得到了体现。
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引用次数: 0
The Orange Tree and Postcritique in Valeria Luiselli’s Los ingrávidos 瓦莱里娅-路易塞利的《Los ingrávidos》中的橘子树与后批评
Pub Date : 2023-10-09 DOI: 10.1163/25896377-bja10006
Iris Pearson
Abstract This essay proposes that Valeria Luiselli’s Los ingrávidos rethinks modes of critical reading in the twenty-first century, arguing that the writer trains her reader in a mode of reading which anticipates Rita Felski’s opposition to critique, relishing acceptance and deference over suspicion and interrogation. By focusing on Luiselli’s intervention into readerly practice in this way, the essay moves beyond stringent national and historicist frameworks which often risk obscuring that novelist’s experimental forms and avant-garde project.
摘要:瓦莱里娅·路易斯塞利的《Los ingrávidos》重新思考了21世纪的批判性阅读模式,认为作者以一种阅读模式来训练读者,这种阅读模式预示着丽塔·费尔斯基对批评的反对,对怀疑和审问的接受和尊重。通过以这种方式关注路易斯塞利对读者实践的干预,本文超越了严格的国家和历史主义框架,这些框架往往冒着模糊小说家实验形式和前卫项目的风险。
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引用次数: 0
Las Vanguardistas: Women and the Avant-Garde in Ibero-America Las Vanguardistas:拉丁美洲的女性和先锋
Pub Date : 2023-10-09 DOI: 10.1163/25896377-00201002
Christina Bezari, Juanita Vélez Olivera
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引用次数: 0
Literature and Prophecy 文学与预言
Pub Date : 2023-10-09 DOI: 10.1163/25896377-bja10009
Claudia Chantaca
Abstract This article analyzes Raquel Jodorowsky’s idea of poetry as revelation and examines the ludic aspects of her work, which functioned as a form of resistance to the canon. By focusing on her works Ajy Tojen [ The Creator of Light ] (1964) and Cuentos para cerebros detenidos [ Tales for Detained Brains ] (1974), this study highlights her relation to Latin American neovanguardias and explores her idea of the artist as a self-constructive individual. It also addresses her notion of Ajy Tojen , a mystical understanding of the poet as a person with the power to dissolve worn forms in order to seek a primordial expression and contribute to cosmic regeneration. Through an examination of her short stories, this study will show how she used different ludic strategies to desacralize literary and extra-literary genres.
摘要本文分析了拉克尔·佐多洛夫斯基的诗歌启示思想,并探讨了其作品中作为一种对经典的反抗形式的滑稽方面。通过关注她的作品Ajy Tojen(《光的创造者》,1964)和Cuentos para cerebrodetenidos(《被拘禁的大脑的故事》,1974),本研究突出了她与拉丁美洲新守护者的关系,并探讨了她作为一个自我建构个体的艺术家的想法。它还阐述了她对Ajy Tojen的概念,这是一种对诗人的神秘理解,诗人有能力溶解磨损的形式,以寻求原始的表达,并为宇宙再生做出贡献。通过对她的短篇小说的研究,本研究将展示她如何使用不同的幽默策略来去除文学和非文学类型的神圣化。
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引用次数: 0
A Mexican Renascence 墨西哥的复兴
Pub Date : 2023-10-09 DOI: 10.1163/25896377-bja10005
Louise Kane
Abstract This article explores the periodical contributions of the Mexican-Jewish writer and editor Anita Brenner (1905–1974). It argues that Brenner’s periodical contributions—primarily relating to art criticism and published in diverse outlets such as The Nation , Mexican Folkways , the Brooklyn Daily Eagle , and Mademoiselle —decenter ideas of Mexico as a site of peripheral avant-gardism and reveal how Brenner was a pioneer of a transnational and, in some ways, distinctly female avant-garde network.
摘要本文探讨了墨西哥裔犹太作家兼编辑安妮塔·布伦纳(Anita Brenner, 1905-1974)对期刊的贡献。它认为,布伦纳的定期贡献-主要与艺术批评有关,并发表在不同的渠道,如《国家》,《墨西哥民俗》,《布鲁克林每日鹰报》和《小姐》-将墨西哥作为外围前卫主义的场所的观点中心化,并揭示了布伦纳是如何成为跨国先锋的先驱,在某些方面,明显是女性先锋网络。
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引用次数: 0
Art de Déconcentration deconcentration的艺术
Pub Date : 2023-09-08 DOI: 10.1163/25896377-bja10004
Adrian Pelc
Abstract The paper attempts to establish a dialogue between advertising, the Yugoslav avant-garde and a theoretical discourse on the “death” of the avant-garde. In a first step, the trope of the avant-garde dying through its techniques being appropriated by advertising is briefly scrutinized. In a second step, the article demonstrates that the axes of exchange between Yugoslav avant-garde movements (Zenitism, Hypnism, Dadaism) and early advertising were multifold and irreducible to a simple matrix of originality and bad appropriation. Finally, the results of the analysis are considered from the perspective of “peripheral modernism” and their consequences for the grand death-discourse are scrutinized.
本文试图在广告、南斯拉夫先锋派和先锋派“死亡”的理论话语之间建立对话。在第一步中,先锋派通过其技术被广告挪用而死亡的比喻被简要审查。第二步,本文论证了南斯拉夫先锋派运动(Zenitism, Hypnism, Dadaism)和早期广告之间的交流轴是多重的,不可简化为一个简单的原创和不良挪用矩阵。最后,本文从“外围现代主义”的角度对分析结果进行了思考,并对其对宏大死亡话语的影响进行了考察。
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引用次数: 0
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Journal of avant-garde studies
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