Roland Barthes par Roland Barthes is an autobiographical work by the French literary theorist Roland Barthes,written in the early seventies of the twentieth century.According to the Latin alphabet,the book arranges an...Roland Barthes par Roland Barthes is an autobiographical work by the French literary theorist Roland Barthes,written in the early seventies of the twentieth century.According to the Latin alphabet,the book arranges and combines some passages with different themes,which gives the book the formal characteristics of the dictionary and violates the writing norms of traditional autobiographies.In addition,the book uses the first person,the second person,and the third person interchangeably to carry out a polyphonic narrative,which destroys the integrity and authenticity of the narrative subject,thus completing an avant-garde literary experiment.展开更多
This article examines Gatsby's dream to point out some positive aspects of Gatsby and the causes leading to his tragedy so as to see whether it is outdated or avant-garde as well as to reflect on the present society.
The paper had illustrated concept and positioning of avant-garde,and proposed that there were three major methods to manifest concepts in conceptual landscape design,which were:① reproduced landscape from historical ...The paper had illustrated concept and positioning of avant-garde,and proposed that there were three major methods to manifest concepts in conceptual landscape design,which were:① reproduced landscape from historical perspective;② landscape of local characteristic based on fields;③ landscape of abstract formal beauty with visual impact.Characteristics of conceptual landscape design had been summarized by taking classical design by Martha Schwartz for example,which contained ① fuzzy boundary between art and garden,② gardens full of imagination and freedom,③ pioneering spirit full of courage and challenge.Finally,the paper had predicted the future of conceptual landscape design and considered that conceptual design would change with the emergence of high-tech and new materials;and conceptual landscape designers should be in possession of pioneering spirit of challenge and innovation.展开更多
As the lingerie’s top trend spotter,Ms Jos Berry directs an international team of designers based in Paris-Concepts Paris-and provides the latest trends for worldwide lingerie professionals. This Paris consultancy co...As the lingerie’s top trend spotter,Ms Jos Berry directs an international team of designers based in Paris-Concepts Paris-and provides the latest trends for worldwide lingerie professionals. This Paris consultancy company is devoted to a unique mix of services,such as trend book,online trend & news updates,color cards and design projects.展开更多
Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. A vivid debate on CCC （Contemporary Chinese Calligraphy） （Zhongguo xiandai shufa） is involving a...Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. A vivid debate on CCC （Contemporary Chinese Calligraphy） （Zhongguo xiandai shufa） is involving art critics in China nowadays. WANG Dongling and the modernists think that, despite many changes and influences, we can still refer to the traditional calligraphic lexicon to describe the calligraphic production of contemporary Chinese art. They still remain deeply rooted in the signified system of Chinese writing, even if they break with the strict rules of Chinese classical aesthetic （contamination of Western elements and focus on the stylistic exploration）. WANG Nanming and the Avant-garde think that ＂contemporary calligraphy is not calligraphy yet＂： It is ＂anti-calligraphy＂, annihilates Chinese tradition, rejects the use of legible characters, experiments with new languages and new media within the idiom of international contemporary art. The result is the creation of works of art that could be assimilated to Abstract art, Abstract expressionism, Conceptual art, Performance art, Contemporary dance, Multimedia art, and even Street art. This paper aims at showing how still valid and extremely productive are both these two theoretical and creative/practical approaches to Chinese calligraphy in China nowadays. They turned the art of calligraphy into a medium for global comprehension and communication.展开更多
Feminist literary theory underpins literature from matriarchal perspective revolting against prototype patriarchal ritual i.e.established dogmatism,superstition,close-eyed religious propaganda,language engineering and...Feminist literary theory underpins literature from matriarchal perspective revolting against prototype patriarchal ritual i.e.established dogmatism,superstition,close-eyed religious propaganda,language engineering and so forth.It questions the textual politics of dissipating womankind in literature.It shatters long-cherishing outlook of gender inequality,gender politics,power relation,sexual objectification,oppression,patriarchy,stereotyping and so on.In this connection,this theory sees women along with their experiences,thinking,language,position and role playing,cultural conditioning,diction,and above all,matriarchal assertion in literature.Feminist literary criticism has been generated from feminism and the basic aim of the theory is to investigate and trace out how female characters have been positioned in literature compared with male characters in terms of social and biological factors of different ages of the past started from antiquity.Feminist literary theory has also deconstructed texts from two different perspectives i.e.text written by men and text written by women.This paper attempts to evalualte feminist literary criticism as a subtle machinery or paradigm of matriarchy not only in avant-garde but also in old texts of literature.展开更多
The Australian avant-garck raises all the contradictions of avant-garde studies in the present time.Antipodal vanguards in the 20th and 21 st centuries would grapple with various aspects of Australian national history...The Australian avant-garck raises all the contradictions of avant-garde studies in the present time.Antipodal vanguards in the 20th and 21 st centuries would grapple with various aspects of Australian national history,being in various ways and times between East and West,the aligned and non-aligned,the political and geopolitical in poetics.The word"Australia,"from the Latin auster,contains meanings for"East."Most importantly,the Antipodal vanguard exposes the contradictions of Australia’s imperial-colonial past and the struggle to overcome it.In this essay,1 begin with the example of a"Dada"poem that comes from an Aboriginal rain dance,as well as the emergence of Dada poetics from the 1950s to the 1970s.Throughout I keep complexities of history and time at the forefront:what is the worth of a"marginal"national literary history of the avant-garde?What does the avant-garde mean outside Europe or the Euro-US?What can Australian Dadaism tell us about the future of avant-garde studies?Docs the avant-garde always lead to nostalgia,or"Austalgia,"a hearkening after the past,as much as a striving toward the future?展开更多
This article examines the cultural and architectural exchanges between Shanghai and New York in the mid-20^(th) century and their iconic roles as avant-garde global capitals.It considers the cultural and architectural...This article examines the cultural and architectural exchanges between Shanghai and New York in the mid-20^(th) century and their iconic roles as avant-garde global capitals.It considers the cultural and architectural free-thinkers and the groundbreaking movements they led,as well as their influence on the character and identity of both cities.Art Deco was the emblematic symbol of these modern forces.The article analyses the new technologies and theatrical perspective,the performative and spectacular qualities of Art Deco as the signature styles and cultural heritage of both cities.展开更多
This essay looks at the unlikely conjunction of avant-garde poetics, educational reform, and the ideas of John Dewey in the work of William Carlos Williams, a conjunction unaddressed in the major critical treatment of...This essay looks at the unlikely conjunction of avant-garde poetics, educational reform, and the ideas of John Dewey in the work of William Carlos Williams, a conjunction unaddressed in the major critical treatment of Williams and Dewey, John Beck’s Writing the Radical Center. I focus mainly on Williams’s work of the 1920s, when he was reading Dewey’s essays in The Dial and thinking through some of his most central poetic and philosophic principles in relation to Dewey. This decade culminates in the Dewey-influenced The Embodiment of Knowledge . Williams’s hopes in Embodiment that poetry might somehow contribute to reshaping the bases of the educational system had already appeared a few years earlier in one of the touchstones of avant-garde poetics, the 1923 Spring and All , where a number of the later work’s central concepts arise. With Spring and All seized by customs officials and Embodiment unpublished until 1974, this crucial aspect of Williams’s poetics went almost completely overlooked at the time. However, the notes that make up Embodiment extend Spring and All not just thematically but in their disjunctive, paratactic, and tonally confrontational method as Williams works out through the 1920s his avant-garde poetics of educational reform.展开更多
Whether what we call the avant-garde in literature ended sometime in the last century or,conversely,persists to this day is an open question.But rather than coming down on one side or another of the issue,this essay c...Whether what we call the avant-garde in literature ended sometime in the last century or,conversely,persists to this day is an open question.But rather than coming down on one side or another of the issue,this essay concerns itself with what the avant-garde looks like when,in Bourdieusian terms,it feels its very position to be at stake in the field's struggle for domination,both internally and externally,with the field of power.Either by historical coincidence or,more intriguingly,by something as nefarious as influence,both the French and the American avant-gardes of the 1950s and 60s witnessed the development of a similar aesthetic tendency in response to encroachments upon the restricted production of their respective literary fields by external forces.This tendency,which I call a“poetics of presence,”is a gambit for textual immediacy-what Hans Ulrich Gumbrecht terms“presence effects,”as opposed to“meaning effects.”Through readings of theoretical works by Alain Robbe-Grillet,on the one hand,and poems by Frank O'Hara and John Ashbery,on the other,I demonstrate the character of the poetics of presence in the French and American contexts,concluding ultimately that in both cases such strategies function to preserve a formal subsumption of artistic labor under conditions of restricted production,as against the threading incursions of the real subsumption of that labor to which external forces-capital,politics-would subject it.展开更多
The three contemporary Chinese architects, namely Yung Ho Chang, Liu Jiakun, and Wang Shu, have often been labeled as the ＇avant-garde＇ or xianfeng architects in China. In response to the xionfeng architect labet, W...The three contemporary Chinese architects, namely Yung Ho Chang, Liu Jiakun, and Wang Shu, have often been labeled as the ＇avant-garde＇ or xianfeng architects in China. In response to the xionfeng architect labet, Wang claims that he is a houfeng （rear-guard） architect because of his obsession with traditions. This paper aims to discuss the appropriateness of labeling these architects as ＇avant-garde,＇ xianfeng, or houfeng. Through the theoreticat anatysis of western discourse, notable attributes of the western architectural avant-garde are identified, and a tentative framework is developed to test its validity and usefulness in a non-western context. The term youleng is arguably a better phrase to describe these three Chinese architects considering the heterogeneous trajectory of modernity in China.展开更多
Remediation into film of the Danish author Hans Christian Andersen＇s many fairytales often accentuate his quaint or sentimental tendencies. In a silent film adaptation of ＂The Little Match Girl＂ the French filmmake...Remediation into film of the Danish author Hans Christian Andersen＇s many fairytales often accentuate his quaint or sentimental tendencies. In a silent film adaptation of ＂The Little Match Girl＂ the French filmmaker Jean Renoir transports us into an avant-garde world of consumerism and commodification that seems at odds with Andersen＇s original vision. Yet Renoir＇s film is remarkably resonant with Andersen＇s own pre-cinematic imagination even as it produces a different inflection of the uncanny. The match girl is turned into a femme enfant fatale and her illu- minated visions are redirected away from the comforts of home to a world of artifice and melodrama.展开更多
Amo Schmidt's tripartite Leviathan(1949;written 1946-1948)is one of the few German narratives composed immediately after World War II.Different from the then newly-propagated Triimmerliteratur(literature among the...Amo Schmidt's tripartite Leviathan(1949;written 1946-1948)is one of the few German narratives composed immediately after World War II.Different from the then newly-propagated Triimmerliteratur(literature among the ruins)or the literature of Vergangenheitsbewaltigung(coping with the past),Schmidt's writing condensed and“dehydrated”narrative events,weaving antiquity and his personal experience into one in order to lay bare historical lines of continuity.Relating to Pytheas of Marsilia,to an ethics based on praxis and to modem physics,he undertakes a demanding topography of“hell descents”within which he also put into doubt political and academic demands upon a cultural legacy that was,to him,anything but timeless.The essay explores Schmidt's didactic,innovative use of allegory and other rhetorical devices as tools for understanding long-term consequences of failures of interpretation and forceful restrictions on the play of imagination.展开更多
The poetry of Maggie O’Sullivan, a poet associated with the British Poetry Revival, activates prosodic dissonance and incorporates music, which is to say musical scores. In works like From the Handbook of That & ...The poetry of Maggie O’Sullivan, a poet associated with the British Poetry Revival, activates prosodic dissonance and incorporates music, which is to say musical scores. In works like From the Handbook of That & Furriery and Palace of Reptiles , musical scores are collaged into the body of the poem. Using the phrase “notational poetics,” this analysis is as much concerned with poems that sound as poems that don’t, but poetry nonetheless that both treats the spatial field of the poem scorelike and / or includes actual musical notation. When poetry meets music myriad questions crop up: Is poetry a kind of (analogous) “music,” as often suggested? What draws poetry to music, and vice versa? Is some mutual estrangement the result of poetry and music having become further alienated over time?展开更多
文摘Roland Barthes par Roland Barthes is an autobiographical work by the French literary theorist Roland Barthes,written in the early seventies of the twentieth century.According to the Latin alphabet,the book arranges and combines some passages with different themes,which gives the book the formal characteristics of the dictionary and violates the writing norms of traditional autobiographies.In addition,the book uses the first person,the second person,and the third person interchangeably to carry out a polyphonic narrative,which destroys the integrity and authenticity of the narrative subject,thus completing an avant-garde literary experiment.
文摘This article examines Gatsby's dream to point out some positive aspects of Gatsby and the causes leading to his tragedy so as to see whether it is outdated or avant-garde as well as to reflect on the present society.
文摘The paper had illustrated concept and positioning of avant-garde,and proposed that there were three major methods to manifest concepts in conceptual landscape design,which were:① reproduced landscape from historical perspective;② landscape of local characteristic based on fields;③ landscape of abstract formal beauty with visual impact.Characteristics of conceptual landscape design had been summarized by taking classical design by Martha Schwartz for example,which contained ① fuzzy boundary between art and garden,② gardens full of imagination and freedom,③ pioneering spirit full of courage and challenge.Finally,the paper had predicted the future of conceptual landscape design and considered that conceptual design would change with the emergence of high-tech and new materials;and conceptual landscape designers should be in possession of pioneering spirit of challenge and innovation.
文摘As the lingerie’s top trend spotter,Ms Jos Berry directs an international team of designers based in Paris-Concepts Paris-and provides the latest trends for worldwide lingerie professionals. This Paris consultancy company is devoted to a unique mix of services,such as trend book,online trend & news updates,color cards and design projects.
文摘Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. A vivid debate on CCC （Contemporary Chinese Calligraphy） （Zhongguo xiandai shufa） is involving art critics in China nowadays. WANG Dongling and the modernists think that, despite many changes and influences, we can still refer to the traditional calligraphic lexicon to describe the calligraphic production of contemporary Chinese art. They still remain deeply rooted in the signified system of Chinese writing, even if they break with the strict rules of Chinese classical aesthetic （contamination of Western elements and focus on the stylistic exploration）. WANG Nanming and the Avant-garde think that ＂contemporary calligraphy is not calligraphy yet＂： It is ＂anti-calligraphy＂, annihilates Chinese tradition, rejects the use of legible characters, experiments with new languages and new media within the idiom of international contemporary art. The result is the creation of works of art that could be assimilated to Abstract art, Abstract expressionism, Conceptual art, Performance art, Contemporary dance, Multimedia art, and even Street art. This paper aims at showing how still valid and extremely productive are both these two theoretical and creative/practical approaches to Chinese calligraphy in China nowadays. They turned the art of calligraphy into a medium for global comprehension and communication.
文摘Feminist literary theory underpins literature from matriarchal perspective revolting against prototype patriarchal ritual i.e.established dogmatism,superstition,close-eyed religious propaganda,language engineering and so forth.It questions the textual politics of dissipating womankind in literature.It shatters long-cherishing outlook of gender inequality,gender politics,power relation,sexual objectification,oppression,patriarchy,stereotyping and so on.In this connection,this theory sees women along with their experiences,thinking,language,position and role playing,cultural conditioning,diction,and above all,matriarchal assertion in literature.Feminist literary criticism has been generated from feminism and the basic aim of the theory is to investigate and trace out how female characters have been positioned in literature compared with male characters in terms of social and biological factors of different ages of the past started from antiquity.Feminist literary theory has also deconstructed texts from two different perspectives i.e.text written by men and text written by women.This paper attempts to evalualte feminist literary criticism as a subtle machinery or paradigm of matriarchy not only in avant-garde but also in old texts of literature.
文摘The Australian avant-garck raises all the contradictions of avant-garde studies in the present time.Antipodal vanguards in the 20th and 21 st centuries would grapple with various aspects of Australian national history,being in various ways and times between East and West,the aligned and non-aligned,the political and geopolitical in poetics.The word"Australia,"from the Latin auster,contains meanings for"East."Most importantly,the Antipodal vanguard exposes the contradictions of Australia’s imperial-colonial past and the struggle to overcome it.In this essay,1 begin with the example of a"Dada"poem that comes from an Aboriginal rain dance,as well as the emergence of Dada poetics from the 1950s to the 1970s.Throughout I keep complexities of history and time at the forefront:what is the worth of a"marginal"national literary history of the avant-garde?What does the avant-garde mean outside Europe or the Euro-US?What can Australian Dadaism tell us about the future of avant-garde studies?Docs the avant-garde always lead to nostalgia,or"Austalgia,"a hearkening after the past,as much as a striving toward the future?
文摘This article examines the cultural and architectural exchanges between Shanghai and New York in the mid-20^(th) century and their iconic roles as avant-garde global capitals.It considers the cultural and architectural free-thinkers and the groundbreaking movements they led,as well as their influence on the character and identity of both cities.Art Deco was the emblematic symbol of these modern forces.The article analyses the new technologies and theatrical perspective,the performative and spectacular qualities of Art Deco as the signature styles and cultural heritage of both cities.
文摘This essay looks at the unlikely conjunction of avant-garde poetics, educational reform, and the ideas of John Dewey in the work of William Carlos Williams, a conjunction unaddressed in the major critical treatment of Williams and Dewey, John Beck’s Writing the Radical Center. I focus mainly on Williams’s work of the 1920s, when he was reading Dewey’s essays in The Dial and thinking through some of his most central poetic and philosophic principles in relation to Dewey. This decade culminates in the Dewey-influenced The Embodiment of Knowledge . Williams’s hopes in Embodiment that poetry might somehow contribute to reshaping the bases of the educational system had already appeared a few years earlier in one of the touchstones of avant-garde poetics, the 1923 Spring and All , where a number of the later work’s central concepts arise. With Spring and All seized by customs officials and Embodiment unpublished until 1974, this crucial aspect of Williams’s poetics went almost completely overlooked at the time. However, the notes that make up Embodiment extend Spring and All not just thematically but in their disjunctive, paratactic, and tonally confrontational method as Williams works out through the 1920s his avant-garde poetics of educational reform.
文摘Whether what we call the avant-garde in literature ended sometime in the last century or,conversely,persists to this day is an open question.But rather than coming down on one side or another of the issue,this essay concerns itself with what the avant-garde looks like when,in Bourdieusian terms,it feels its very position to be at stake in the field's struggle for domination,both internally and externally,with the field of power.Either by historical coincidence or,more intriguingly,by something as nefarious as influence,both the French and the American avant-gardes of the 1950s and 60s witnessed the development of a similar aesthetic tendency in response to encroachments upon the restricted production of their respective literary fields by external forces.This tendency,which I call a“poetics of presence,”is a gambit for textual immediacy-what Hans Ulrich Gumbrecht terms“presence effects,”as opposed to“meaning effects.”Through readings of theoretical works by Alain Robbe-Grillet,on the one hand,and poems by Frank O'Hara and John Ashbery,on the other,I demonstrate the character of the poetics of presence in the French and American contexts,concluding ultimately that in both cases such strategies function to preserve a formal subsumption of artistic labor under conditions of restricted production,as against the threading incursions of the real subsumption of that labor to which external forces-capital,politics-would subject it.
文摘The three contemporary Chinese architects, namely Yung Ho Chang, Liu Jiakun, and Wang Shu, have often been labeled as the ＇avant-garde＇ or xianfeng architects in China. In response to the xionfeng architect labet, Wang claims that he is a houfeng （rear-guard） architect because of his obsession with traditions. This paper aims to discuss the appropriateness of labeling these architects as ＇avant-garde,＇ xianfeng, or houfeng. Through the theoreticat anatysis of western discourse, notable attributes of the western architectural avant-garde are identified, and a tentative framework is developed to test its validity and usefulness in a non-western context. The term youleng is arguably a better phrase to describe these three Chinese architects considering the heterogeneous trajectory of modernity in China.
文摘Remediation into film of the Danish author Hans Christian Andersen＇s many fairytales often accentuate his quaint or sentimental tendencies. In a silent film adaptation of ＂The Little Match Girl＂ the French filmmaker Jean Renoir transports us into an avant-garde world of consumerism and commodification that seems at odds with Andersen＇s original vision. Yet Renoir＇s film is remarkably resonant with Andersen＇s own pre-cinematic imagination even as it produces a different inflection of the uncanny. The match girl is turned into a femme enfant fatale and her illu- minated visions are redirected away from the comforts of home to a world of artifice and melodrama.
文摘Amo Schmidt's tripartite Leviathan(1949;written 1946-1948)is one of the few German narratives composed immediately after World War II.Different from the then newly-propagated Triimmerliteratur(literature among the ruins)or the literature of Vergangenheitsbewaltigung(coping with the past),Schmidt's writing condensed and“dehydrated”narrative events,weaving antiquity and his personal experience into one in order to lay bare historical lines of continuity.Relating to Pytheas of Marsilia,to an ethics based on praxis and to modem physics,he undertakes a demanding topography of“hell descents”within which he also put into doubt political and academic demands upon a cultural legacy that was,to him,anything but timeless.The essay explores Schmidt's didactic,innovative use of allegory and other rhetorical devices as tools for understanding long-term consequences of failures of interpretation and forceful restrictions on the play of imagination.
文摘The poetry of Maggie O’Sullivan, a poet associated with the British Poetry Revival, activates prosodic dissonance and incorporates music, which is to say musical scores. In works like From the Handbook of That & Furriery and Palace of Reptiles , musical scores are collaged into the body of the poem. Using the phrase “notational poetics,” this analysis is as much concerned with poems that sound as poems that don’t, but poetry nonetheless that both treats the spatial field of the poem scorelike and / or includes actual musical notation. When poetry meets music myriad questions crop up: Is poetry a kind of (analogous) “music,” as often suggested? What draws poetry to music, and vice versa? Is some mutual estrangement the result of poetry and music having become further alienated over time?
