There is, Peppis points out, a sense of Englishness that is represented by the establishment, and is that sense of Englishness that the avant-garde confronts in English literature (36). When Salman Rushdie and other contemporary authors of English literature write about the colonial period from the perspective of the colonized, it confronts that Englishness, casting the work into the avant-garde.
Commenting on the avant-garde, Matei Calinescu (1987) writes:
Modernity has opened the path to the rebellious avant-gardes. At the same time, modernity turns against itself and, by regarding itself as decadence, dramatizes its own deep sense of crisis. The apparently contradictory notions of avant-garde and decadence become almost synonymous and, under certain circumstances, can even be used interchangeably (Calinescu 5)."
At the point where modernity turns against itself in the way that Calinescu describes, it then becomes establishment. It is the abandonment of the Puritanism, and in the case of English literature, in modernity, the abandonment of the colonial romanticism.
Thus, the temporal relativism implied by the aesthetic concept of modernity, and specifically the view that no tradition is by itself more valid than any other, while serving as a justification of the overall antitraditionalism of modernism and the total freedom of individual...
He also asserts that government participation in the arts beyond its role as a consumer can pose significant hindrances to the artistic processes. He claims that politics tends to "seek stability, compromise, and consensus," and as a result avoids supporting art that may "offend majority opinion or go over its head" (38). The market, on the other hand, has "liberated artists…from the potential tyranny of mainstream market taste" (23). Is
Tarsila Do Amaral One of the most important Brazilian artists of the 20th century, Tarsila do Amaral, was born in Sao Paulo in 1886. She had a privileged childhood as the grandchild of a rich farmer. This brought with it various advantages, including an education that taught her to read, write, embroider and speak French (Damian, 1999). Finishing her studies in France and returning to Brazil, this artist left an impression
Later on, throughout the 1930s, fashion photographs were principally created in studios, to take advantage of being able to carefully control lighting, composition and pose (Grossman 1). However, outdoor photo shoots were not unheard of. It has been noted that these outdoor photographs "carried an allusion of authenticity and spontaneity that made the fashionable clothes appear more vibrant than the sculptural effects of studio photographs could achieve" (Grossman 1). With
According to Parsons (2003), "Coincident with the growing avant-garde fascination with silent film, cinema was becoming the ultimate embodiment of modern mass culture" (90). The "modern mass culture" that was emerging in Europe at this time was a reactionary one that became known as a bohemian lifestyle that was personified by Valle-Inclan. In this regard, his biographer emphasizes that, "His behavior at the time showed contempt for the rational world
Berlin: Symphony of a Metropolis The Weimar Republic represented a period of tumultuous upheaval for Germany politically and economically, but culturally as well. Following World War I, the public was only beginning to come to terms with the emerging pathologies and conflicts of Modernity and industrialization, and avant-garde art offered a means of approaching these issues apart from, but not outside, both the prevailing political rhetoric of the past as well
Russian Constructivism artistic and architectural movement arose in Russia after the Revolution of 1917. The Revolution set the stage for one of the most remarkable transformations of artistic theory in the history of art. The Constructionist form was born from many artists such as Rodchenko who were in pursuit of a much more innovative approach to art. The Constructivists strived to produce bold work in painting, sculpture, photography and architecture
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