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The heritage of the architectural Avant-garde in Ukraine, formed in the interwar period (1921-1939), is large-scale in the number of objects and diverse in their typology, techniques and forms of expression of modern architectural ideas. Volyn – a historical Ukraine region that, at that time, was part of Poland (the Second Polish Republic) – plays a special role in this context. To date, the region has preserved a significant array of objects that demonstrate the specifics of the interpretation of European and Polish Avant-garde concepts. The article attempts to analyze the architectural context, ways of spreading and formation features of the architectural image of residential and public buildings as part of the European heritage of Interwar Modernism. Lack of professional evaluation and recognition of the objects’ value leads to their gradual degradation, reconstruction or destruction. Methods of comparative and stylistic analysis, archival research and field surveys of architectural objects were used in this research. The study showed that the spread of the Avant-Garde style in the architecture of Volyn was significantly delayed compared to similar processes in the architecture of Western Europe and Poland and reached its peak at the end of the interwar period. The use of formative techniques of Avant-Garde architecture in housing construction became an identifier and symbol of the social prestige of certain social groups. The design of public buildings reflected Volyn’s rapid social modernization. [ABSTRACT FROM AUTHOR]

In the 1920s the quattrocento Italian painter Paolo Uccello was appropriated as a precursor of Surrealism in the French surrealist discourse, a process that continued and became international in the 1930s. The (positive) reception of Uccello among avant-gardes such as Surrealism was distinctly different from his contemporaneous (rather negative) reception among art historians. In several places the surrealist perception of the artist prefigures post-modern views, not least when it comes to Uccello's playful and experimental attitude to perspective. The standard was set by the surrealist poet Philippe Soupault in 1929 in an art historical treatise inspired upon a surrealist worldview. Reviewing this and other written sources, this article also briefly discusses three examples of artistic responses to Uccellan aesthetics, by Salvador Dalí, George Hugnet and René Magritte. [ABSTRACT FROM AUTHOR]

Discussion of the works of Urszula Czartoryska - "the first lady of Polish photography", one of the leading figures of post-war art criticism in Poland, whose attitude was shaped, inter alia, in the circle of Zamek (Castle) Group. The starting point for the discussion is the current position of the critic on the map of Polish art history. The author presents the rich activity of Czartoryska - writing, museology, and teaching - as a coherent intellectual strategy that fits into the determinants of Polish "modernity". A look at the critic's output from a broader historical and artistic perspective makes us realize that this is still an area of research which has not been fully explored. [ABSTRACT FROM AUTHOR]

The aim of the article is to analyse the influence of occultism on the development of the Central European avant-garde, especially the Surrealism of the '30s and '40s. On the one hand, occultists affirm a retreat from the tyranny of reason, which for many avant-garde artists embodies the pettiness of human existence, stifled by the forces of family and public duties. On the other hand, they are an inexhaustible source of props, actions and rituals. Both aspects are extremely important for both Czech Artificialists (Toyen and Štyrský) and Surrealists (Teige, Nezval); however, they gain particular importance in the theories and practice of Romanian Surrealists - Victor Brauner, Gherasim Luca and, above all, Gellu Naum. The space in which these transformed entities with a new status enter consciousness are the eponymous „dangerous territory" that André Breton wrote about, and which become a metaphor (but is it only a metaphor?) of the alliance of the proto-language and the proto-image. [ABSTRACT FROM AUTHOR]

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The article provides a semiotic analysis of the types of totalitarian culture and its manifestation in art, both classical and modern. On the basis of totalitarian culture semiotic analyses, it is shown that mass culture (and its attributes) may be considered a modern type of totalitarian culture. Particularly, the antidogmatic and antitotalitarian essence of the contemporary art phenomenon is highlighted. Based on the semiotic methodology, a key moment of demarcation between contemporary art and the „totalitarian‟ one has been emphasized. The conclusion about the inconsistency of signs and symbols of contemporary as compared to totalitarian art has been drawn. Contemporary art could be referred to as a tool for tracing, revealing and even combating totalitarianism in culture and life. [ABSTRACT FROM AUTHOR]

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This article discusses the underground cinema of the German Democratic Republic during the 1980s in regard to its contributions to the arts and the avant-garde. While scholars including Claus Löser and Katrin Frietzsche have contributed greatly to the remembrance of the East German underground cinema, its influences have been disregarded by film studies, not least within the anglophone field. As a result, little to no research has been conducted regarding its contributions to the avant-garde or through the scope of other art movements as the political aspect continues to be emphasized. This article draws upon multiple art developments such as dada, surrealism, performance and body art as well as Eastern European-specific movements. Therefore, it evaluates how the East German underground interprets those influences and further contributes to them. Significant works by Cornelia Schleime, Gabriele Stötzer, Thomas Frydetzki and Tohm di Roes are subject to analyses to reveal anarchist feminist tendencies and surrealism with anarchist aspects. It concludes that the East German underground must be seen as a contribution to the less-researched necrorealism as an art movement paralleling the constitutional socialist realism. As such, political implications cannot be subtracted altogether but shall rather be viewed alongside the emergence of anarchist surrealism during the Cold War. [ABSTRACT FROM AUTHOR]

The ballet can be deconstructed through some mathematized forms as the geometrical lines and trough created symmetries. Once, Paul Klee painted the Abstract Ballet (1937)3 in the manner that some musicians made innovative experiments in the music, or in the same manner as Oskar Schlemmer found a unique form of expression for his Triadisches Ballet. But, there were two types of ballet in the interwar period of the twentieth century between which we can differentiate: the Classical ballet (wich maintains a Romantic line too) and the Avant-garde ballet that appeared through the Triadisches Ballet4 composed by Oskar Schlemmer. Some dancers like Mikhail Baryshnikov brought the ballet in the area of the classic performance, and others as Maya Plise'kaia (the 'prima-ballerina' of the twentieth century) brought the ballet to a classical-romantic line. Apparently, Oskar Schlemmer and Paul Klee wanted to dislodge the corrugations as they may have dislodged a cupboard or a box. I will show in my analysis how ballet can be part of our lives and how its limitation to mathematized forms sometimes has the role of a deconstruction of the expression of the artistic message. In my analysis, I will serve myself of the analysis of Dasein to justify the "becoming" of the dancer [object]ified through the corporal movements and to justify the stage-Space as a place of "being-in-the-world". [ABSTRACT FROM AUTHOR]

One of the most important figures of the 20th century, avantgarde composer, artist, writer, and theorist John Cage was deeply influenced by various philosophical orientations from South and East Asia, such as Hinduism, Buddhism, Taoism, Zen, and I-Ching. He studied various doctrines and the works of several Asian philosophers, which resulted in the reorientation of his philosophical and aesthetic ideas. At the same time, this influenced his musical style, the conception of his compositions, as well as his thoughts on the functions of art - discernible in his music. Cage identified himself with certain ideas he encountered in the philosophical texts he studied, but he refrained from describing himself as representative of any of these orientations. Unlike other Western composers inspired by oriental art and music, Cage was rather influenced by the philosophical dimension of Asia. He avoided the use of Asian music sources in his works and was not interested in using new sounds for the sake of creating a novel musical discourse but aimed to evoke or emphasize certain philosophical ideas through his composition. The aim of the present paper is to present the Asian philosophical influences that marked the figure of John Cage, his perspective on life and art, and influenced his rhetoric, as well as the ideas that he employed within his compositional process. [ABSTRACT FROM AUTHOR]

This article presents the ideas of Andrzej Chłopecki (1950-2012), an outstanding Polish music critic and musicologist who specialised in contemporary music, on the subject of twentieth-century music and the ways in which he presented it to nonprofes sional readers in the pages of the Polish press. The author also discusses models of musical historiography relating to the twentieth century, demonstrating the enormous challenge posed by attempts to describe the history of the music of that century. She recapitulates the specific features of Chłopecki’s writing style and the impact of Chłopecki’s wide-ranging activities as promoter of new music in Polish musical culture. [ABSTRACT FROM AUTHOR]

This article studies the changing role of metonymy in Frank O'Hara's poetry. In his early work, O'Hara often uses metonymy for the referential assortment of various modernist fields of influence. The origins of O'Hara's signature 'I do this, I do that' style can be traced back to the problems of self-consciousness which emerge in these early homages to modernism. Though he is often celebrated for the swift responsiveness and spontaneity of his urban poetry, these metonymic homages reveal a poet with deeper and longer attachments in the object-world. Such attachments alert O'Hara to the risk of turning the self into one of the concrete or objectual signifiers of his metonymic assemblages. O'Hara's early negotiation with the descriptive legacies of modernism and the resulting anxiety about self-consciousness will be demonstrated through an analysis of his sestina, "Green Words." O'Hara's solution will entail changing the logic of metonymy from contextual assemblage, where the body often finds representation as a conceptual object, to a foregrounding of the inherently metonymic character of bodily and gestural expression, where the body emerges as a dynamic and responsive presence. Thus, this article investigates how O'Hara's ekphrastic accounts of contemporary art allowed him to break away from modernism to embrace a poetics of embodied responsiveness. [ABSTRACT FROM AUTHOR]

The relation between avant-garde and modernism has always been an issue in dispute, partly because the hypothetical nature of the terms makes them hard to cover the all-encompassing artistic reality, and partly because discussion of their relation is always in a macroscopic perspective, which makes it difficult to produce detailed and concrete research results. This paper compares Russian futurism and symbolism to analyze the similarities and differences between avantgarde and modernism in terms of their ontological, artistic, and linguistic views in creation. It has, to some extent, obtained a relatively clear answer to the relation between avant-garde and modernism. [ABSTRACT FROM AUTHOR]

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Early Ausdruckstanz theory often compared Ausdruckstanz to a language to explain how Ausdruckstanz conveys the deeply personal, self-expressive message to its audience. Using Susanne Langer’s study on expression in art and George Lakoff and Mark Johnson’s work on conceptual metaphors in tandem with early dance theory and Mary Wigman’s Hexentanz II, I argue for a conceptual metaphorical understanding of dance as language. Because dance possesses a physical, indexical connection to its meaning, the language of dance consitututes a series of conceptual, rather than linguistic, metaphors that explain how dance conveys meaning through symbolic form, which for Wigman’s Hexentanz II, I demonstrate, is a radically feminist message. Then, turning from the production of meaning in dance towards the perception of said meaning, using Wigman’s theory of the dancer’s eye, I show how the objective of Ausdruckstanz forms a bond between a dancer and audience, incorporating the audience into the dance and creating a new kinesthetic and aesthetic experience. With this goal in mind, Wigman’s Hexentanz II situates itself in the context of other early avant-garde and modernist movements that sought a complete re-evaluation of perception and aesthetic ideals as a response to modernity. [ABSTRACT FROM AUTHOR]

This article traces Roberto Bolaño's fictionalized imprint in Diego Trelles Paz's El círculo de los escritores asesinos and Alejandro Zambra's Poeta chileno. These novels thematize Los detectives salvajes' repercussions and effects on the Latin American literary scene, translating Bolaño's imaginary around a poetic ethos into narrative dilemmas and strategies. El círculo de los escritores asesinos and Poeta chileno not only reflect on how to write but on how to be writers after Bolaño, once Ulises Lima and Roberto Belano established the Latin American poet's pervasive and idealistic role model. Just as Bolaño's real visceralistas are more concerned with living a poetic life than writing an oeuvre, Trelles Paz and Zambra portray communities of poets where affects and books permeate and reinforce each other. Ultimately, they draw opposing ethical outcomes from Los detectives salvajes' iconic interweaving of literature, friendship, love and death. [ABSTRACT FROM AUTHOR]

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While Picasso and Stravinsky are renowned in their respective fields for their primitivism, Adorno's evaluation of them seems to be in sharp contrast, with one being endorsed and the other repudiated. His criticism of Stravinsky, in particular, has been under attack as well. It is thus necessary to explore the dialectical reasoning and critical engagement underlying Adorno's antithetical judgement as well as its justification. Based on the dialectic of enlightenment, Adorno regards Picasso's primitivism as a strong return of the ugly in modern art, which can be traced to the primitive fear. It is also regarded as a critique of enlightenment as well as an inherent need for the spiritualization of art and artistic autonomy. In contrast, regarding the primitive elements and expression of ugliness and discord in Stravinsky's art, Adorno denounces them as regressive, a fabrication of new myths, and even complicit with fascist ideology. Such a view is relevant to Adorno's critique of the collective unconscious in psychoanalysis and authenticity in phenomenology, an extension of his critique of identity in art. In contrast to his positive evaluation of Picasso, Adorno's negation of Stravinsky should not be regarded as mere denigration and demonization. The alienation and falsehood expressed in Stravinsky's primitivist music is indeed avant-garde as its truth content. Adorno's "negation" of Stravinsky, therefore, should also be considered as dialectical. [ABSTRACT FROM AUTHOR]

This is the first of a pair of articles examining the discourse in Australia and Aotearoa New Zealand regarding Stanislavsky. Moving from a brief description of my own encounter with Stanislavsky in student and fringe theatre of 1990s Melbourne, I provide a series of descriptive snapshots gathered through an informal survey of how Stanislavsky is invoked in teaching and practice in the region. I conclude 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. One clear irony emerges, namely that although Stanislavsky considered his focus to be the practice of acting, his methods are most often taught as an aid in analysing written playscripts – perpetuating a distinction between historical "outside in" psychological approaches, versus allegedly more innovative "inside out" methods. Stanislavskian concepts are, in essence both remembered and forgotten when navigating acting in the region today. These tensions within Stanislavskian discourse complicate his reputation even as his link with realist dramaturgy ensures his relevance. The rhetorical, ideological and political implications of these associations are further developed in the second article to follow. [ABSTRACT FROM AUTHOR]

The article is devoted to the work of Sergei Kalmykov, a Russian artist, illustrator, decorator, and writer. His art career started in the 1910s in Saint-Petersburg and later he called himself as “the last avant-garde of the first draft”, being aside of the mainstream of the development of Russian art. His free art was like a diary, like an endless dialog with himself. Each of his paintings from this monologue is a fragment tear out from one whole. The author interprets the painting “On the Island of Patmos” on the basis of an interdisciplinary approach that combines the principles of art history, cultural studies and mythopoetic analysis of a work of art. The study shows how complex his 'web' of creating thinking is and how it unexpected and deeply intertwined in one cultural field with other artists (Velimir Khlebnikov, Robert Lax) and even with religious images of almost two thousand years ago (John the Theologian).

The article analyses different aspects and paradoxes of the contemporary theory of architecture. The ideas of physics, philosophy, poetry and language theory have been translated into the language of architectural forms. The absence of architectural theory is illustrated by the avant-garde architectural practices. The article studies the historical movement, epochs in the interaction of social reality and architectural theory confirming the syncretism of architectural practice and theory.

The authors of naturalism and the avant-garde in Spain attach great importance to illness and especially mental illness and mad houses. The vision of the mental asylum is presented in the literary mirrors of three authors - with very different biography - who wrote in the first decades of the 20th century, in their writings the presentation of the asylum, considered successively as punishment, as experience and as liberation, is changing. Antonio Hoyos y Vinent, Alfonso Vidal y Planas and Andrés Valentín Álvarez y Álvarez are mainly studied.

Sulla rappresentazione in prospettiva sembravano avvincenti le interpretazioni delle presunte ‘trasgressioni’ compiute dagli artisti del Cinquecento dopo la codificazione delle regole per l’applicazione del metodo. Le sperimentazioni sulla policentricità di alcune rappresentazioni pittoriche sembravano lecite violazioni rispetto alla monocentricità, vista tuttavia come una pura astrazione dalla realtà. Nei tre secoli successivi, i disegni di architettura realizzati con l’impiego della prospettiva perlopiù mostrano il permanere dell’equilibrio delle composizioni, laddove si accentua la monumentalità degli edifici oltre alla rigorosa costruzione dello spazio. Un profondo cambiamento nel settore della rappresentazione, relativamente all’impiego dei metodi e delle tecniche grafiche, si registra a partire dagli inizi del XX secolo e pertanto, si evidenzia che la produzione degli esponenti dei movimenti di avanguardia, suggerendo profonde modificazioni nei sistemi e nelle tecniche di rappresentazione, ha individuato elementi determinanti per la nuova grammatica e sintassi del disegno di progetto. Nei disegni di architettura si osserva che probabilmente la prospettiva dava enfasi al processo di invenzione, poiché la creatività nell’ideazione di nuove spazialità era al centro dell’interesse di ognuno dei protagonisti del periodo. Le prospettive avvaloravano le sperimentazioni sulle forme degli spazi, sulle profondità ed elevazioni, sugli elementi costruttivi e i materiali, sui trattamenti delle superfici e le eventuali soluzioni decorative. Lo spostamento del punto di vista dalla posizione centrale a quella d’angolo dunque poteva ulteriormente evidenziare aspetti singolari delle architetture progettate. Per gli esponenti del Razionalismo, autori delle rappresentazioni di architettura selezionate, la variabilità d’impostazione del punto di vista si è tradotta nella possibilità di inventare spazi e rappresentarli efficacemente coniugando razionalità con eleganza, funzionalità con armonia.

This article studies the changing role of metonymy in Frank O’Hara’s poetry. In his early work, O’Hara often uses metonymy for the referential assortment of various modernist fields of influence. The origins of O’Hara’s signature ‘I do this, I do that’ style can be traced back to the problems of self-consciousness which emerge in these early homages to modernism. Though he is often celebrated for the swift responsiveness and spontaneity of his urban poetry, these metonymic homages reveal a poet with deeper and longer attachments in the object-world. Such attachments alert O’Hara to the risk of turning the self into one of the concrete or objectual signifiers of his metonymic assemblages. O’Hara’s early negotiation with the descriptive legacies of modernism and the resulting anxiety about self-consciousness will be demonstrated through an analysis of his sestina, “Green Words.” O’Hara’s solution will entail changing the logic of metonymy from contextual assemblage, where the body often finds representation as a conceptual object, to a foregrounding of the inherently metonymic character of bodily and gestural expression, where the body emerges as a dynamic and responsive presence. Thus, this article investigates how O’Hara’s ekphrastic accounts of contemporary art allowed him to break away from modernism to embrace a poetics of embodied responsiveness.

The article provides an overview of the conference “American and Russian Poetries. Links and Circulations”. The conference was held at the University of Toulouse from June 2 to June 5, 2021, virtually and was organized by Americanists, professors at the University of Toulouse, D. Rumeau and C. Gheerardyn. The conference attracted scholars from the USA, France, Israel, Russia (including scholars from Lomonosov Moscow State University Lomonosov, the Institute of Linguistics of the Russian Academy of Sciences, etc.). During the conference, a number of papers touched upon the issues of reception and “transfer” between poetic cultures. These papers would concern not so much a passive “transfer” of a literary phenomenon from one culture to another, but rather an active process of transferring, or transcoding the phenomenon through an intertext already existing in another culture. Apart from topics related to issues of reception and metamorphoses of cultural translation, during the conference, the contrast between Russian and American poetic traditions was questioned as a contrast between the tradition of “expression”, psychologism, and the tradition of “description”, a formal experiment. This opposition was coined by the Imagist poet J. Cournos, a Russian émigré, also known as Ioan Grigor’yevich Korshun. A number of speakers disputed the rigid division of Kurnos, drawing attention to (1) the similarity of conceptual schemes for comprehending experience in the poems of Russian and American poets, (2) a formal experiment in Russian futurism and the development of a theoretical vocabulary for describing form in Russian formalism, (3) the influence of Russian futurism on the American neo-avant-garde. The influence of Russian futurism and Russian formalism on American poetry was traced on the example of the Language School phenomenon.

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.

A Humument (1966-2016), Tom Phillips’s masterwork, is an artist's book which falls under the category of found text by virtue of its compositional strategies. The book indeed consists in a revisitation and a détournement of every single page of a Victorian novel entitled A Human Document, published in 1892 by a certain William H. Mallock. Each page of A Humument constitutes a verbo-iconic complex in which the words isolated by Phillips and the various visual elements with which he covers the source text come into interaction, in often very elaborate configurations. The hybrid constellations patiently developed by Phillips are usually grounded in a very broad intertextual network which incorporates the established arts (literature, painting, music, etc.) alongside other artistic forms considered minor, including comics. The aim of our essay is to study as closely as possible Phillips’s re-appropriations of codes specific to comics, which he mobilizes in ways which alternate between the parodic and the poetic. Our analysis will thus focus on the formal hybridizations that Phillips operates on several pages of his work; it will also give us the opportunity to interrogate the necessarily problematic relationships which potentially unite comics and avant-gardist practices at the intersection of verbal and iconic registers.

The matters of the October Revolution are present on several levels in Zenit from the first issue until the closing of the magazine. The October Revolution appears as a topic in Zenit in discussions about Soviet Avant-garde art, as well as the sociopolitical consequences of the Revolution, but also as a symbol of the destruction of old civilisation, one of the fundamental programme principles of Zenitism. This paper analyses the strategies for shaping the concept and discourse on the October Revolution in Zenit. First, the intertextual connections between the texts that speak about the Soviet artistic Avant-garde and the texts about the political Avant-garde of the October Revolution are reconstructed, i.e. their ideological and aesthetic unity as a product of Ljubomir Micić's editorial policy. Then, the second level of analysis occurs through a comparative reading of the programmatic principles of Zenithism and the ideas of the representatives of the Soviet political Avant-garde - Vladimir Ilyich Lenin, Leon Davidovich Trotsky and Anatoly Vasilyevich Lunacharsky. The aim of this paper is to examine how the figures of revolutionary leaders and artists, and the reception of their works and texts in the Zenit magazine, shaped the Zenitist understanding of the historical role of Avant-garde art as new art. Furthermore, special attention is paid to the interpretation of Zenit's artistic ideology in the context of revolutionary Marxism, i.e. to the analysis of implicit ambivalences between artistic individuality, on the one hand, and the Avant-garde and Revolution, as collective events, on the other.

Reflecting on the centenary of the birth of Zenitism, this essay examines how the movement engaged with stereotypes about the Slavic Orient, and in particular the discourse on Balkanism. The European orientalist reading of the Balkans became especially profound in years surrounding the World War I. Seeking to invert derogatory characterisations of the Balkan Peninsula, Zenitists would embark on a mission to "Balkanise Europe" by presenting the artist from the East as a rejuvenating, revolutionary force emerging from a cultural tabula rasa. Zenitism sought to destabilise the dominant Orient-Occident discourse by establishing parallels between existing negative stereotypes of the Balkans and the aesthetic tropes of the European avantgarde. Specifically, Zenitists established the Balkan "Barbarogenius" as the archetypal modernist primitive - precisely the figure conjured by the European intelligentsia as the saviour for its listless modern condition. In addition, the Zenitist movement established an analogy between the hallmark fragmentation of the Balkans and the cultural cacophony of the avant-garde. The political and aesthetic strategies of the movement, the authors assert, bear a striking similarity with those of the Black Atlantic, and its 'in-betweenness'-its ambition to straddle two opposing worlds. Organised around its eponymous journal Zenit, which was conceptualised as "the first Balkan journal in Europe and the first European journal in the Balkans," Zenitism employed European avant-garde aesthetic strategies while simultaneously rejecting European claims to cultural supremacy. For Yugoslav, Soviet, and Western European audiences, the journal had two parallel goals: the creative "Balkanisation" of Europe, and a commitment to dismantling Yugoslav "nesting orientalisms" by fighting against the reproduction of negative stereotypes among the region's own inhabitants. Against a backdrop of European crisis and a global demand for a renewed emancipatory struggle, the ambition of Zenitism holds strong appeal today.

The early twentieth century saw the emergence of an avant-garde culture, which marked a turning point in the literary history of Spain. Until recently, the dominant approach to Spanish avant-garde poetry has been a generational one. Critics have mainly focused on male poets identified with the Generation of 1927, which has been seen as a predominantly Spanish phenomenon. This study takes a different approach by questioning Spain's exclusion from studies of the transnational avant-garde. By looking at literary circles and avant-garde magazines, this article provides an insight into the transnational exchanges between Spanish and Latin American women poets, who shared an aesthetic approach and engaged with avant-garde themes. It also examines the correspondence between Carmen Conde and Ernestina de Champourcín and highlights their connections to Alfonsina Storni, Gabriela Mistral, Juana de Ibarbourou, and Delmira Agustini. A study of the transatlantic connections among these women poets aims to offer a better understanding of the influences on their work, the impact they exerted beyond national borders, and the mediating role they played across cultural and geographical boundaries. [ABSTRACT FROM AUTHOR]

David Foster Wallace's fiction often depicts the reception of unsettling avant-garde artworks; it also makes use of similar strategies to those that it depicts. The short story "Octet" can be seen to pose a question about its own value, or status as art, in a similar way to avant-garde provocations such as Piero Manzoni's Artist's Shit. Stanley Cavell analyzes the experience of uncertainty that modernist art causes for its audience; in the absence of agreed criteria, there is no obvious way to know what "counts" as art. The absence of criteria also causes a crisis for sincerity—we have no way of knowing if an artist means their artwork. For Wallace, questions about the sincerity of his work are woven into questions about whether it "counts," since he seems to have taken seriously Tolstoy's claim that only sincere works of art should count as art. [ABSTRACT FROM AUTHOR]

The art movements of Cubism and Abstract Expressionism, influenced by Jung and Freud, emerged as a symbolic representation of the collective unconscious, and became an expression of the challenging times of a culture in transition. Similar to the technique of interpretation in psychoanalysis, Cubist painting was a method of demarcation, rather than an imitation of what was seen in the physical world. Also, as an expression of collective experience, the avant-garde movement of Abstract Expressionism emerged out of Cubism. It moved away from the logical idealism of Cubism into an expression of felt experience. This paper will review the art of the avant-garde Cubist and Abstract Expressionist movements. The psychology of the artistic process will be explored in relation to psychoanalysis and collective experience. [ABSTRACT FROM AUTHOR]

The purpose of the article is to highlight the main stylistic features of modern Ukrainian fine arts of the war period in relation to the art of Ukraine of the twentieth century. The research methodology is based on the comparative analysis of the visual-plastic language of contemporary Ukrainian art, as well as the comparative-historical method, which allows us to analyze the artistic temporal parallels of the development of Ukrainian fine arts. The scientific novelty consists in the first attempt to create a holistic picture of the development of modern Ukrainian fine arts of the war period and to determine the main artistic trends in the formation. Conclusions. The war period for Ukrainian art became a milestone that separated the artistic trends of the early XXI century and stylistic features of 2022, which introduced new artistic priorities and requirements. As a result of the analysis, it is established that the main trends in the development of modern Ukrainian wartime painting can already be identified. Generally speaking, this is primarily a tendency to posterity, generalization, monumentality. Heroization of the images of the victorious pages of the past in Ukrainian history, as well as glorification of the image of Ukraine-woman, suffering, but unshakable in the fight against the enemy. The use of Ukrainian symbols in works of art - flag, coat of arms, Ukrainian ornament, etc. - acquires a new sound. An attempt was also made to structure works of modern painting in the following areas: features of graphics and posters; tendencies of folk art and neo-primitivism; signs of heroic and epic style, neorealism. Of course, this process of forming a new plastic trend in Ukrainian painting has only just begun; it develops, moves, pulsates, changes. It is happening here and now. However, despite the terrible catastrophe and its destructive action, which we are witnessing and the name of which is the war, today we can see how radical changes are taking place not only in the national context of Ukraine, but around the world. And the destiny of art is not only to reflect these global changes that we have witnessed, but also to lead society, consolidate, affirm the eternal values and ideals of humanity, national foundations and lead to victory. [ABSTRACT FROM AUTHOR]