Dictionary of the Avant-Gardes

By Richard Kostelanetz

This interdisciplinary consultant covers the main influential avant garde paintings routine of the prior one hundred fifty years, starting from futurism to free-jazz. it's been up-to-date and revised to incorporate better insurance of ladies artists, and the net and different rising applied sciences.

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Trans. Rob­ ert mind, et al. new york: Viking, 1973. FUTURISM (RUSSIAN) (1909-1917). The pre­ mier avant-garde circulate in Russian litera­ ture, Futurism used to be partly a response to image­ ism, which still shared the latter’s curiosity within the sound texture of the note and within the work’s suggestive strength past its denotative which means. Russian Futurism is typically divided into wings. Ego-Futurism, based in St. Petersburg, f'Kused upon romantic hyperbolization of the poet-ego. Its leader figures have been Igor Severyanin (1887-1941, who gave the circulation­ ment its identify in 1911), Konstantin Olimpov (1889-1940), and Ivan Ignatyev (1892-1914). The final was once relatively vital as a pub­ lisher of a chain of Futurist miscellanies. whereas the Ego-Futurists’ imagery might be extrava­ gant, they have been verbally much less experimental than the second one crew, the Cubo-Futurists (*), cen­ tered in Moscow. This team numbered between it 3 of an important and leading edge poets of the twentieth century: Velimir Khlebnikov (*), Aleksei Kruchonykh (*), and Vladimir Mayakovsky (*). Vasilisk Gnedov (1890-1978), nominally linked to the Ego-Futurists, proven the various related verbal inven­ tiveness because the Cubo-Futurists. whereas either teams have been energetic seeing that 1909 and have been to some degree accustomed to the actions of the Italian Futurists (*), they devel­ oped independently of the Italian flow and didn't proportion its militaristic aspirations. What eventually stuck the eye of the Russian public used to be “A Slap within the Face of Public flavor” (1912), signed via Kruchonykh, Khlebnikov, and Maya­ kovsky, in addition to David Burliuk (1882-1967), if just for this oft-quoted line: “Throw Pushkin, Dostoevsky, Tolstoy, and so on. and so forth. , overboard from the send of Modernity. ” different statements within the manifesto argued for the poet’s correct to create “arbitrary and spinoff phrases (word-novelty)” and for the “self-sufficient observe. ” This quickly ended in the increase of Zaum (*) (transrational language), the main radical improvement in 20th-century poetry. Kruchonykh’« “dvr bul shchyl” (1913) and his opera Victory Over the sunlight (1913) epito­ mize early Zaum. The Cubo-Futurists have been additionally leading edge in introducing visible results into Rus­ sian literanire, starting from primitive manuscripted books to floridly typographed works. The 12 months 1913 used to be the excessive element of Russian Futurism, an important occasions and publi­ cations happening all in that 12 months, which ended with a well-publicized travel of the provinces. via 1917, a brand new middle had shaped within the Georgian capital of Tiflis with Ilia Zdanevich (aka Iliazd) (*), Kruchonykh, and Igor Terentyev (1892­ 1937) because the center of a gaggle referred to as 41°. This workforce produced really radical examples of Zaum and cutting edge visible results of their texts. In 1921, Kruchonykh joined forces once more in Moscow with Mayakovsky, round whom the gang Left entrance of the humanities (LEF) shaped and released a magazine of a similar identify. They propagandized for the position of Futurism because the real innovative paintings greatest for the recent socialist society.

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