scholarly journals The stages of modernism in Serbian music

Muzikologija ◽  
2006 ◽  
pp. 93-116
Author(s):  
Melita Milin
Keyword(s):  
World War Ii ◽  
New Music ◽  
Compositional Techniques ◽  
World War ◽  
German Expressionism ◽  
Avant Garde ◽  
Progressive Development ◽  
Third Stage ◽  
Musical Modernism ◽  
Modernist Project

In order to consider this topic, it was first necessary to discuss certain problems of terminology and periodisation relating to musical modernism in general. It is already familiar the extent to which the terms "new music", "modernist", "contemporary" and "avant-garde" music have been used interchangeably, as synonyms. For this reason, it was first important to outline the period of musical modernism as almost generally accepted, which is regarded as an epoch comprising three different periods: (I) period of early modernism (1890?1918), announced by a break with later romanticism and a turn towards French Impressionism, Austro-German Expressionism and Russian "folkloric Expressionism"; (II) period of "classical modernism"(1919?1945) that witnessed a diffusion of neo-classicism and serialism; (III) period of "high modernism" (1946?1972) characterized by highly experimental compositional techniques such as integral serialism and aleatoricism. In relation to this, avant-garde movements are seen as radically innovative and subversive tendencies within this modernist epoch, and while certain postmodernist ideas can be recognized as early as the 1950s, postmodernism as a movement hadn?t gained its full potency until the 1970s. Since then, it has assumed different forms of existence as well as having assimilated a continued form of ?modernist project?. The second part of the article proposes a periodisation of Serbian musical modernism, which is divided into four stages. The first stage (1908?1945) was a period where elements of Impressionism and German expressionism were creatively introduced into the works of several leading composers (Petar Konjovic, Stevan Hristic, Miloje Milojevic, Josip Slavenski, Marko Tajcevic). The second stage (1929?1945) was marked by a group of composers who studied in Prague and assimilated certain progressive compositional techniques such as free tonality, atonality dodecaphony, microtonality and athematicism (Mihovil Logar, Predrag Milosevic, Dragutin Colic, Ljubica Maric, Vojislav Vuckovic, Milan Ristic). The third stage (1951?1970) followed immediately after the era of Socialist Realism, which involved the rediscovery of the pre- World War II Western modernism and prepared the ground for contemporary avant-garde developments almost non-existent before 1961 (Milan Ristic, Dusan Radic, Dejan Despic Vladan Radovanovic, Enriko Josif, Stanojlo Rajicic, Vasilije Mokranjac Aleksandar Obradovic, Ljubica Maric, Rajko Maksimovic). The fourth stage (1956?1980) was the period during which the post-World War II avant-garde developments found their home amongst Serbian composers, some of them conceived almost simultaneously with but independent of the current progressive development in the rest of the world (Vladan Radovanovic Aleksandar Obradovic, Petar Ozgijan, Petar Bergamo, Srdjan Hofman, the group Opus 4).

Gutai

2018 ◽  
Author(s):  
Neilton Clarke
Keyword(s):  
World War Ii ◽  
Technological Advancement ◽  
World War ◽  
Modus Operandi ◽  
Avant Garde ◽  
Post World War Ii ◽  
The World ◽  
The 1960S ◽  
Gutai Art Association

Gutai Art Association [Gutai Bijutsu Kyōkai] [具体美術協会] was an influential post-World War II Japanese avant-garde collective with an outward-looking mindset. Founded in 1954 in Ashiya, near Osaka, by Japanese artist Jirō Yoshihara (1905–1972), it had fifty-nine members over the course of its eighteen-year lifespan. Gutai—meaning ‘‘embodiment’’ and ‘‘concreteness’’—saw its artists engage a plethora of media and presentation contexts, often beyond gallery walls and frequently with more emphasis upon process than on finished product. A unifying factor among its multifarious tendencies was a spirit of adventure, exemplified by Yoshihara’s oft-cited call to ‘‘do what no one has done before.’’ Embracing performance, theatricality, and outdoor manifestations, with a characteristic impromptu modus operandi, Gutai’s experimental tendencies and liberal ideals breathed new life into art and into a society remaking itself following the cataclysm and repressions of World War II. As Japan entered the 1960s, consolidating its economy and engagement with the rest of the world, the decidedly offbeat stance of Gutai’s earlier years assumed a cooler demeanor, due in part to nation-wide technological advancement, growing internationalism, and an evolving audience base and receptivity. The Gutai group disbanded following Yoshihara’s passing in 1972.

scholarly journals View Magazine and the Mass Visual Culture of World War II

Arts ◽  
2020 ◽  
Vol 9 (2) ◽  
pp. 41
Author(s):  
Gregory Gilbert
Keyword(s):  
World War Ii ◽  
Media Industry ◽  
Visual Artists ◽  
World War ◽  
American Government ◽  
Avant Garde ◽  
News Reports ◽  
Corporate Advertising ◽  
War Effort ◽  
The Media

Shortly after the bombing of Pearl Harbor in December of 1941, the American government impressed upon the media industry and corporate advertising the cooperative need to boost morale and enlist nationalist support for the war effort. Public opinion was shaped through an active campaign of visual propaganda and media censorship in which the social trauma of war, in particular, representations of death and destructive disorder, was erased from official news reports. However, avant-garde art and writing in View magazine during the early 1940s can be analyzed as a radical form of counter-discourse that challenged the media’s representation of the war. View had been founded in 1940 by the poet Charles Henri Ford, who vowed to create a magazine devoted to what he called the “new journalism”, a form of international reporting by poets and visual artists that would provide visionary critical insight on the forthcoming political catastrophe in Europe. Lacking their own publishing forum, a number of Surrealist émigrés and American adherents of Surrealism gravitated towards View. As this article will examine, Surrealist imagery and prose in View evoked a profound sense of the bodily trauma and physical destruction omitted from mass media, subverting the government’s highly sanitized and ideologically manipulated representations of World War II.

Homage to Robert Aron, 1898—1975

1977 ◽  
Vol 2 (2) ◽  
pp. 131-139
Author(s):  
Annabelle Henkin Melzer
Keyword(s):  
World War Ii ◽  
Communist Party ◽  
World War ◽  
Alfred Jarry ◽  
Avant Garde ◽  
Louis Aragon ◽  
Tristan Tzara ◽  
Philippe Soupault ◽  
Young Wife ◽  
French Communist Party

I went to see Robert Aron in the summer of 1972. He was then seventy-four years old, a tall, striking man in an apartment of stuffed furniture overrun by books. In all my meetings that summer with former surrealists, people who had made avant-garde theatre in Paris in the 1920s, there was always a sense of trembling at reaching out to touch cobwebbed memories. Forty-five years had passed since the events we talked about. Tristan Tzara, recalled by Gide as a charming man with a young wife who was ‘even more charming’, had since fought with the French Resistance during World War II and later joined the Communist Party. André Breton, when he died in 1966, was accompanied to his grave by ‘waves of young men and young girls often in couples, with arms entwined’. They had come from all over France to pay him tribute. Philippe Soupault is a respected editor, critic and radio commentator, Louis Aragon is at the forefront of the French Communist Party and dislikes talking about his days as a Surrealist, Roger Vitrac is an acknowledged and produced playwright while Artaud is a cult figure. There are moments when in looking back, the whole Dada-Surrealist performance world looks like some great Dada swindle perpetrated on the only too fallible researcher and critic. Robert Aron does nothing to dispel this feeling. The man who sent a telegram to Breton warning him that he would stop at no measures to keep the fervent Surrealist claque from disturbing the performance of Strindberg's A Dream Play at the Théâtre Alfred Jarry, was elected a member of the French Academy before his death.

Machina ex homine, homo ex machina

2018 ◽  
Vol 8 (2) ◽  
pp. 207-228 ◽  
Author(s):  
Fabio I. M. Poppi
Keyword(s):  
World War Ii ◽  
Human Body ◽  
Japanese Society ◽  
Japanese Culture ◽  
Conceptual Representation ◽  
World War ◽  
Social Deviance ◽  
Social Phenomena ◽  
Avant Garde ◽  
The Social

Abstract In this article, I identify and describe multimodal hybrid metaphors—the conceptual representation of two elements represented as merged into a new single ‘gestalt’—represented by the machine and human body domains in “Tetsuo: The Iron Man” (鉄男: Tetsuo), a Japanese avant-garde film. Since “Tetsuo: The Iron Man” portrays the genesis of a man whose body becomes a human-machine hybrid, I explore to what extent this film can act as an example of how hybrid metaphors are conveyed. In line with the ideological function of metaphors, where the use of alternative metaphors may produce different meanings and potentially have different effects on the recipient, I also try to interpret how these hybrid metaphors reveal information about the contemporary Japanese society. Specifically, the ideological analysis considers how the notion of ‘artificial’ and the social phenomena of misogyny, homophobia and social deviance are held to characterise the post-World War II Japanese culture.

scholarly journals Transatlantic crossing in the 1920s and 30s – the trajectories of the European poetic and scientific avant-garde in Brazil

Gragoatá ◽  
2016 ◽  
Vol 21 (41) ◽  
Author(s):  
Ellen Spielmann
Keyword(s):  
World War Ii ◽  
Sao Paulo ◽  
São Paulo ◽  
World War ◽  
Avant Garde ◽  
Blaise Cendrars ◽  
The University ◽  
Fernand Braudel

This article focuses on four paradigmatic cases of travelers. The central part concerns Dina Lévi-Strauss who gave the first course on modern ethnography in Brazil. She transfered the very latest: her projects include the founding of an ethnographic museum modeled on the “Musée de l`Homme”. Claude Lévi-Strauss and Fernand Braudel traveled to São Paulo as members of the French mission, which played an important role in the founding of the University of São Paulo. For political reasons Claude Lévi-Strauss’ contract at the University was not renewed in 1937. Blaise Cendrars was already a famous poet when he crossed the Atlantic in 1924. Fascism in Europe and World War II interrupted the careers of these four travelers as well as their interchanges with Brazil and their Brazilian friendships. But Brazilian experiences of Claude Lévi-Strauss and Braudel are crucial for their successful careers, after 1945.----------------------------------------------------------------------------------------------------Travessia transatlântica nos anos 1920 e 1930: as trajetórias da vanguarda poética e científica europeia no BrasilO artigo trata de quatro casos paradigmáticos de viajantes. A parte central está dedicada a Dina Lévi-Strauss, quem ministrou o primeiro curso de etnografia moderna no Brasil, apresentando nele o que havia de mais recente em sua época; seus projetos ainda incluíam a fundação de um museu etnográfico concebido a partir do modelo do “Musée de l’Homme”. Por sua vez, Claude Lévi-Strauss e Fernand Braudel viajaram a São Paulo como membros da Missão francesa, que teve um papel importante na fundação da Universidade de São Paulo, mesmo que, por razões políticas, o contrato de Claude Lévi-Strauss não tenha sido renovado pela Universidade em 1937. Antes deles, Blaise Cendrars era já um poeta famoso quando cruzou o Atlântico em 1924. O fascismo na Europa e a Segunda Guerra Mundial interromperam as carreiras destes quatro viajantes tanto quanto seus intercâmbios com o Brasil e com seus amigos brasileiros. Contudo, as experiências que Claude Lévi-Strauss e Braudel levaram a cabo no Brasil foram cruciais para o sucesso de suas respectivas carreiras após 1945.---Artigo em inglês.

scholarly journals Death Games and the Persistence of Memory: J. G. Ballard’s World War II Fictions

2021 ◽  
Vol 74 (1) ◽  
Author(s):  
Pedro Groppo
Keyword(s):  
World War Ii ◽  
Dead Time ◽  
Traumatic Event ◽  
The Sun ◽  
World War ◽  
Avant Garde ◽  
War Narratives ◽  
Autobiographical Texts ◽  
The Dead ◽  
Textual Strategies

This article is a discussion of J. G. Ballard’s (semi-)autobiographical war narratives, with a focus on the different textual strategies and processes of signification Ballard employs from his avant-garde novel The Atrocity Exhibition (1970) to the feverish fictional account of his time in World War II China in “The Dead Time” (1977) and Empire of the Sun (1984) to his more reflective autobiographical texts The Kindness of Women (1990) and Miracles of Life (2008). Ballard’s obsessive repetition of many of the same images and attest to a problematics of representation of the traumatic event, and ultimately they represent a complex and rich work of fabulation that escape categorizations of fiction and autobiography.

Yugoslav and Post-Yugoslav Cinema

2015 ◽  
Author(s):  
Dijana Jelača
Keyword(s):  
World War Ii ◽  
Film Industry ◽  
World War ◽  
Avant Garde ◽  
Nation States ◽  
Animated Film ◽  
Standard Term ◽  
New Nation ◽  
Historical Developments ◽  
Kingdom Of Yugoslavia

This bibliographical collection offers a selection of works that reflect both the major historical developments in Yugoslav and Post-Yugoslav Cinema, as well as some of the central themes that have dominated the robust body of scholarly work on this particular cinematic tradition. Yugoslav cinema was in its nascent form in the early parts of the 20th century (in what was then the Kingdom of Yugoslavia) and received its most ambitious development during the socialist period after the end of World War II. Throughout the length of Yugoslavia’s existence, its film industry saw the development of several endemic cinematic styles and trends: from the World War II epics to Yugoslav New Film and its radical strain, the Black Wave, to a rich tradition of socially engaged documentary filmmaking, to Animated Film, to radical avant-garde and neo avant-garde cinema—as discussed in Levi 2012 and Daković 2003 (cited under Yugoslav Experimental and Avant-Garde Cinema)—to late socialism’s cinema, whose emphasis was on the personal as covertly political. Some of the Yugoslav era’s most notable and internationally recognized filmmakers include Dušan Makavejev, Živojin Pavlović, Puriša Đorđević, Aleksandar Petrović, Želimir Žilnik, Krsto Papić, and Emir Kusturica. The post-Yugoslav period saw the dispersal of the formerly transethnic film industry into smaller ethno-national cinemas whose gaze largely turned to the exploration of ethno-nationalism and war, as well as to the question of memory and identity in the aftermath of the devastating wars that precipitated the emergence of new nation-states in the wake of Yugoslavia’s demise. Some of the most notable post-Yugoslav filmmakers include Danis Tanović, Aida Begić, and Jasmila Žbanić (Bosnia-Herzegovina); Dalibor Matanić, Branko Schmidt, and Anton Arsen Ostojić (Croatia); Milcho Manchevski and Teona Strugar Mitevska (Macedonia); Srđan Dragojević (Serbia); Maja Weiss (Slovenia); and Isa Qosja and Arben Kastrati (Kosovo). While this article treats films made during the Yugoslav period as strictly Yugoslav rather than as belonging to separate ethno-national spaces that have emerged since the end of Yugoslavia, the latter sections examine some of the controversies over the ownership of Yugoslav cinema in light of the country’s breakup, as well as a recent scholarly emphasis on ethnocentric interpretations of post-Yugoslav filmmaking, often at the expense of a more trans-ethno-national view. For biographical sources that came out during Yugoslavia’s existence and that are written in the local language, this article uses the then-standard term Serbo-Croatian. For post-Yugoslav bibliographical sources in the same language, the bibliography uses the currently preferred term BCS (Bosnian/Croatian/Serbian).

Erdman, Nikolai Robertovich (ЭРДМАН НИКОЛАЙ РОБЕРТОВИЧ) (1900–1970)

2018 ◽  
Author(s):  
Larissa Rudova
Keyword(s):  
World War Ii ◽  
Fairy Tale ◽  
World War ◽  
Political Poetry ◽  
Avant Garde ◽  
Significant Achievement ◽  
The 1960S ◽  
The City

Nikolai Robertovich Erdman was a Soviet playwright, screenwriter, and poet. He was born and died in Moscow. In his youth he associated with the Russian avant-garde movement and became known for his two tragic-farcical plays, Mandat [The Mandate] (1924) and Samoubiitsa [The Suicide] (1928). Both plays were staged by the famous avant-garde director Vsevolod Meyerhold (1874–1940)—although the latter production was stopped by the Soviet authorities for its subversive content. Further attempts to stage The Suicide in the early 1930s were also thwarted. Also during the 1930s, Erdman co-wrote screenplays for the two blockbuster comedies, Veselye rebiata [The Jolly Fellows] (1933) and Volga-Volga (1938), directed by Grigorii Aleksandrov (1903–1983). In 1933 Erdman was arrested for writing political poetry and exiled to Siberia. After World War II he worked primarily on theatrical sketches and librettos for Moscow theaters, but his most significant achievement belongs to children’s cinema and animation. He created screenplays for such immensely popular fairy tale films as Gorod masterov [The City of Masters] (1965) and, with Mikhail Volpin (1902–1988), Morozko [Jack Frost] (1964) and Ogon’, voda i … mednye truby [Fire, Water and Brass Pipes] (1968). In the 1960s Erdman was active at Moscow’s Taganka Theater, which tried to revive the theatrical tradition of the Russian avant-garde.

Afterword

2018 ◽  
Author(s):  
Benjamin Piekut
Keyword(s):  
World War Ii ◽  
Latin American ◽  
Art Music ◽  
Experimental Music ◽  
John Cage ◽  
World War ◽  
Latin Americans ◽  
Avant Garde ◽  
Henry Cowell ◽  
The Social

This chapter discusses how a US-focused mainstream concept of American experimental music within the art music tradition was cemented in the 1950s through the work of John Cage at a moment when he established professional connections with the European avant-garde. The chapter recognizes that before this moment, composers such as Henry Cowell had thought of American experimentalism in a more hemispheric way and included the activities of composers like Carlos Chávez, Alejandro García Caturla, and Amadeo Roldán in their genealogies. Rather than arguing for a revisionist type of history to include Latin Americans in these narratives about American experimental music, the chapter’s goal is to show that taking into account historical and contemporary Latin@ and Latin American understandings of experimentalisms not only may help us in redefining the social and political meaning of what has been constructed as mainstream musical experimentalism but also may play a central role in critically rethinking post–World War II narratives about music.

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