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Elza Adamowicz and Simona Storchi

Invention of Politics in the European Avant-Garde, 2006; W. Adamson, Embattled Avant-Gardes: Modernism’s Resistance to Commodity Culture in Europe, 2007; S. Bru, Democracy, Law, and the Modernist Avant-Gardes: Writing in the State of Exception, 2009; E. Gentile, La nostra sfida alle stelle. Futuristi in politica, 2009; F. Perfetti, Futurismo e politica, 2009). Recent publications have also offered new readings of the Futurists’ position in relation to modernity, arguing that, far from enthusiastically embracing technological progress, their position was complex and

in Back to the Futurists
Anna Dahlgren

other hand his broad knowledge of the European cultural scene combined with an ability to work between and across disciplines made him a unique character as a translator of modernism to the North American public at large. Which then in turn, via the USA, re-entered Sweden in Europe as this case study has shown. The importance of framing The problem with the artworks exhibited at the Art Concret exhibition was foremost a question of context, about their literal and figurative framing. As easel paintings they exemplified a blind alley, according to the Swedish critic

in Travelling images
Resurrected ghosts, living heroes and saintly saviours on the 3rd Floor, 1987–9 4
Angela Harutyunyan

historian Vardan Azatyan calls this new regime, which emerged in the unofficial circles of Armenian artists from the 1960s, National 45 46 The political aesthetics of the Armenian avant-garde Modernism.6 This new regime became possible in the post-Second World War period as a result of Khruschev’s relatively liberal policies in the period of de-Stalinization after the 1956 twentieth Congress of the CPSU. Based on a marriage of national (understood as ethnic) content and modernist form, in the late 1960s this so-called National Modernism, a phenomenon peculiar

in The political aesthetics of the Armenian avant-garde
Abstract only
Sam Rohdie

Elsewhere Godard’s For Ever Mozart was made in 1996. It refers directly to the civil war and massacres in ex-Yugoslavia (Bosnia, Serbia and Kosovo) that were taking place. It was a situation away from Europe, elsewhere, yet here, on its borders, in a European country that most of Europe seemed unable or unwilling to do much about. Here and Elsewhere have been a central preoccupation in Godard’s films. One of them, which concerns the situation in Palestine/Israel, has the title Ici et Ailleurs (Here and Elsewhere) (1974) and there is as well Made in USA (1966

in Film modernism
Simon Malpas and Andrew Taylor

voice that was capable of integrating into the text a vast range of literary and non-literary styles as well as allusions to a great many canonical texts while managing to retain its own unique and sometimes genuinely quirky outlook on the contemporary world. The aim of this chapter is to explore the novel in terms of some of the key categories critics have assigned to it, in particular to read it as engaging with the ideas of modernism, postmodernism, intertextuality and parody with which Pynchon’s early work has so frequently been associated. Disappearing points: V

in Thomas Pynchon
Qāsim Amīn, empire, and saying ‘no’
Murad Idris

the political structure.3 Instead, saying ‘no’ can be a weapon that calls its speaker’s will and power into being. It would represent 181 Hesitation, appropriation, and citation one form of colonised agency that resonates with idealised constructions of anti-​ colonial resistance. This is not the case with Amīn. He calls for ‘no’, but his writings do not contain a direct refusal of colonialism. Even when he is critical of European commentators and practices, he is far from a subversive, anti-​colonial intellectual who directly confronts the metropole. Amīn’s call

in Colonial exchanges
Leah Modigliani

formal readings through an ‘unceasingly deferred vision’ (Pélenc), or as 35 36 Engendering an avant-garde an instance of hyper-visibility (Silverman), are readings that collectively testify to Wall’s significance in the developing history of what constitutes avant-garde practice in the late twentieth century. Such analyses are fundamentally tied to whether or not Wall’s work affects social critique vis-à-vis his use of medium and technology (the camera). Another strand of criticism also exists that celebrates his work as a recuperated modernism, led by European and

in Engendering an avant-garde
Open Access (free)
Antinomies and enticements
Saurabh Dube

that the developmental idea of a supersession of the past is crucial to modern imaginaries. This is true of academic assumption and everyday understanding, and also underlies the mutual articulations of modernity, modernization, and modernism. Such splitting of the past from the present is simultaneously temporal and spatial. Here the singular temporal trajectory and the exclusive spatial location of

in Subjects of modernity
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‘The world of things’: an introduction to mid- century gothic
Lisa Mullen

The new human type cannot be properly understood without awareness of what he is continuously exposed to from the world of things about him, even in his most secret innervations. Theodor Adorno, Minima Moralia 1 Monsters and dreams stalked London’s South Bank in 1951. The Festival of Britain site was a gothic space for a gothic time, visited by the sighing spectres of the Blitz, and the chain-rattling ghosts of modernism’s promise of a brand new

in Mid-century gothic
Katia Pizzi

growing gross national product per capita in Western Europe. While the origin and 55 See also A. Bullock, ‘The double image’, in M. Bradbury and J. McFarlane (eds), Modernism: A Guide to European Literature 1890–1930 (London: Penguin, 1991), 59–61. 56 L. Trotsky, ‘Futurism’, in Literature and Revolution (Chicago, IL: Haymarket, 2005), 112. 57 Trotsky, ‘Futurism’, 112–13. See also Trotsky, History of the Russian Revolution (London: Gollanz, 1965), VI, Appendix 1, 476, cit. in B. Parry, ‘Aspects of peripheral modernism’, ARIEL: A Review of International English

in Italian futurism and the machine