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As is well known, César Aira (Argentina 1949) is considered one of the most eminent contemporary writers. What is less known is that, across twenty-five novels and short stories, he imagines himself living implausible and even impossible adventures. In Spanish, theorists refer to these creative self-narratives as autofabulaciones, and Aira’s record in this realm makes him one of the most prolific autofabuladores in the world. Why does he immerse himself in so many imaginary lives? Through a close reading of his work and autofictional theory, this book proposes three complementary hypotheses related to the 1976-1983 dictatorship, literary irony, and literary play.

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Sabido es que César Aira (Argentina 1949) es considerado uno de los escritores contemporáneos más eminentes. Menos sabido es que, en veinticinco novelas y cuentos, se imagina viviendo aventuras inverosímiles e incluso imposibles. Los teóricos se refieren a estos relatos personales altamente creativos como ‘autofabulaciones’, y la productividad de Aira en este campo lo convierte en uno de los ‘autofabuladores’ más notables del mundo. ¿Por qué sumergirse en tantas vidas imaginarias? En un vaivén entre el análisis de su obra y la teoría autoficcional, este libro propone tres hipótesis complementarias relacionadas con la dictadura de 1976-1983, la ironía y el juego literario.
In the words of early 20th-century writer Ramón Gómez de la Serna, José Cabrero y Mons (1871–1954) is the central figure in the Novela del Arte. Cabrero remains the only unidentified artist in José Gutiérrez Solana’s iconic painting La tertulia del café de Pombo, the second most significant work in the Museo Reina Sofía, following Picasso’s Guernica. This monograph delves into Cabrero’s fascinating artistic life, uncovering previously unpublished details, including rare books from his personal library, correspondence with fellow artists, unknown paintings, and his remarkable collection of modern art, featuring works by Puvis de Chavannes, Solana, Rodin, Carrière, and De Groux. En palabras del escritor de principios de siglo Ramón Gómez de la Serna, José Cabrero y Mons (1871-1954) es el personaje principal de la novela del arte. Cabrero es el único artista no identificado en el cuadro La tertulia del café de Pombo de José Gutiérrez Solana, el cuadro más relevante del Museo Reina Sofía, después del Guernica de Picasso. Esta monografía sobre la intrigante vida artística de Cabrero explora las paradojas definitivas del período estético de Fin de Siècle. La monografía revela datos únicos e inéditos de su biblioteca personal, con ediciones y cartas dedicadas y raras, junto con sus pinturas desconocidas y su excepcional colección de arte moderno: Puvis de Chavannes, Solana, Rodin, Carrière, De Groux.
Volume Editors: and
Our contemporary society is obsessed with the idea of self-optimization, a concept that implies the need to constantly work on improving oneself and one’s appearance. The roots of postmodern self-optimization, however, lie in the cultural industries that emerged in the late nineteenth and early twentieth centuries. With its equally profound and transient interest in new forms of expression, new ways of life, and new technologies, modernism thoroughly and critically embraced the idea of the self as something that can be created and recreated, either in accordance with or in contradiction to social norms. This book explores strategies of self-optimization developed in modernist literature and culture. In doing so, it offers a panoramic view of an often-overlooked aspect of European and North American modernity that anticipates our current postmodern crisis of the self.
Poésie. Manifestes. Déclarations/ Poezje. Manifesty. Deklaracje
This a 2 volume set.
In the history of the twentieth century, Futurism marked the birth of the avant-garde and major artistic and literary changes. Although it first appeared in Italy and Russia, it developed in Poland between 1918 and 1924. The vast documentation and texts, most of them previously unpublished, that we have brought together in this volume constitute the most complete collection ever published on Polish Futurism. A rich critical apparatus and iconography from the 1920s complete the work.

Dans l'histoire du XXe siècle, le futurisme marque la naissance des avant-gardes et des grandes mutations artistiques et littéraires. S'il apparaît d'abord en Italie et en Russie, il se développe en Pologne entre 1918 et 1924. La vaste documentation et les textes, pour la plupart inédits que nous avons réunis dans ce volume constituent l'ensemble le plus complet jamais édité sur le futurisme polonais. Un riche appareil critique et une iconographie des années 1920 complètent l'ouvrage.
This is Volume 1 of 2.
In the history of the twentieth century, Futurism marked the birth of the avant-garde and major artistic and literary changes. Although it first appeared in Italy and Russia, it developed in Poland between 1918 and 1924. The vast documentation and texts, most of them previously unpublished, that we have brought together in this volume constitute the most complete collection ever published on Polish Futurism. A rich critical apparatus and iconography from the 1920s complete the work.

Dans l'histoire du XXe siècle, le futurisme marque la naissance des avant-gardes et des grandes mutations artistiques et littéraires. S'il apparaît d'abord en Italie et en Russie, il se développe en Pologne entre 1918 et 1924. La vaste documentation et les textes, pour la plupart inédits que nous avons réunis dans ce volume constituent l'ensemble le plus complet jamais édité sur le futurisme polonais. Un riche appareil critique et une iconographie des années 1920 complètent l'ouvrage.
Poésie. Manifestes. Déclarations/ Poezje. Manifesty. Deklaracje
This is Volume 2 of 2.
In the history of the twentieth century, Futurism marked the birth of the avant-garde and major artistic and literary changes. Although it first appeared in Italy and Russia, it developed in Poland between 1918 and 1924. The vast documentation and texts, most of them previously unpublished, that we have brought together in this volume constitute the most complete collection ever published on Polish Futurism. A rich critical apparatus and iconography from the 1920s complete the work.

Dans l'histoire du XXe siècle, le futurisme marque la naissance des avant-gardes et des grandes mutations artistiques et littéraires. S'il apparaît d'abord en Italie et en Russie, il se développe en Pologne entre 1918 et 1924. La vaste documentation et les textes, pour la plupart inédits que nous avons réunis dans ce volume constituent l'ensemble le plus complet jamais édité sur le futurisme polonais. Un riche appareil critique et une iconographie des années 1920 complètent l'ouvrage.
Avant-Garde Critical Studies, a series founded in 1987 for themed-anthologies and monographs on all aspects of avant-garde and avant-gardism in modern literature, theatre, music, visual and applied arts, architecture and design from the late nineteenth century to the present.

We publish high quality research on specific trends in single arts, countries and regions, as well as comparative and interdisciplinary studies in the interrelation between the different arts as well as between the arts, social and political contexts and cultural life in the broadest sense and all its diversity.
An Annual Bilingual Review / Revue Annuelle Bilingue
A refereed bilingual journal, Samuel Beckett Today / Aujourd’hui has established itself as one of the leading international journals in the dynamic field of Beckett studies. A guiding principle of the journal is its openness to diverse disciplinary domains, theoretical perspectives, and discourse styles of scholars writing on Beckett. Bilingual since its inception, it aims to foster dialogue across languages, cultures, and disciplines. The journal welcomes submissions in English and French from all parts of the world provided they contribute a new understanding to the extensive literature on Beckett and meet the tests of readability and scholarship.

Samuel Beckett Today / Aujourd’hui will be published as journal as of 2016. All back volumes are still available in print.

La revue bilingue Samuel Beckett Today / Aujourd’hui a su se faire reconnaître comme une des revues internationales de pointe dans le domaine très dynamique des études beckettiennes. L’un des principes directeurs de cette revue est son ouverture à la diversité des champs d’étude, des perspectives théoriques et des approches stylistiques des chercheurs travaillant sur Beckett. Bilingue depuis sa fondation, la revue cherche à encourager le dialogue entre les langues, les cultures et les disciplines différentes. La revue accueille des propositions en anglais et en français provenant de tous les coins du monde, pourvu que celles-ci, en s’inscrivant dans la liste déjà longue des études sur Beckett, contribuent à apporter une compréhension nouvelle de cette œuvre, tout en répondant aux critères requis de lisibilité et de sérieux scientifique. Les propositions sont soumises au contrôle évaluatif par les pairs.

A partir de 2016, Samuel Beckett Today / Aujourd’hui paraître comme une revue. Les livres parus resteront disponibles sous version imprimée.
Series Editors: and
Studies in Periodical Cultures (SPC) contributes to the bourgeoning field of periodical studies, exploring magazines, newspapers, and other forms of serialized media in (trans)national contexts. Research into periodicals is of high interest to many because of the medium’s pervasiveness and its enmeshment with the formation of cultural identities. This book series considers periodicals as important artifacts, seeking to assess their role for processes of cultural transfer and translation. SPC looks at how periodicals evolve in and through networks of people, material infrastructures, media markets, and changing technologies. Likewise, the community-building potential of periodicals will be considered. SPC wants to determine what function periodicals have as sites of affection, but also as aesthetic and material sources for the arts and literature. The book series produces a much-needed bridge between historical/archival approaches and present work in the field of media studies by highlighting the legacies and trajectories of the periodical business from 18th-century print to the digital age.

SPC invites contributions from a range of disciplines including approaches developed in the humanities and social sciences. Transnational approaches to periodical studies, which provide, among others, fresh insights into foreign language publications, the role of international editions, the ethnic press, and related issues like race, gender, and sexuality are all welcome. SPC also promotes the ‘business turn’ in periodical studies and highlights material and legal frameworks, design, translation, marketing and consumption. It solicits studies about editorial procedures, the distribution, and the reception of periodicals. This book series encourages work about regional, national, and transnational communication networks, investigating, for instance, how rival publications and their interrelated dynamics shape the periodicals’ formal, material, and visual attributes. In practice, SPC proposes to study periodicals less as autonomous objects, but rather as agents embedded in changing historical contexts. SPC thus offers theoretical and methodological approaches to an interdisciplinary, transnational conception of periodical studies, and publishes peer-reviewed volumes in different languages.

Authors are cordially invited to submit proposals and/or full manuscripts to the publisher at BRILL, Christa Stevens.
Please advise our Guidelines for a Book Proposal.
We strongly recommend the use of the Chicago Manual of Style, 17th edition in this series.

Subject areas for exploration:
Periodicals and Transculturality
Literary Magazines as Transnational Periodicals
Transnational Periodicals and the Ethnic Press
Transnational Periodicals, Typography, and Graphic Communication
Transnational Periodicals and the Production of Knowledge
Periodical Studies and the Impact of the Archive
Regionalism and Transnational Periodicals
Author:

Abstract

In mid-January 1925, André Breton published an editorial, “La dernière grève” (The Last Strike) in the opening pages of the second issue of the new Parisian journal he helped produce, La Révolution surréaliste (Surrealist revolution). Breton’s essay discusses the tentative economic value of cultural and intellectual production in the capitalist economy and calls for artists, philosophers, and scholars to undertake a general strike for a period lasting between several nights to one year. Breton’s “Last Strike” essay influenced another and much more well-known call for an art strike by a French writer who was closely aligned with surrealism, Alain Jouffroy. The purpose of this essay is to analyze Breton’s 1925 “Last Strike” essay in relation to Jouffroy’s late 1960s statements on the art strike and the revolutionary abolition of art, in order to determine the differences and similarities between their approaches, and to demonstrate how surrealism is essential to Jouffroy’s theories about the abolition of art as a key aspect of anticapitalist culture.

In: Journal of Avant-Garde Studies