27,045 research outputs found
The Arab Avant-Garde: Musical Innovation in the Middle East
No full textIn the early nineteenth century, the term “avant-garde” began to capture greater semantic territory. Once purely a military phrase used to distinguish crack troops, it then assumed a high-ranking position within cultural expression, marking out art work that forged ahead and broke new ground. What can it mean to conjoin this French phrase with the word “Arab”? French forces, along with other imperial intruders, are no strangers to Arab terrain. The colonisation of Algeria, Tunisia, Morocco and Greater Syria followed in the wake of the brief Napoleonic “mission” to Egypt between 1798 and 1801. It was during this military foray that some of modern Europe’s most expansive data on Egyptian music was collected, information that comprised two whole volumes of Guillaume André Villoteau’s Description de l’Egypte. The Napoleonic campaign gathered not only military, but also cultural intelligence, if the two can be so easily separated
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Korean art and the avant-garde dilemma
No full textThe thesis covers Korean avant-garde art history and the dilemma that faced Korean artists at the end of the Japanese Colonial Period (1910-1945). Current literature adequately details avant-garde as progressive fine arts; however, there is limited literature on Korean art in this period. This thesis suggests the term avant-garde dilemma to indicate Korean artists‘ difficulty in style selection to follow a traditional aesthetical trend or progressive socio-political attitude for the foundation of Korean post-modernism. A salient démarche is found when Korean political avant-garde artists meet this dilemma in the midst of the Korean Demonstration Era (1976-1989) that initiates the decline of aesthetical activism and Demonstrative Art. Several styles of avant-garde dilemma after the Korea War are critiqued in the avant-garde evolution; subsequently, there arise hybrid styles between socio-political avant-garde and aesthetical avant-garde styles in Contemporary Korean Art. The examples included are Nam-Jun Baik‘s Video Art (a combination of art and technology), Do-Ho Suh‘s combination of meticulous sculpture with installation to satire Korean neo-capitalist society, Doo-Shik Lee‘s combination of oriental color with western gesture, and Suk-Chang Hong‘s free calligraphy to combine still-life, landscape, calligraphy, and scribbling
Fusion and the avant-garde
No full textIn his 1974 work, Theory of the Avant-Garde, Peter Bürger developed a sociological argument that the practices of the historical avant-garde had emerged as a fusion of art and life, merging practices into a hybrid assault on autonomy that can be characterized as distinctly avant-garde. Refuting previous positions, Bürger argued that the avant-garde wasn't concerned with merely dismantling the classifications of art, but the institution of art in its entirety. This was dramatically opposed to Clement Greenberg's hegemonic theory of art practice, where the segregated medium was the sole attribute through which the avant-garde could advance. It was in opposition to this diffusion of art practice that Bürger's theory framed a radicalized lens through which the avant-garde could be reconceptualised: combatting the segregation of medium with a deliberate fusing of the structures of art and their political and social histories. This paper will look at the significant role fusion, as a strategy, plays in Bürger's seminal work and its reception. It is the recognition of fusion as an oppositional system in art production that not only distinguishes his approach from early incarnations of modernism, but has also seen the extension of his work into ongoing critical projects in art theory in America, which have radicalised fusion as a critical and creative practice
The Avant Garde as Exform
No full textPeter Bürger’s critique of the historical avant garde accounts for its ineffectual nature as a political movement because of its relationship with institions. He argues for hermeneutics to be employed as a critique of ideology, and as a facet of the understanding of the ‘historicity of aesthetic categories’.’ The influence of institutions on music since 1968 has served as a central part of its critique: the work concept itself seems to enshrine political ineffectiveness and the bourgeois nature of art practice that ought to be critiqued by an avant-garde. In contrast, Bourriaud’s concept of the ‘exform’ re-conceives the avant-garde as outside of institutions and an idea of ‘progress’ that is aligned with a dominant capitalist ideology. He frames the task of the avant-garde artist as giving energy to ‘waste’, outside of political and ideological institutions. This type of avant-garde practice functions to ‘bring precarity to mind: to keep the notion alive that intervention in the world is possible.’ This article explores the exform with respect to the work of the British composer Chris Newman and the Swiss composer Annette Schmucki, and considers how Bourriaud’s approach to re-thinking the avant-garde might apply specifically to contemporary and experimental music in the present
Artists and Radicalism in Germany, 1890-1933: Reform, Politics and the Paradoxes of the Avant-Garde
No full textThis thesis seeks to lay the foundations for a socio-historical analysis of German radicalism and the avant-garde. Following first the development of the German applied arts movement from 1890, and then the debates over the role of painting from within and beyond the avant-garde in the interwar period, it addresses the ways the reform of artistic and technical-vocational education was intertwined with the questions of the ‘art proletariat’ and the nature of intellectual labour in capitalist economy. It argues that the history of what was widely conceived as the ‘avant-garde’ in the interwar period was still responding to the same set of concerns addressed in the context of the applied arts movement. The concept of functional, ‘useful’ artistic labour as opposed to the ‘useless’ fine arts, a concept connecting the prewar reform movement with the interwar avant-garde, is translated here into a new model of professional politics serving the radical or vanguard artist. ‘Radicalism’ is discussed here neither in terms of political positions per se nor with regard to artistic innovation, but instead as a distinct historical phenomenon of professional politics. The question is not what makes an artwork or an idea radical, but how artistic radicalism itself was shaped. The secession of the applied artist from the traditional art institutions is seen as a decisive moment in this process. Precisely this outsider position – beyond fine arts and traditional crafts – determined the increasingly exclusionary policies of the avant-garde movement. Thus this thesis ultimately proposes a new interpretation of the conflict between the advocates and enemies of modern art as a whole. It was the artists’ own professional politics which shaped this conflict and determined affiliations with specific political parties, and not the opposite. The relation of artistic developments to larger political issues must, I argue, be read through the specific professional politics emerging out of the polarity between the vanguard artist-reformer and the so-called ‘art proletariat’
Author Peter FitzSimons speaking at the National Library of Australia, Canberra, 13 November 2012 /
No full textTitle from acquisitions documentation.; Part of the collection: Portraits of author Peter FitzSimons speaking at the National Library of Australia, Canberra, 13 November 2012.; Acquired in digital format; access copy available online.; Mode of access: Online.; Photographed by a staff member of the National Library of Australia
Moral Good, the Beatific Vision, and God’s Kingdom Writings by Germain Grisez and Peter Ryan, S.J.. Edited by Peter J. Weigel
No full textFor close to half a century, the work of Germain Grisez has been highly influential, and his writings continue to receive considerable attention from philosophers and theologians of diverse viewpoints. His co-author for this work is the professor and noted moral theologian Fr. Peter Ryan, S.J., currently the executive director of the Secretariat of Doctrine and Canonical Affairs of the United States Conference of Catholic Bishops (USCCB). These two eminent scholars explore fundamental questions about Christian eschatology, moral theory, the purpose of human life, and the promise of human fulfilment. The authors examine Christian teaching on the final destiny of persons, investigating the meaning of God's kingdom, the hope of the beatific vision, and the centrality of moral goodness and divine grace in one's final end. This work is an ideal source for students, scholars, ministers and lay persons interested in basic questions of Christian theology, the philosophy of religion, ethical theory, and Catholic doctrin
Murder on the mountain: author talk with Peter J. Wosh
No full textAuthor talk by Peter J. Wosh on May 5th, 2022, on his book, "Murder on the Mountain: crime, passion, and punishment in gilded age New Jersey.
Anmeldelse af Peter Fransen: Borgen med de mange ansigter. Statsfængslet i Nyborg 1913-2013.
No full textReview of Peter Fransen: Borgen med de mange ansigter. Statsfængslet i Nyborg 1913-2013
Lunchtime Talk with Author and Attorney Peter Godwin
No full textAuthor and attorney Peter Godwin gave a lunchtime talk about the topics discussed in his book, The Fear, which focuses on the human rights situation in Zimbabwe under the rule of Robert Mugabe
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