scholarly journals Beat women poets and writers: countercultural urban geographies and feminist avant-garde poetics

2016 ◽  
Vol 14 ◽  
pp. 47
Author(s):  
Isabel Castelao-Gómez
Keyword(s):  
New York ◽  
Beat Generation ◽  
Point Of View ◽  
Women Poets ◽  
Avant Garde ◽  
Literary Community ◽  
City Space ◽  
Contemporary Us Literature ◽  
And Gender ◽  
The One

The work of Beat women poets and their contribution to the Beat canon was neglected for decades until the late nineties. This study presents a critical appreciation of early Beat women poets and writers’ impact on contemporary US literature drawing from theoretical tools provided by feminist literary and poetry criticism and gender studies on geography. The aim is to situate this female literary community, in specific the one of late 1950s and 1960s in New York, within the Beat generation and to analyze the characteristics of their cultural and literary phenomena, highlighting two of their most important contributions from the point of view of gender, cultural and literary studies: their negotiation of urban geographies and city space as bohemian women and writers, and their revision of Beat aesthetics through a feminist avant-garde poetics.

Denby, Edwin (1903–1983)

2018 ◽  
Author(s):  
Harris Feinsod
Keyword(s):  
New York ◽  
Practical Experience ◽  
Point Of View ◽  
New York School ◽  
John Ashbery ◽  
Visual Artists ◽  
Frank O'hara ◽  
Avant Garde ◽  
Downtown Scene ◽  
James Schuyler

Edwin Denby is best remembered as one of the preeminent critics of dance modernism, yet he was also an accomplished poet and an experienced dancer, choreographer, and librettist. Both his poetic gifts and his practical experience in the theater informed his dance criticism, first collected in Looking at the Dance (1949) and amplified in Dancers, Buildingsand People in the Streets (1965). As the title of his 1965 volume suggests, Denby placed primacy on the pleasures of perception, recording what he saw rather than advocating for a distinct point of view, as did his contemporaries Lincoln Kirstein and John Martin. Denby’s sensibility was widely admired in New York’s postwar avant-garde milieus, and he became an important friend, muse, mentor, and tutelary spirit to visual artists—including Rudy Burckhardt, Willem and Elaine de Kooning, and Alex Katz—and to New York School poets—especially Frank O’Hara, James Schuyler, John Ashbery, Ted Berrigan, Ron Padgett, and Anne Waldman. In the last several decades of his life, Denby continued to be a key figure in the downtown scene across several performance genres.

City Space, Technology, Popular Culture: The Modernism of Paul Strand and Charles Sheeler's Manhatta

2002 ◽  
Vol 36 (1) ◽  
pp. 85-106 ◽  
Author(s):  
JUAN A. SUÁREZ
Keyword(s):  
New York ◽  
Urban Landscape ◽  
Suspension Bridges ◽  
Space Technology ◽  
Avant Garde ◽  
High Rise ◽  
City Space ◽  
Charles Sheeler ◽  
History Of ◽  
The City

Reputedly, painter Charles Sheeler and photographer Paul Strand's Manhatta is the first significant title in the history of American avant-garde cinema. It is a seven-minute portrait of New York City and focuses on those features which make the city a modern megalopolis – the traffic, the crowds, the high-rise buildings, the engineering wonders, and the speed and dynamism of street life. The film strives to capture rhythmic and graphic patterns in the movements and shapes of cranes, trains, automobiles, boats, steam shovels, suspension bridges, and skyscrapers. Due to the dominance of technology, the entire urban landscape appears in the film as a machine-like aggregate of static and moving parts independent from human intention.

scholarly journals Cruising Eisenman’s Holocaust Memorial

Anos 90 ◽  
2015 ◽  
Vol 22 (42) ◽  
Author(s):  
Valentina Rozas Krause
Keyword(s):  
New York ◽  
Art Exhibition ◽  
Everyday Practices ◽  
Holocaust Memorial ◽  
The Holocaust ◽  
Sexuality And Gender ◽  
And Gender ◽  
The One ◽  
Holocaust Narratives ◽  
Jewish Museum

Profile pictures from gay dating sites of young men posing with the stelae of the Memorial to the Murdered Jews in Europe in Berlin have been subject to an art exhibition at the Jewish Museum in New York and a tribute online blog. This paper unveils the meaning of these pictures on this particular site, in an effort to understand why these men chose to portray themselves at the Holocaust Memorial in order to cruise the digital sphere of gay dating websites. In three consecutive sections, the paper asserts that, on the one hand, the conversion of the Holocaust Memorial into a cruising scenario is facilitated by a design that —putting forward autonomy and abstraction— allows and even invites its constant resignification in terms of everyday practices. And, on the other hand, it posits that the images exhibited at the Jewish Museum can be interpreted as a performative memorial which reinscribes sexuality and gender into Holocaust narratives. 

The Einstein-Picasso Question

2012 ◽  
Vol 43 (3) ◽  
pp. 281-333
Author(s):  
Lewis Pyenson
Keyword(s):  
Material Culture ◽  
First World War ◽  
Point Of View ◽  
World War ◽  
Intellectual Work ◽  
Avant Garde ◽  
The First World War ◽  
Art Dealers ◽  
The One ◽  
First World

The theories of relativity in physics and the style known as Cubism in painting found a favorable reception by theoretical physicists, on the one hand, and avant-garde art dealers and patrons, on the other hand, across the seven years before the First World War. The climate in bourgeois Europe contributing to this rapid assimilation of revolutionary, intellectual work is examined from the point of view of material culture. Emphasis is placed on Neo-Idealist abstraction in urban decoration and design, with a focus on Oriental carpets, wallpaper, and electrical lighting. Elements from all three domains are found in Cubism, and relativity assimilated both vocabulary and images from newly electrified cities.

The Margins of Bookishness

2014 ◽  
pp. 24-45 ◽  
Author(s):  
Yra van Dijk
Keyword(s):  
World Wide ◽  
Social Space ◽  
Point Of View ◽  
Digital Literature ◽  
Authorial Intention ◽  
Avant Garde ◽  
The Social ◽  
Sociology Of Art ◽  
The World ◽  
The One

In this chapter, the author approaches the paratexts of digital literature from a post-structuralist point of view, according to which a paratext cannot be seen as simply outside a work but rather collaborates with it and helps shape its place in the world. The paratext is in need of analysis and interpretation as much as the text itself, and even more so in the context of the World Wide Web, in which the paratext has become more hybrid and more widespread. It performs the double action of, on the one hand, disappearing and merging with the text itself and, on the other hand, expanding into an infinite online context. Current critical practice involves focusing only on paratexts that communicate authorial intention directly. Here, that approach will be expanded to take in the “texts” that cluster around a digital text and become part of it, even if there is no authorial consent. The social space in which print literature is printed, sold, bought and taught is partly replaced by these paratexts in digital literature, which is analyzed with concepts borrowed from the sociology of art. The author begins by evaluating the possibilities offered by the theoretical expansion of paratexts within the digital realm. That evaluation leads to the conclusion that, in general, and contrary to standard assumptions, digital-literary artists seem to use traditional rather than disruptive avant-garde strategies. It also gives insights into the ways in which a new and dynamic genre of art is produced, consumed and evaluated.

scholarly journals YY. Kryptonimy Jerzego Jankowskiego

2020 ◽  
Author(s):  
Marta Baron-Milian
Keyword(s):  
Literary History ◽  
Social Function ◽  
Point Of View ◽  
The Other ◽  
Modern City ◽  
Avant Garde ◽  
Starting Point ◽  
The Social ◽  
Key Word ◽  
The One

The article is an attempt to interpret the only book published by Jerzy Jankowski, a forerunner of Polish futurism who is often overlooked in literary history related to the beginnings of the avant-garde movement. Tram wpopszek ulicy (Tram crossways on the street), published in 1920, is presented in terms of innovative phenomena in Polish and European poetry. Such a point of view reveals its precursory character, despite its passeism repeatedly diagnosed by critics. The key word and the starting point of the analysis is the first word of the title – tram, whose ambiguity makes it not only a sign of a modern city but also a metaphor of the construction of the entire book and its historical location. Further analysis leads to conclusions that, on the one hand, reveal the complicated meaning of the vitalistic futurist concept of life and, on the other, indicate aporias and tensions between symbolism and avant-garde, originality and repetition, materiality and spirituality, as well as aesthetics and the social function of art. These seem to be a hidden dimension of Jankowski’s work.

scholarly journals Contextualisation of optico-plastic: The effects of Alexander Archipenko and Ljubomir Micić's cooperation

2021 ◽  
pp. 79-90
Author(s):  
Amra Latifić
Keyword(s):  
New York ◽  
Theoretical Concept ◽  
Joint Work ◽  
Marcel Duchamp ◽  
Avant Garde ◽  
New Concepts ◽  
Wide Range ◽  
International Importance ◽  
Third Dimension ◽  
The One

One of the most important representatives of our culture in the 1920's is Ljubomir Micić, who connects a wide range of activities. His activity as the editor and founder of Zenit, poet, writer, critic, theorist, collector and organiser of exhibitions, attracted the attention of the world's avant-garde. Micić's project entitled Archipenko - the New Plastic, an album-monograph, appeared in Belgrade in 1923. The monograph had a print-run of 100 copies; it includes Archipenko's artistic opus until 1923 and represents one of the world's earliest, according to Zoran Markuš perhaps even the oldest monograph about sculptor Alexander Archipenko. An additional feature of this monograph is the cooperation between the writer and the world artist, because Archipenko himself participated in the preparation of this publication; he was the one to choose reproductions - 13 sculptures and 2 drawings. On this occasion, Micić wrote the introductory text, and according to Irina Subotić, it is a "manifesto of zenithist sculpture, seen through the optics of this sculptor's oeuvre". The introductory text is entitled Towards Optico-plastic, and Micić writes it in Belgrade on the 20th September. Here he introduces a new theoretical concept of optico-plastic, and in a specific literary way argues that Archipenko's art is one step towards optico-plastic, as he significantly defines a new style of absolute plasticity. Micić combines oculocentric aesthetics and optical illusionism dimension in the new concept, anticipating the third dimension which only eye can perceive. It is clear that Micić possessed the ability to anticipate, not only new concepts in the domain of theoretical and literary discourse, but also future world-renowned artists, even if they were just in their earliest artistic phases at the time. that Markuš What is of additional importance for this term is connects it with the term optical art, emphasising that optico-plastic, four decades earlier, anticipates the term op art. Archipenko exhibited his works in Belgrade in April 1924, as part of the First Zenit International Exhibition of New Art at the Stanković Music School. The international importance of the Zenit magazine, as well as the effects of the Archipenko-Micić cooperation, is evidenced by the fact that soon after the publication of the monograph, Archipenko sent an invitation to Zenit to join the International Society of New Artists in New York, led by Catherine Dreyer and Wassily Wassilyevich Kandinsky and whose one of the presidents was Marcel Duchamp (Henri-Robert-Marcel Duchamp). The lavish talent of these two artists, Alexander Archipenko and Ljubomir Micić, deserves continuous and additional research, as well as new interpretations of their joint work.

Understanding functional illiteracy from a policy, adult education, and cognition point of view: Towards a joint referent framework

2019 ◽  
Vol 30 (2) ◽  
pp. 109-122
Author(s):  
Aleksandar Bulajić ◽  
Miomir Despotović ◽  
Thomas Lachmann
Keyword(s):  
Adult Education ◽  
Operational Definition ◽  
Literacy Skills ◽  
Point Of View ◽  
Industrialized Countries ◽  
Functional Illiteracy ◽  
Scale Levels ◽  
Components Of Reading ◽  
The One ◽  
Definition Of

Abstract. The article discusses the emergence of a functional literacy construct and the rediscovery of illiteracy in industrialized countries during the second half of the 20th century. It offers a short explanation of how the construct evolved over time. In addition, it explores how functional (il)literacy is conceived differently by research discourses of cognitive and neural studies, on the one hand, and by prescriptive and normative international policy documents and adult education, on the other hand. Furthermore, it analyses how literacy skills surveys such as the Level One Study (leo.) or the PIAAC may help to bridge the gap between cognitive and more practical and educational approaches to literacy, the goal being to place the functional illiteracy (FI) construct within its existing scale levels. It also sheds more light on the way in which FI can be perceived in terms of different cognitive processes and underlying components of reading. By building on the previous work of other authors and previous definitions, the article brings together different views of FI and offers a perspective for a needed operational definition of the concept, which would be an appropriate reference point for future educational, political, and scientific utilization.

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