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Druhá avantgarda: diskuse

100%
Vojtech D., Srp K., Glanc T., Langerova M., Vojvodik J., Faerber V., Brabec J., Dvorsky S.
Česká literatura (Czech Literature)
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2008
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vol. 56
|
issue 5
714-720
EN
A contribution from the conference 'The Second Avant-garde' (part of the grant-funded project 'The Myths, Language, and Taboos of the Czech Post-Avant-garde from the Forties to the Sixties'), which was held on 23 October 2007. The discussion comprises questions raised at the conference, followed by the responses offered there. It includes the problem of the appellation 'The Second Avant-garde', belonging or not belonging to the Avant-garde, and contemporaneous perceptions of artists.
2
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Druhá avantgarda v rusku jako prvotní impulz

63%
Glanc T.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 5
695-703
EN
A contribution from the conference 'The Second Avant-garde' (part of the grant-funded project 'The Myths, Language, and Taboos of the Czech Post-Avant-garde from the Forties to the Sixties'), which was held on 23 October 2007. The article considers the Avant-garde in Russia in the second half of the twentieth century. It discusses relations between members of the Avant-garde in Russia and in Czechoslovakia, and their mutual impact, and uses many examples in an attempt to explain the special features of the Russian Avant-garde.
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Prologomena poezie Zbyňka havlíčka a otázka druhé avantgardy

63%
Hrdlicka J.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 5
690-694
EN
A contribution from the conference 'The Second Avant-garde' (part of the grant-funded project 'The Myths, Language, and Taboos of the Czech Post-Avant-garde from the Forties to the Sixties'), which was held on 23 October 2007. The article focuses on Prolegomena poezie (Prolegomena to poetry, 1951), a collection of verse by Zbynek Havlicek (1922-1969), arguing that he was a conscious continuator of the Avant-garde, which in the 1950s objected to the sanctioned trend in art. After the article puts the collection in the context of the times, it considers several essential features of the collection - the bonding of a theoretical text and verse, where 'each poem is also an interpretation'; stream of consciousness (where the article points to the fact that in his verse Havlicek perceives consciousness as a 'paralytic system'); and subjectivity (where the article points out that, unlike most verse of the period, 'emotional tension' is the chief subject of the poet's work.
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Jiná avantgarda (Poznámky)

63%
Vojtech D.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 5
709-713
EN
A contribution from the conference 'The Second Avant-garde' (part of the grant-funded project 'The Myths, Language, and Taboos of the Czech Post-Avant-garde from the Forties to the Sixties'), which was held on 23 October 2007. The article is an attempt to describe the difference between the Modern and the Avant-garde, while acknowledging shared features. To grasp the difference between the various trends of Modern literature (and art) , the author considers the topic from the perspective of the different extent of willingness of Avant-garde are and Modern art to come to terms with the inability of language to enable precise expression, particularly the choice either to come to terms with the limits of language and endeavour to surmount them, which, the author argues, Modernity opted for, or to substitute the visual form for the verbal form, the decision of the Avant-garde.
5
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Poznámka k temporalitě avantgardy

63%
Cisar K.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 5
705-708
EN
A contribution from the conference 'The Second Avant-garde' (part of the grant-funded project 'The Myths, Language, and Taboos of the Czech Post-Avant-garde from the Forties to the Sixties'), which was held on 23 October 2007. The article focuses on the discussion of the Avant-garde which took place in Czechoslovakia and in Western Europe in the 1960s and 1970s. It considers two artistic trends, the first of which followed on from the original Avant-garde, and the second of which claimed that it was impossible to follow on from, or come out of, the Avant-garde rejection of contemporary art. The article also takes into account the debate about when a work of art may truly be called Avant-garde, whether it is at the time the work is made or only later, from an historical perspective.
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A REVIEW OF: MARIA DELAPERRIERE 'POLSKIE AWANGARDY A POEZJA EUROPEJSKA. STUDIUM WYOBRAZNI POETYCKIEJ', KATOWICE 2004

63%
Jaworski S.
Pamiętnik Literacki
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2007
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vol. 98
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issue 3
231-234
EN
The review evaluates the book by Maria Delaperriere on Polish avant-gardes towards European poetry, and pays special attention to avant-garde literary imagination.
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A Concise History of the Avant-garde in Tadeusz Kantor's 'Lekcje mediolanskie'

63%
Stangret P.
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2007
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vol. 61
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issue 1(276)
55-64
EN
The article considers the presence of the avant-garde in the oeuvre of Tadeusz Kantor, and tries to capture the artist's conceptions relating to contemporary art. The helpfulness of 'Lekcje mediolanskie' (The Milan Lessons) lies in the fact that this publication is situated on a margin of Kantor's theoretical reflections and artistic undertakings. The text shows how abstraction, Constructivism and Surrealism affected the work of the author of the 'Umarla klasa' (Dead Class). 'Lekcje mediolanskie' also indicate the reasons why Kantor referred to precisely those three trends, summing up their role and significance in twentieth-century art. Kantor returned to the bases of modern art in order to define his whole oeuvre and contemporaneity as such vis a vis the listed currents.
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ZMYSEL NEGÁCIE. NEFIGURATÍVNY VÝTVARNÝ PREJAV A AVANTGARDNÉ PRINCÍPY V TEÓRII OSKÁRA ČEPANA

51%
Grúň D.
ARS
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2006
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vol. 39
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issue 1
91-107
EN
The subject of this study deals with the style, methodological foundations and motivations of Oskar Cepan's interpretations of the abstract works of art. The marginal position of his essays within the Slovak art criticism of the decade does not mean that they are historically unimportant or of lower quality. One must consider them within the officially-favored notion of art and cultural policy in communist Czechoslovakia, which did not support the theory and practice of abstract art. Furthermore, the monographical studies on works of Rudolf Fila, Marian Cunderlik and Vladimir Tatlin were prohibited from being published at the beginning of the 1970s. One of the study's initial proposals is an examination of the relation of avant-garde principles to the formalist method, focusing on composition, structure, the material qualities and the function of the artwork. Second one is an analysis of Oskar Cepan's most important studies provided in comparison to art criticism of the decade and research of other scholars in the field of Russian avant-garde in Czechoslovakia. In particular, the author is concentrated on the analogies between his theory of modern literature, published in book 'Literary Bagatelles', and the steps of his interpretation regarding abstract art. On one hand, Cepan in his writings developed something like a realm of freedom; on the other hand, although rather marginal and fragmentary, his theory represents an interesting contribution to the comparative study of the visual images and words for the period of the late modernism in East-Central Europe.
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'ACTIVE ART' ('AKTIVA MAKSLA') BY ANDREJS KURCIJS (Andreja Kurcija 'Aktiva maksla')

51%
Pelse S.
Materiali Latvijas makslas vesturei
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2003
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vol. 3
96-104
EN
The book titled 'Active Art' ('Aktiva maksla', 1923) by the Latvian writer and literary critic Andrejs Kurcijs (1894-1959) belongs to the wide spectrum of avant-garde manifestoes current in Europe of the 1920s. It is a kind of theoretical treatise of activism which deals with problems of both European and Latvian art, including visual art. This work has been examined several times; already Kurcijs' contemporaries made some critical comments but during the Soviet period it had been interpreted mostly as a dualistic split between 'formalist' and 'revolutionary' attitudes. The theoretical background of this treatise is surely related to Kurcijs' studies of philosophy and art theory at the Berlin University in 1922 and 1923. But he had read much of Immanuel Kant, Arthur Schopenhauer, Friedrich Nietzsche, Leo Tolstoy, Karl Marx etc. already during his earlier studies of medicine and first literary endeavours. Activism is closely related to formalism - artistic form is that enduring element that excites the viewer with aesthetic means and depends on intellectual effort, contrary to the passive attitudes of naturalist/impressionist legacy. Direct quotes from Amedee Ozenfant's and Fernand Leger's statements testify that Kurcijs was greatly impressed by their ideas. Speaking about activism and cubism, Kurcijs also stress the widely circulating cubist idea that they depict things 'as they really are', apart from their irrelevant, accidental features. More critical is Kurcijs' approach to suprematism. Although it may be the most consequent in rendering 'things in themselves', at the same time it loses its emotional, spiritual qualities, its 'artistic mathematics'. One is prompted to ask if Kurcijs' theory might be derived from the German literary trend named activism. Some common general traits indeed could be discovered, such as emphasis on the autonomy of spiritual phenomena, like literature and art, opposed to the natural determinism typical of the 19th century. Andrejs Kurcijs continued to promote the activist theory and defend his position concerning the fruitful impact of the 'active French painting' on Latvian art in his later exhibition reviews.
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K estetice apropriace a reprodukce v pozdnim surrealismu

51%
Tippner A.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 5
677-680
EN
A contribution from the conference 'The Second Avant-garde' (part of the grant-funded project 'The Myths, Language, and Taboos of the Czech Post-Avant-garde from the Forties to the Sixties'), which was held on 23 October 2007. The article discusses appropriation in Late Surrealism - namely, from the 1960s. It focuses on the act of appropriation as a change and re-coding of the object, when it claims that the object acquires, by appropriation and recoding, a new, often forgotten, original meaning. The article also considers appropriation as a mimetic approach, arguing that what constitutes the characteristic feature of Late Surrealist artists is not the act of appropriation itself, but comparison with it. The article, in addition, discusses appropriation as a conceptual problem. In conclusion it puts forth the idea that appropriation is not an expression of a crisis, but of opportunities to achieve freedom between art made on commission and self-expression.
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UN’ARTE PER GLI EBREI, UN’ARTE PER IL MONDO. LE STRADE DI EL LISSITZKY E MOYSHE BRODERZON

51%
QUERCIOLI MINCER L.
pl.it / rassegna italiana di argomenti polacchi
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2022
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vol. 13
65-81
EN
For a short but fertile period, the paths of the two extraordinary artists El Lissitzky (1890-1941) and Moyshe Broderzon (1890-1956) intersected and gave rise to important artistic projects. Both authors shared the ideal projects of the Bund, and in particular the affirmation of the cultural autonomy of Jews in their countries of residence. Their choices then diverged: Lissitzky became one of the most distinguished coryphaei of Suprematism and Soviet art; Broderzon, on the other hand, remained faithful to the project of creating a new Jewish art directed towards a Jewish audience. Their story is told against the backdrop of Jewish participation in the Central-Eastern European avant-garde.
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CZECH STRUCTURALISM AND SEMIOTICS AS APOLOGY OF AVANT-GARDE

51%
BAKOŠ J.
Eirene. Studia Graeca et Latina
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2012
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vol. 48
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issue 1-2
147-152
EN
The present paper deals with the relationship between Czech structuralism and Avant-garde. Jan Mukařovský’s effort to constitute a universally valid model of art can be understood as an implicit apology for the avant-garde concept of art, as making its principles into the trans-historicaly valid “essence” of art. His project to formulate a dynamic structuralism by means of the connection of the idea of structure with the idea of dialectical antitheses, can be regarded as an attempt to justify the validity of the basic contradiction of the inter-war Avant-gardes: their efforts to liquidate art as an autonomous institution and transform art into life itself on one side, while on the other retaining the demiurgic ability of art and so its privileged position in social life, giving it an irreplaceable role and a new active autonomy. Also Mukařovsky´s idea of the semiotic nature of art, his model of art as an autonomous sign was a means of dialectical synthesis of autonomy and heteronomy. Nevertheless, Mukařovský’s model of art was not ideologically critical. It contained an implicit theoretical apology of the socially affirmative nature of Czech avant-garde art. Moreover, Mukařovský attempted to remove the antagonism, which had arisen between the academic study of art and anti-bourgeois Avant-garde.
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RICHARD WEINER AND THE AVANT-GARDE

51%
Zajac P.
Slovak Review. A Review of World Literature Research
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2004
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vol. 13
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issue 1
25-33
EN
Apart from poets like R. M. Rilke, P. Valéry, T. S. Eliot, O. Mandelshtam, S. Lörincz or V. Holan the late modern pendant to the avant-garde includes also prose-writers, e. g. Richard Weiner. Contrary to the avant-garde aesthetics of blasphemy and shock, he develops the aesthetics of terror. His works, especially the short story 'An Empty Chair' are based on some unexplainable guilt, not caused by any act of the individual, bound to endless horror: every time one seems to reach its bottom there is only more terror, emptiness and nothingness. Weiner's perception of sublimeness as tremor and fear of the magnificence of the terrible oscillates between negative theology of emptiness and nothingness and the aesthetics of mythical epiphany and unity possible exclusively in a dream.
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LA TRADIZIONE CINEMATOGRAFICA CECOSLOVACCA

51%
De Luca A.
Motus in verbo: časopis mladej vedeckej generácie
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2015
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vol. 4
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issue 2
16 – 25
EN
This work focuses on the cinematographic movement Czechoslovak “new wave” and on its critical reading. Furthermore there is the analysis of the work of filmmakers Czechs and Slovaks as well as styles and poetics of a movement strongly characterized by the historical-political period in which it was born. This study was born thanks to an interview the author made with the most important Slovak film critic, Václav Macek, Director of Slovak Film Institute and professor of film history at the Academy of Fine Arts in Bratislava. The interview was a living experience of the "new wave" in Czechoslovakia, explaining the birth and the development of the movement. There are various aspects of the Czechoslovak new wave, and topics that have been included in the article, so that it can be schematically illustrated in its key points: 1. the features of the Czechoslovak film tradition, especially in the 30s; Czechoslovak culture and society in the 60s, with references to the Prague Spring as a political and cultural scene that allowed the birth of a new course of national cinema; 2. an overview of the first wave of the Nová vlna, composed primarily by Ján Kadár, Elman Klos and Štefan Uher, considered by Václav Macek, the father of the movement; the influence of Italian neorealism, with reference to the work of Jaromil Jireš, Evald Schorm and Miloš Forman.
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Svůdnost avantgardy, fetišistický jazyk

51%
Langerová M.
Česká literatura (Czech Literature)
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2007
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vol. 55
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issue 6
829-851
EN
This article considers the influence that Freud’s psychoanalytical theory has had on both the perception of fetishism and the influence of fetishism on Avant-garde trends, particularly the interpretation of Avant-garde works (mainly Surrealist, but also Poetist and Dadaist) in the language of fetishism.
16
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Totalitní stát jako umělecká syntéza

51%
Guenther H.
Česká literatura (Czech Literature)
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2006
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vol. 54
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issue 4
106-119
EN
Study, characterizing key features of the totalitarian art conceptions (hyper-realism, monumentality, classicism, popularity, heroism), including the attempt to distinguish national particularity.
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SURREALISM AND CZECH FUNCTIONALISM

51%
Svacha R.
Umění (Art)
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2007
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vol. 55
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issue 4
316-328
EN
To date, many art historians have devoted themselves to the study of the history of Surrealism and Functionalism. Still, we do not know very much of the actual interrelationship between both -isms. A group of scientific Functionalists formed itself around Karel Teige in Czech architecture in the early 1930s. These were mostly orthodox rationalists who denied that architecture could have any artistic status and who also ignored the psychological impact of architectural form. Under Teige's leadership they pointed a critical finger at Le Corbusier. But as Teige began to get closer to Surrealism, he could hardly ignore Breton's onslaughts against agitated rationalism in modern architecture, particularly so when Breton had repeated such attacks in Prague in 1935. Teige was also impressed by Breton's call to overcome the contradictions existing between reality and dream, science and art, between rationality and emotivity. Even though the Prague theoretician had not abandoned his ideal of science-based architecture, he did admit that Functionalism would be still more scientific if, using psychoanalysis, it would explore the impact of its architectural form on the human soul. Theses and hypotheses of this kind appeared in Teige's 'Sovetska arkhitektura' (Soviet Architecture, 1936), in a preface to the book by Ladislav Zak 'Obytna krajina' (Inhabited Landscape, 1947), and may also be found in the texts written by architects Karel Janu, Jiri Stursa, Jiri Vozenilek, Jiri Kroha, eventually Vit Obrtel, who, however, had stood outside Teige's circle at that time. Employing psychoanalytical arguments taken over from Georges Bataille, Teige also began criticizing the tendencies in Soviet architecture of the 1930s towards what he called pompous and menacing monumentality. The interest of Czech scientific Functionalists in Surrealism and psychoanalysis did not lead to the emergence of any 'Surrealist architecture'. It was, however, instrumental in enriching architectural form by adding emotional components, even leading to a certain affinity between Functionalism and organic architecture. Le Corbusier's architecture also ceased to be tabooed by Teige's circle. The most interesting testimony to that shift comes in the Volman Villa in Celakovice near Prague (1938-1939), built by a team of architects Janu - Stursa, representing a kind of collage collected from Le Corbusieresque elements, features that eventually came to be discussed by Surrealists during the 1930s.
18
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"Minulost umění" - modernost surrealismu

51%
Vojvodik J.
Česká literatura (Czech Literature)
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2008
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vol. 56
|
issue 5
673-676
EN
A contribution from the conference 'The Second Avant-garde' (part of the grant-funded project 'The Myths, Language, and Taboos of the Czech Post-Avant-garde from the Forties to the Sixties'), which was held on 23 October 2007. The article considers Karel Teige's (1900-1951) attitude to the Avant-garde, particularly his attitude to echoes of the Avant-garde, and also his perception of the Avant-garde in the 1940s. Using examples, the article discusses Teige's perception of art as a dialectic fact. It considers his attitude to Hegel and the ideas of the art historian Max Dvorak (1874-1921), particularly Dvorak's conception of art history as history of the mind and Dvorak's call for a unity of art scholarship and art.
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K diskusi o avantgardách

51%
Srp K.
Česká literatura (Czech Literature)
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2008
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vol. 56
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issue 5
681-689
EN
A contribution from the conference 'The Second Avant-garde' (part of the grant-funded project 'The Myths, Language, and Taboos of the Czech Post-Avant-garde from the Forties to the Sixties'), which was held on 23 October 2007. On the basis of two fundamental Avant-garde texts - 'K otazkam avantgardy a nastupu nove generace' (Questions of the Avant-garde and the coming of the new generation) by Karel Teige (1900-1951) and 'Snad nic, snad neco' (Perhaps nothing, perhaps something) by Jiri Kolar (1914-2002) - the author considers the relationships amongst the individual generations of the Avant-garde and their development from the 1920s to the 1960s. He demonstrates the differences amongst the individual Avant-garde groups (generations) resistance (created, he argues, by Teige) to the widespread understanding of the Avant-garde's being monolithic. His primary attention is on Teige and Kolar, two leading figures of the Czech Avant-garde.
20
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ESTETIKA V DIVADLE

51%
Sošková J.
ESPES
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2013
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vol. 2
|
issue 2
1 – 8
EN
The author deals with specific conditions for possible aesthetic experience and aesthetic perception in the conditions of theatre artwork performance. Opinions of J. Mukarovsky on avant-garde theatre, opinions of J.Derrida on Artaud’s theatre of cruelty and opinions of N. Goodman on art language including theatre art are the background of her thoughts.
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