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The purpose of the research is to determine the stylistic purpose of J. Rutter's compositions, made in different years, but united by a spiritual genre indicator, which since the beginning of the last century has distinguished the multi-genre productions of English composers, from E. Elgar to B. Britten, W. Walter, M. Tippett and Rutter's teacher - J. Tavener. The methodological basis of the study is the intonation approach, as it was noted in the works of B. Asaf'ev's followers in Ukraine (see the publications of D. Androsova, O. Markova, O. Muravska, A. Sokolova), as well as based on the development of choral performance of the Odessa school (the works of V. Lugovenko, H. Shpak, other scientists). The scientific novelty of the work is noted in the originality of the presentation of the meaning of the stylistic diffusions of the choral heritage of England of the 20th century, from non-classical sections to the post-avant-garde eclecticism of the break of the 20th-21st centuries and the basic understanding of the national church expressive component in them, which provided and provides an independent stylistic taste with a corresponding typological combination, corresponding to the playful mosaic of post-avant-garde and post-post-avant-garde today. Conclusions. The stylistic eclecticism of the neobaroque buildings of the past century and the neo-Gothic trends of the beginning of the 21st century is based, firstly, on the religious and practical assimilation of the products of the English Renaissance of the 20th century as the second Celtic Renaissance on the lands of Britain-England against the background of the existence of post-Victorian trends towards the Irish-British Orthodox origins of national culture. And, secondly, the validity of the spiritual and choral work of England at the beginning of the 21st century and within its limits the nomination of such masters as J. Tavener and J. Rutter related by the circumstances of their life and work to the neo-gothic tendencies of "absorption" of artistic self-sufficiency by the compensatory social need for compositions is indicated, which stand on the "borderline" of the spiritual-applied and spiritual spheres and in which the antithetical directions of styles and types of creativity are concentrated, up to the triumph in the works of J. Rutter of the fullness of popular thinking in the perspective of the seriousness of the spiritual glory of chorale-anthems. [ABSTRACT FROM AUTHOR]

The article discusses the evolution of the avant-garde, determining the emergence of important differences between the historical avant-garde of the 1920s and the attitudes of the post-avant-garde and neo-avant-garde - from the 1970s of the twentieth century to the first decades of the twenty-first. At the same time, it answers the question of where the logic of the avant-gardes would find its axioms. Post-avant-garde poetry undoubtedly pursues the avant-garde postulate of approximation to the social reality of everyday life, but fundamentally understands this postulate differently. Consequently, it fulfills what the historical avant-garde did not: opening the boundaries of poetry as a result of questioning the autotelicity and autonomy of poetry, redefining reality-in-the-present as that, historically, locally, politically conditioned. Not infrequently, this forces a critical gesture against social reality and the associated rules of social communication. To an even greater extent, this opening was determined by the conviction that this reality is not available in unmediated experience, that poetic critical discourse must be based on "interceptions" of social narratives, more or less petrified, leading to the recognition that everything belongs to reality, regardless of ontological status. It points out that countercultural movements have had a significant impact on the direction of this evolution. [ABSTRACT FROM AUTHOR]

The purpose of the research is to understand the stylistic quality of A. Waingnein's Rhapsody in the direction of the musical-instrumental specificity of the post-post-avant-garde stage of music, which we call "new academicism" within the post-avant-garde stratum of creativity. As a methodological basis, we put forward the intonation approach of the B. Asafiev school in Ukraine, as it developed in the works of D. Androsova, O. Markova, O. Muravska, with an emphasis on hermeneutic and stylistic-comparative analysis, as well as relying on the developments of the post-postavant-garde in works Drozdovskyi, I. Navoieva, and others. Scientific novelty is determined, firstly, by the primacy in Ukrainian and Chinese musicology of the analysis of the named work by A. Waingnein, and secondly, by the originality of theoretical conclusions regarding the "new academicism" within the framework of post-avant-garde stylistics. Conclusions. The post-post-avant-garde stage of the development of art from the 2000s to the 2010s emphasises, despite the playful stylistic eclecticism of post-avant-garde creativity, the revival of the pathos beginning indicative of classical art, which tends to put forward the popular layer as a pathos-accentuation of expression in the work. Waingnein's academic approach unfolds the traditionalist stylistic dimensions inherited from the last century, emphasising as culminating "surges" (the absence of dramatic antitheticity in the composition "relieves" the tension of the dramaturgically essential) genre fragments of the work's thematics, which have been tested by the popular musical layer. [ABSTRACT FROM AUTHOR]

The purpose of this work is to identify stylistic clarifications regarding such an all-encompassing and extremely influential direction from the last century as neo-baroque, which was perceived as an offshoot of the overall neoclassicism of the 20th century, taking into account the post-avant-garde contribution from the 1970s and the postpost-avant-garde ("neo-post-avant-garde") addition from 2010s - in the conditions of the German music world. The latter has held basic positions in art music since the times of the Viennese classicism, significantly supplying the repertoire of performance even today. The methodological basis of the study is the intonation approach, as it was noted in the works of B. Asafiev's followers in Ukraine (see the publications of D. Androsova, O. Markova, O. Muravska, and others), as well as based on the development of instrumental performance of the Odesa school (works by Z. Bupkatskyi, K. Muhlberg, other scholars). The scientific novelty of the work is noted due to the originality of the presentation of the meaning of the stylistic diffusions of instrumental art from the 20th to the 21st centuries, which made it possible to revive in the performance of works that bypassed artistry in favour of either church aestheticism of expression or frankly traditionalist thinking, which was not associated with ideas about the stylistic dynamism of German music of the last two centuries. Conclusions. The neo-baroque stylistic eclecticism of German art from the 20th century was based on the contributions of the stylistic extremism of P. Hindemith, which bypassed the "soft" detections in the works of A. Zemlinsky, Z. Wagner, F. Schmidt, and more, leading to the "neo-Schubertianism" of V. Rimm, which became the recognised leader of the German musical world at the break of the post-avant-garde and post-post-avant-garde heritages. Performance practice, performing the works of German post-avant-garde composers at the level of B. Zimmerman, J. Widman, A. Raiman, and other masters, organically combined it with the revival of the legacy of A. Zemlinsky, F. Schreker, Z. Wagner, F. Schmidt, as well as composers of the Baroque era - J. Molter, H. Telemann, and so on, whose thinking did not coincide with the criteria of the author's work of the New Age, but corresponded to the neo-baroque filling of the post-avant-garde with compositions marked by church aestheticism in bypassing the criterion of artistry, which we denote by the term "post-avant-garde neo-baroque" in music. [ABSTRACT FROM AUTHOR]

In this article, I argue that in the years 1960‒1980—roughly from Solaris (1961), through His Master's Voice (1968), to Golem XIV (1981)—Stanisław Lem carried out an anthropological experiment in which his protagonists were confronted with unknowable phenomena. The fullest expression of this experiment is the novel Solaris, in which a new function of literature—the universalization of uncertainty—is unveiled. This feature links Lem's novel with the works of other Polish writers, such as Witold Gombrowicz, Tadeusz Różewicz, Andrzej Czycz, Teodor Parnicki, and Edward Stachura. Some of their works from the 1960s and 1970s can be considered representative of the post-avant-garde in Polish prose; these works question key social beliefs (especially regarding the efficacy of cognition, the adequacy of language, and the stability of the human subject), but instead of proposing a new order, their authors indicate the need for accepting that human existence is not grounded in a higher order. [ABSTRACT FROM AUTHOR]

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In spite of certain expressive and compositional differences, Sapgir's and Aigi's poetics can be compared from the perspective of the post-avant-garde, with its interest in nonverbal elements as fundamental unities of poetic discourse. Elliptical constructions, gaps, white lines between verses and allusive grammatical structures are meant to underline the undefined components of poetic expression. [ABSTRACT FROM AUTHOR]

The Lost Generation marks a major moment in the development of contemporary Romanian poetry. The process they start and develop in a rebellious manner in the fifth decade is not limited to theoretical or ideological positions. Advocating the change in poetry, they propose something in return: their own poetry. Another kind of poetry, in the spirit of a new vision and of a new aesthetic, based, paradoxically, on the refusal of aesthetics. The young authors' literary offer is remarkable and shows the way to a new kind of poetry, to a new aesthetic canon. Constant Tonegaru is one of the most important poetic voices of this movement, who crystallizes a particular poetic aesthetics. Escapism, fantasy, irony and self-irony, bohemian attitudes, intelligence, in an aesthetic context that brings together post-avant-garde, surrealist, neo-modernist and textualist elements, is what defines his aesthetic identity. [ABSTRACT FROM AUTHOR]