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In the 1920s and '30s the fourteenth-century Italian artist Paolo Uccello was appropriated as a precursor of Surrealism in the French surrealist discourse. Pivotal were two texts, a mini-play and an essay, that the playwright Antonin Artaud, then in his surrealist phase, dedicated to Uccello between 1924 and 1926. This article analyses both texts and shows the construction, by Artaud, of Uccello as his potential double, and especially as someone dedicated to mind over matter, a key facet of Uccello’s reception as a fellow traveler of Surrealism. It identifies an artwork ascribed to Uccello, discussed by Artaud and thought imaginary, as a panel currently in the Louvre. Finally, it shows that an imagined biography of the artist by the symbolist writer Marcel Schwob forms the key hypotext for Artaud and other surrealists, with strong echoes of Vasari’s vita of Uccello, which was in turn Schwob’s hypotext.

Les Gestes et opinions du docteur Faustroll, pataphysicien d’Alfred Jarry (1911), est un roman qui se joue des codes de la fiction en proposant à la lecture un voyage initiatique fantaisiste à bord d’une nef qui traverse Paris. Réflexion sur les possibles du romanesque, œuvre expérimentale qui a nourri les avant-gardes du XXe siècle au premier rang desquelles se trouvent les premiers formalisateurs de la dérive (notamment Dada et les surréalistes), le roman s’appuie sur un ensemble de procédés propres à exploiter la relation sensible située au cœur de l’expérience de la ville. Il convient donc pour nous d’interroger ce parcours symbolique en lui donnant sens à travers le réseau métaphorique soulevé par le voyage fluvial, placé d’emblée sous le signe de la « dé-rive », en somme celui d’un écart, d’une déviation, formulée au regard de la géographie parisienne, mais aussi des codes romanesques.

This essay analyzes five different moments and scenarios that define the early artistic and literary avant-gardes of Mexico between 1915 and 1924. The initial moments all involve Mexican artists and writers who are based abroad. Born simultaneously in New York and Paris, then reborn in Caracas and Barcelona, the Mexican avant-garde finally sets down its roots in the native land in 1921. The fifth moment receives greater attention as it deals with the Estridentismo movement, launched at the end of 1921 in Mexico City. A detailed reading is offered of the collaboration between the writer Manuel Maples Arce and the painter Jean Charlot, especially in the illustrated edition of the former’s long poem Urbe: super-poema bolchevique en 5 cantos (1924). In each of the moments mentioned the protagonists distinguish themselves as independent rebels within the radical movements of rebellion that constitute the aesthetic revolution we now refer to as the historical avant‑gardes.

The present article offers a structured account of Hungarian artistic careers in the context of Surrealism ‒ and a possible narrative of the history of Hungarian Surrealism. While occasionally, individual Hungarian authors affiliated with extraterritorial surrealist groups, were included into international overviews of Surrealism, the story of Hungarian Surrealism as an institutional venture and as a network of artistic activities is yet to be written. The article identifies three important benchmarks that shaped the history of Hungarian Surrealism throughout the 20th century. [ABSTRACT FROM AUTHOR]

This essay reads Barbara Guest's poem "The View from Kandinsky's Window" from her 1989 collection Fair Realism alongside Wassily Kandinsky's own theories of form and abstraction. It argues that Guest's poetic reinvention of historic avant-garde aesthetics on the page can be taken as an exemplary case for new feminist theorizing of the avant-garde as a set of decentered, provisional, and heterogenous practices. Guest's engagement with Kandinsky is initially situated in the context of Clement Greenberg's criticisms of the painter throughout the 1940s. According to Greenberg's formalism, Kandinsky is shown to have "failed" due to his provincialism, eclecticism, and disharmonizing of scale. Guest's poem can be seen as valuing and accentuating each of these qualities and in so doing it presents a subtle defence of Kandinsky's aesthetics and becomes an example of the kind of intermedia contamination which Greenberg's theorizing on "pure" modernist painting had attempted to delimit. Guest's counter interest in "de-limiting" the work of art--removing boundaries imposed by period, style, and media--is contextualized within debates on the "limit" within avant-garde aesthetics. [ABSTRACT FROM AUTHOR]

This is a review article of Maria Margaroni’s edited collection Understanding Kristeva, Understanding Modernism which engages critically with the contributors’ main ideas and connects this book with other contemporary scholarship in the field and discusses the ‘Understanding Philosophy, Understanding Modernism’ Series of Bloomsbury Academic. [ABSTRACT FROM AUTHOR]

Tzvi Avni (b. 1927) is now Israel's oldest composer. In 2020, Jehoash Hirshberg and Rakefet Bar-Sadeh published their book Tzvi Avni, his Life and Works (Carmel, Jerusalem, which includes Avni's Autobiography). Since then, Avni has composed three new works: Shapes, for flute solo, completed in November 2020 (the original Hebrew title is Gvanim -- Colors); About These Days, for string quartet, completed in April 2021; and Concerto for Clarinet and Orchestra, completed in 2022. The present article discusses the three new works in the context of Avni's late style, which is dominated by a regression from avant-garde to classical form and mostly regular meter. [ABSTRACT FROM AUTHOR]

In this essay, the aesthetics of video games is examined in terms of various aspects of temporality. With literature as a point of reference, the analysis foregrounds the strange overlap of video games and ancient and Medieval epic. Archaic conceptions of temporality, furhtermore, are revealed as subtending video games, which might be considered as science fiction or avant-garde. Should we be surprised that games are swarming with monsters? As I will try to show, the „monstrous“ encounter that Derrida set decades ago as the task of thinking – the encounter between machine and “organic” performativity – is not only the material framework of the player's interaction with the game's algorithm, but it is also the generator of plots indicative of contemporary crises of temporality and ontological ruptures which – before and after psychoanalytic filters – are the true source of a monstrosity no longer imminent, but, perhaps, already happening. [ABSTRACT FROM AUTHOR]

John Ashbery is the most distinguished member of the New York School of Poets. His avant-garde and highly innovative poetry make him one of the most unique poetic voices of America. Houseboat Days is a significant volume of poems from the oeuvre of Ashbery. It was published in the year 1977. Syringa is a remarkable poem from this volume. This poem which is in the form of an elegy narrates a poet's relation to the ancient Greek myth of Orpheus and how he studies it in relation to his personal loss. This poem can be studied as a revaluation of an ancient myth in relation to present times. Essentially the poem is a blend of modernist and traditional elements of English poetry. Although art is emblematized as an abstraction by the poet in this poem, at the same time the ability of art to transcend mutability is affirmed by the poet towards the end of the poem. The strophic structure bestows on the poem a continuity of thought. This poem also expresses the Romantic yearning of a modern poet for transcendence amidst negation and fragmentation. The critical method of close reading has been employed for the explication of this poem and for arriving at contextual insights. [ABSTRACT FROM AUTHOR]

The article provides commentary and background information on the audio recording of Nikolai Gogol's "The Inspector General" directed by Vsevolod Meyerhold (1926). This performance was appreciated by contemporaries as one of the most significant works by the director and a striking achievement of 1920s Soviet theatre. The wax cylinder captured a dialogue between Khlestakov (Erast Garin) and Anna Andreevna (Zinaida Reich, the only voice recording of the actress) from Act III, Scene 6, where Khlestakov is boasting about the life he leads in St Petersburg. It provides us with rare examples of Meyerhold's approach to Gogol characters' speech, which was influenced by the experiments of modern music like jazz, and conformed with the general principles of Meyerhold's biomechanics. The article contributes to knowledge about approaches to documenting twentieth-century theatre and Meyerhold performances in particular. It focuses on the research projects of the Institute for Artistic Speech Research (Leningrad), which initiated the sound recordings of this and other Meyerhold productions in 1927. [ABSTRACT FROM AUTHOR]

„M. H. Maxy: from avant-garde to socialism", opened on the 28th of December 2023 at the Romanian National Museum of Art, uses a chronological line of events to bring up to date the image of Max Herman Maxy (1895 -- 1971), seen as a leading artist with a significant role in the Romanian Avant-garde, but also as the first director of the Romanian National Museum of Art. Subsequently, his contribution to the development of the national art scene can't be denied in art history. Furthermore, the opening was carefully chosen to mark a symbolic anniversary of 145 years since the first Romanian Jew obtained his citizenship, therefore enhancing the role that the Jew community had in the bloom and spread of the Avant-garde in Europe. The exhibition has a tacit dialogue to the main artistic events which celebrate Timioara as The Cultural Capital of Europe 2023, the retrospectives dedicated to Victor Brauner and Constantin Brâncui, suggesting the main artistic pillars in the dawn of Modern Romania. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos para Investigacion de la Literatura Hispanica is the property of Fundacion Universitaria Espanola and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article analyzes Leonora Carrington's Down Below from a dual perspective. First, we aim to provide an interpretative framework to contextualize Carrington's literary production within the Surrealist avant-garde. !en, we examine the literary geographies of Carrington's writing, offering a parallel reading of Down Below with the Hearing Trumpet, focusing on the interconnection between physical space and the body - a geography made of flesh, which can be analyzed according to the hermeneutical lines of neo-materialism. [ABSTRACT FROM AUTHOR]

The review is devoted to the book by Małgorzata Radkiewicz Refleksje zza kamery. Reżyserki o kinie i formie filmowej [Reflections from behind the Camera: Women Directors on Cinema and Film Form]. The publication showcases a deeply feminist frame of reference not only in its theme which is women directors' theoretical oeuvre, from Alice Guy-Blaché to Alexandra Juhasz, but also in its concept. The author presents their reflections on cinema in the broader context of changing social norms, cinematic language, feminist philosophy and other minority discourses. The review highlights the importance of translating and publishing those reflections in Polish, however it pays particular attention to the author's proposal of alternative form of scientific discourse and historical narrative. Radkiewicz changes traditional structure -- which, typically, is linear, final, unified and focus on progress and hierarchization -- for more open, horizontal and activating. That approach led to placing the book as a parallel to feminist, avant-garde endeavors of presented women directors. It could be positioned as a new narrative mode in the process of (re)writing film history by women and other minorities and inspire future relocations. [ABSTRACT FROM AUTHOR]

The selection of critical texts, excerpted and translated below, illustrates the reception and assessment of Cezanne in Russia, especially during the 1910s–1930s. References are made both to the responses of radical artists and to the more rigorous ideological attitudes towards Cezanne and French modernism in general during the time of Socialist Realism. The selection also encompasses post-Soviet accounts tinged with structuralism and Post-Modernism, culminating in Elena Murina's highly influential analyses and appreciations. [ABSTRACT FROM AUTHOR]

This article analyzes the current state of art, with particular reference to theatrical art. The article discusses concepts such as "artistic avant-garde", "fluidity of artistic status", "interpretation as a recreation of a new artistic product", "updating the dramatic text" in the context of the director's creative freedom. [ABSTRACT FROM AUTHOR]

Copyright of Art Inquiry is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Además de is the property of Ademas de: Revista on line de artes decorativas y diseno and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper offers a literary-historical approach to modern lyricism, starting from the problems that arise on the basis of periodization. It outlines the external boundaries of modernity (romanticism/modernity, modernity/postmodernity) and its internal divisions (classical modernity, avant-garde, late modernity). Meanwhile, it focuses on how the self-interpretation of poetry changed during the period encompassing modern lyricism. Indicatively, the reflection concludes with a discussion of the ways in which individual works within modern poetry, intertwined with innovation, challenge hierarchies and normative approaches. For the breaking of the signs of continuity, the dialogue and self-reflection, even contradictory positioning of isms and concrete works cannot be eliminated from the processes in question, just as it is not always possible to derive them from a stable, central thesis. The dilemma of whether a comprehensive picture of modern lyric poetry can be developed at all can well be called the greatest paradox in the history of lyric poetry. [ABSTRACT FROM AUTHOR]

Copyright of Croatica: Magazine for Croatian Language, Literature & Culture is the property of University of Zagreb, Faculty of Humanities & Social Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper discusses the problems of historical poetics of translation and unveils intertextual relations between Arthur Rimbaud's "Fétes de la faim" (1872), David Burliuk's Cubo-Futurist "Op. 75" (1913) and three Polish translations of Burliuk's poem provided by Jerzy Bandrowski (1921), Anatol Stern (1971) and Edward Balcerzan (1971). Blurring the distinction between originals and translations, the analyzed poems highlight the creativity of poets-translators in the development of the 20th-century European poetry with its inherent intercultural and interlingual displacements. Successive revitalizations of "Rimbaud's avant-garde tradition" bring awareness of the historical-literary activity of translation. [ABSTRACT FROM AUTHOR]

Andrzej Bursa’s poem Painting Gone Mad (Malarstwo obłąkanego) takes over and sets in motion a machinery of images that are gradually disembodied. The recorded image of the world is superimposed here with the world of delusions and mental “deviations”, deforming all that is subject to poetic intervention and – in the case of other poems – perceived perhaps in terms of existential paradoxes. The psychotic construction of the subject allows the activation of games of imagination, which, in the field of creative possibilities, activate “surreal” images. The perspective of post-human transformations of years ago, technicization, and indeed fantastic, “surrealistic” textualization of borderline states of consciousness (madness, insanity) of a person from a triumphantly and dramatically modernized world is intriguing. The sketch includes interpretive remarks on the poems of Tytus Czyżewski and the text Without the Help of the Physicians by Jan Brzękowski. These works are juxtaposed with Painting Gone Mad due to the common perspective of psychiatric confrontation with the world and “mechanization” and, in the case of the latter poet, the organic-technical experience of the lyrical character. [ABSTRACT FROM AUTHOR]

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Copyright of Estudios Románicos is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This approach tries to emphasize the similarities and differences between the poetics of Surrealism and that of the new Romanian avant-garde of the late sixties called "structural onirism". The two leaders of this group, the poet Leonid Dimov and the novelist Dumitru Ţepeneag, produced a series of literary manifestos in a few literary magazines of the time, in which they tried to build a coherent and original aesthetic program. The main ideas were the rational structure of the new literature and its dreamlike atmosphere produced by a deliberate technique, characteristics which placed it in the category defined by Angelo Guglielmi in the late fifties as "experimentalism". However, the dark dreamy atmosphere, the "convulsive beauty", the programmatic incoherence of the narration in order to create the dream-like effect, the incompatibility of the associations, etc. are features that still link this new literature to older Surrealism. [ABSTRACT FROM AUTHOR]

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The artistic avant-garde of the first decades of the 20th century was a unique phenomenon in the history of art, decisive for its future evolution. If previous interpretations underlined its revolutionary nature, absolutizing the radicality of its break with the past, more recent approaches have proved to be much more nuanced, highlighting the complexity, sometimes contradictory, of the avant-garde and thus imposing the abandonment of any reductionist interpretation. Within this context, the present study focuses on an important creation of the period, Fernand Léger's Ballet mécanique, arguing that it can be best understood as an expression of the tendency, essential for most avantgardists, to resume a dialogue with artistic tradition and not radically reject it. [ABSTRACT FROM AUTHOR]

Copyright of Knowledge: International Journal is the property of Institute for Knowledge Management and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines Glauber Rocha's Di-Glauber as a filmic rereading and interrogation of Brazilian Modernismo and Emiliano Di Cavalcanti's position in the Brazilian artistic tradition. Di-Glauber transforms Di Cavalcanti's funeral into an anthropology of images, exploring established and possible relations between art, death, and society. Its unorthodox cinematic approach deconstructs Modernismo and Di Cavalcanti's canonisation within Brazil's "official" and transcendental national identity. First, Di-Glauber presents an affective account of Rocha and Di Cavalcanti's friendship, diverting the painter's institutionalisation through an immanent prism. Then, the film deconstructs its own representational status, self-reflexively exposing itself as an audiovisual artefact and hindering its eventual utilisation as part of an essentialist Brazilian identity. Di-Glauber paradoxically draws upon avant-gardist means to question the avant-garde's canonisation: Rocha's anthropophagy devours Di Cavalcanti and Modernismo to reclaim the political potential of the Brazilian artistic avant-garde. [ABSTRACT FROM AUTHOR]

This essay uses both published and archival material to reconstruct the ideological and social contexts of Martin Buber's 1909 address "Judaism and the Jews". It suggests that Buber's address became immensely influential because it equated mysticism and politics into one metaphor. Secondly, it shows that Buber imported this idea from debates and discussions that took place almost a decade earlier in Berlin, among the bohemian circle known as the Neue Gemeinschaft (new community). Finally, the author hopes to show that the social context can be as crucial to understanding an idea as the ideological context. The question about the functions and potentials of the "community" so central to Buber and the Neue Gemeinschaft must be examined, this essay contends, not only conceptually but also as a lived reality. In order to get a glimpse of "the new community", this essay reproduces archival material that testifies not only to what people thought but also what they did, who they were, and how they interacted. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The following essay analyzes "As enfibraturas do Ipiranga", the final poem of Paulicéia desvairada, by Mário de Andrade. The poem written in 1921, which imitates the form of a secular oratory performed by the entire population in the center of the city of São Paulo, offers an anticipatory, allegorical, and problematic vision of the modernist movement of 1922. Here, the aesthetics disputes are presented as permeated by social clashes in the open amphitheater of the city. The impasses of the modernization process in Brazil that are present in the poem continue to resonate, like an echo, a hundred years after its writing. [ABSTRACT FROM AUTHOR]

In this introduction the editors first trace the reception of Peter Weiss's Aesthetics of Resistance in (West) Germany and the United States. Focusing on the relation between politics and aesthetics, some critics characterized this relation as fraught, arguing that the novel's supposedly outdated politics ultimately rendered it obsolete. Others approached the novel as a writing experiment articulating politics and aesthetics in tense but productive ways. Proceeding and departing from these established views of Weiss's text, the editors then propose a reading that understands the novel as deliberately opening itself up to future readings, a text conceived and structured to engage readers of not-yet-determined futures. [ABSTRACT FROM AUTHOR]

The article focuses on press and book editions of Anatol Stern’s long poem Europe. Wójtowicz analyses different variants of “the politics of the page” (G. Borstein) determined by the text coding frameworks for each of the work’s editions. In this perspective, Wójtowicz crucially analyzes their “bibliological code” (J. McGann) and their relationship to practices characteristic of avant-garde aesthetics. The combination of typography, lettering, and illustration created various variants of the poem’s meaning, which the graphic design only intensified or weakened. The material shape resulted also from the aesthetic (and political) radicalism of interwar designs and the publishing practices of the time. [ABSTRACT FROM AUTHOR]

The article reminds us of the history of Europe: in 1925, the futurist Anatol Stern wrote the long poem Europe. The text inspired the avant-garde artist Mieczysław Szczuka, who designed the typography and illustrations for a special edition of the book, which was later noticed and awarded in Paris at an art book exhibition. Szczuka died tragically while climbing before the book was published. In 1932, Franciszka and Stefan Themerson produced a film based on the poem, which is believed to be the first Polish art film. A copy of the film was lost during the Second World War only to be found in German state archives in 2011. The sketch lists the reasons why the Themersons’ work remains inspiring to this day. The Themersons’ art film summarizes the avant-garde’s 1920s reflections, finding continuations in the group’s activities in London after the Second World War, when they ran the publishing house Gaberbrocchus Press and cooperated with many European artists, developing the tradition of innovation and search for new forms. [ABSTRACT FROM AUTHOR]

Thirty years on from the publication of Chaosmosis, Guattari's words invite an evaluation: 'The aesthetic power of feeling seems on the verge of occupying a privileged position within the collective Assemblages of enunciation of our era.' While this privilege can be seen today in the realms of social networks, mass media and populist politics, its place in contemporary artistic practices is more ambiguous. Guattari is careful to separate 'aesthetic power' from 'institutional art', but the ontology of Chaosmosis nevertheless seems to find its model in the artistic avant-garde, and artistic affects and percepts are its privileged and recurring examples. Tracing the path of Guattari's prophecy through the last thirty years of contemporary art involves two distinct approaches: first, to analyse Guattari's reading of Duchamp, and to follow its trajectory through a generation of thinkers who utilised Guattari's approach to art, most notably Nicolas Bourriaud, Franco Berardi (Bifo), Maurizio Lazzarato and Eric Alliez; second, to confront Guattari's prophecy with the post-conceptual modes of art that now appear hegemonic, and that would seem to deny its efficacy. This we might say, is to approach our problem twice – once philosophically, and again from the point of view of contemporary art. As we shall see, these approaches lead in quite different directions. [ABSTRACT FROM AUTHOR]

Erzsébet Kádár-Karr and Jolán Földes both started out as poets in the avant-garde journal Ma, edited by Lajos Kassák, the former publishing expressionist poems in 1918-1919, the latter in 1919. Another common feature of their careers is that from the 1920s they tried to make a name for themselves abroad publishing fiction, they were also involved in foreign film production, and they both won literary prizes. Erzsébet Kádár – as a left-wing émigré under the name Elisabeth Karr – published mostly in German, but in several European countries, while Jolán Földes tried to make her work available on the book market in many languages and language areas. The paper presents the transnational career strategies of the two women writers. [ABSTRACT FROM AUTHOR]

In a previous article for Stanislavski Studies I examined the discourse in Australia and Aotearoa New Zealand regarding Stanislavsky, providing a series of descriptive snapshots of how his name is invoked in teaching within the region. From this and the concluding piece published here, I argue that although theatre and training have evolved over the last forty years, the symbolic capital associated with Stanislavskian realism remains relatively unchanged. Ian Maxwell's contention that Australasian practitioners are "bowerbirds" who scavenge detritus to adorn idiosyncratic theatrical assemblages holds true. Artists and pedagogues see Stanislavskian technique as part of an instrumentalised "toolkit" which could potentially give the precarious actor an edge within a restricted labour market. Glenn d'Cruz however suggests that actors might be considered akin to Walter Benjamin's ragpickers, producing pulpy theatrical fusions out of the refuse of history. The at times overdetermined political, discursive and ideological baggage associated with Stanislavsky persists in rendering him a problematic figure within teaching and practice, even as the identification of Stanislavsky with character-based social realism offers precedents for new, radical dramaturgies. [ABSTRACT FROM AUTHOR]

Resumen: El presente estudio propone una definición de “vanguardia” a partir de su intento de secularizar el arte del ideal y sublimidad román-ticos. Para ello, se parte de una noción amplia de “secularización” vincu-lada al proceso de la modernidad, un proceso de desacralización que la vanguardia intentó aplicar al arte. Nuestra sugerencia es que ese intento fue fallido y que la vanguardia derivó en una resistencia a lo moderno, en clara contradicción a su discurso de ruptura y novedad. El trabajo se divide en tres partes: la primera se centra en delimitar las nociones de “secularización”, “modernidad” y “antimodernidad”; la segunda, en definir la vanguardia en relación con su intento de secularizar el arte; finalmente, la tercera expone el fracaso de dicho intento y lo ejemplifica en el terreno literario mediante la antítesis entre poesía y novela. // Abstract: The following paper proposes a definition of “avant-garde” ba-sed on its attempt to secularize the art from the romantic ideal and subli-mity. To do this, it starts from a broad notion of “secularization” linked to the process of modernity, a process of desecration that avant-garde tried to apply to art. We suggest that this attempt was unsuccessful and that avant-garde resulted in a resistance to the modern, in clear contra-diction to its discourse of rupture and novelty. The study is divided into three parts: the first one focuses on delimiting the notions of “seculariza-tion”, “modernity” and “anti-modernity”; the second on, in defining the avant-garde in relation to its attempt to secularize art; finally, the third one exposes the failure of this attempt and exemplifies it in the literary field through the antithesis between poetry and novel genre. Keywords: Avant-garde, Modernity, Secularization, Poetry, Novel genre.

This research paper deals with the connections between Stanislav Krakov's novel Wings and his memoir prose titled The Life of a Man in the Balkans. The many relations between these two works are seen through the prism of their respective themes and motifs, as well as through various genre shifts which are constantly leading the author back and forth between fiction and factography. The novelistic and real-life levels are interconnected and intertwined in a way that revitalizes the boundaries between art and the war chronicle, thus making the author ponder the questions of the meaning and the truthfulness of war events at a higher level. The tone changes in the aforementioned works, which go from skepticism, irony and sarcasm in Wings, towards sentimentality and declarative patriotism in The Life of a Man in the Balkans, demonstrate the varied reception of the novel through time.

This paper discusses the importance of studying and rethinking our understanding of the constructivist architecture development history in the 1920s and 1930s; in particular, house communes. A house commune is a residential building, or often a complex of buildings that unites a residential with common areas, such as households, leisure, sports facilities, and workshops. Typically, each house commune project is individually designed, based on the needs of future residents. As a result, many innovative solutions were made in their architectural organisation, such as double-height rooms and ramps instead of stairs. In this study, the architectural and planning solutions of house communes have been investigated while considering the chronology of their development. In addition, the experience of renovation (conservation) of house communes as a method for modern urban-space enrichment is considered. The modern creation of multi-apartment housing with the organisation of common communal areas and additional service provision is investigated in the context of cohousing.

This paper presents an attempt to give an overview of those elements of avant-garde poetics which create utopic narratives. At first are given the certain points of the avant-garde, which open the possibility to utopic models. Hence, some of the most representative writers are analyzed. In the central part of this paper the work of Todor Manojlović is presented with a specific overview of his dramas. The Centrifugal Dancer and Piero the Surrealist or Wedding on the Moon are to be analyzed in order to prove that there is a very strong avant-garde impact on them which leads them in the area of utopic literature.

For a short but fertile period, the paths of the two extraordinary artists El Lissitzky (1890-1941) and Moyshe Broderzon (1890-1956) intersected and gave rise to important artistic projects. Both authors shared the ideal projects of the Bund, and in particular the affirmation of the cultural autonomy of Jews in their countries of residence. Their choices then diverged: Lissitzky became one of the most distinguished coryphaei of Suprematism and Soviet art; Broderzon, on the other hand, remained faithful to the project of creating a new Jewish art directed towards a Jewish audience. Their story is told against the backdrop of Jewish participation in the Central-Eastern European avant-garde.