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The present article tries to define the inherent philosophy of the creation of Dadaism in the field of programmatic writing manifested through the form of literary manifesto, a production which elaborates itself paradoxically, just at the level of the spontaneity ('s mimicry), of the ludic-poetical practice. Its mechanisms self-contain both a natural legitimation which organically belongs to the foundation of some literary-artistic schools (like Dadaism and Constructivism, in European Avant-garde and Cannibalism or Cultural Antropophagy in Brasylian Modernism), and a dec-legitimizing phase, that gets justified itself through the cynico-kynical reason about which Peter Sloterdijk speaks (1983). Important for both the Avant-garde's poetic as for the history and evolution of the Art in general, the dada manifesto became, at the beginning of the 20th Century, a form of reevaluating the artistic codes, a manner of putting under discussion the Creator and the Receiver as well, a productive strategy of irony and humor, of absurd and contradiction poetry of innovating the aesthetic languages. [ABSTRACT FROM AUTHOR]

Important for both the Avant-garde's poetic as for the history and evolution of Art in general, the Collage became, at the beginning of the 20th Century, a form of reevaluating the artistic codes, a manner of putting under discussion both the Creator and the Receiver, a productive strategy of innovating the aesthetic languages. The present article tries to define the inherent philosophy of creation manifested through this form of production which elaborates itself paradoxically, just at the level of the spontaneity ('s mimicry), of the ludic-poetical practice. Its mechanisms self-contain both a natural legitimation which organically belongs to the foundation of some literary-artistic schools (like Dadaism and Constructivism), and a delegitimizing phase, that gets justified itself through the cynico-kynical reason, as discussed by Peter Sloterdijk [1983]. [ABSTRACT FROM AUTHOR]

The present study focuses on the introduction of a new mythology of poetic modernism by means of colors and words. If desacralization, as a symptom of the eighteenth and nineteenth centuries, led to what Jean- Luc Nancy defines as "the interrupted myth", Mallarmé and the Impressionists, and then Sensationism (Fernando Pessoa), the English Imagists (Ezra Pound), Futurism, Abstractionism, Expressionism, Suprematism, regained and imposed new artistic codes, new myths in which colour became the support, the instrument and the universal Cratylean language. [ABSTRACT FROM AUTHOR]