東華大學圖書館 |

Language: English

Help

回圖書館首頁

手機版館藏查詢

Back

Switch To: Labeled | MARC Mode | ISBD

The Historic Avant-garde, the Neo-Av...

Ledesma, Eduardo.

Linked to FindBook

Google Book

Amazon

博客來

The Historic Avant-garde, the Neo-Avant-garde and the Digital Age: Experimental Visual-Textual Forms in the Luso-Hispanic World.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	The Historic Avant-garde, the Neo-Avant-garde and the Digital Age: Experimental Visual-Textual Forms in the Luso-Hispanic World./
Author:	Ledesma, Eduardo.
Description:	441 p.
Notes:	Source: Dissertation Abstracts International, Volume: 73-11(E), Section: A.
Contained By:	Dissertation Abstracts International73-11A(E).
Subject:	Literature, Modern. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3514445
ISBN:	9781267452504

The Historic Avant-garde, the Neo-Avant-garde and the Digital Age: Experimental Visual-Textual Forms in the Luso-Hispanic World.
Ledesma, Eduardo.

The Historic Avant-garde, the Neo-Avant-garde and the Digital Age: Experimental Visual-Textual Forms in the Luso-Hispanic World. - 441 p.

Source: Dissertation Abstracts International, Volume: 73-11(E), Section: A.

Thesis (Ph.D.)--Harvard University, 2012.

My dissertation examines the experimental poetry of three periods, the historical avant-garde of the 1920s, the neo-avant-gardes of the 1950s, 60s, and 70s, and the digital avant-garde (from the 1990s until the present), drawing on the works of poets from the Luso-Hispanic world including the Iberian Peninsula and Latin America. Scholars such as Renato Poggioli and Peter Burger define the avant-garde as radically new and unrepeatable, an "advanced" guard that exhausted its aesthetic and political possibilities. I challenge this view by establishing a continuity of avant-gardes that emerge during periods of technological innovation and cultural exchange, introducing new artistic modalities, engaging with emerging media and re-purposing the strategies of past avant-gardes to their own historical conditions. Experimental poetic practices such as visual, kinetic, phonetic, concrete, video poetry, and poetic performance have unfolded over time and across national boundaries in response to global, social, and technological forces. My focus is on poetry broadly understood as works that "experiment" with the interplay between the visual, the sonorous and the verbal, questioning both genre and medium specificity, and contesting traditional discipline-bound tools of analysis. In order to critically approach poems that are often not printed on a page, and depend on more than verbal communication, I draw on disciplines such as literary analysis---including close-readings---media theory, and film analysis, and deploy theories of metaphor, embodiment and affect to interpret works that focus on the materiality of language through typographic experiments, script animation, and performance. The selection includes poems by authors from the 1920s such as Josep M. Junoy, Joan Salvat-Papasseit, Jose Juan Tablada, Guilherme de Almeida; neo-avant-garde visual and concrete poets from the 1960s such as Joan Brossa, Julio Campal, Edgardo Vigo, and Decio Pignatari; and their contemporary counterparts working with digital media such as Ana Maria Uribe, Olga Delgado, Maria Mencia, Arnaldo Antunes, and Eduardo Kac. Examining digital poetry in the light of older poetic practices, I compare and contrast how artists have queried the status of literature as a purely script-based art, considering how notions of experimental literature have changed through time (diachronically), but also isolate each period (synchronically).

ISBN: 9781267452504Subjects--Topical Terms:

624011
Literature, Modern.

The Historic Avant-garde, the Neo-Avant-garde and the Digital Age: Experimental Visual-Textual Forms in the Luso-Hispanic World.
LDR:03415nam a2200313 4500 001 1965694
005 20141029122154.5
008 150210s2012 ||||||||||||||||| ||eng d
020 $a 9781267452504
035 $a (MiAaPQ)AAI3514445
035 $a AAI3514445
040 $a MiAaPQ $c MiAaPQ
100 1 $a Ledesma, Eduardo. $3 2102388
245 1 4 $a The Historic Avant-garde, the Neo-Avant-garde and the Digital Age: Experimental Visual-Textual Forms in the Luso-Hispanic World.
300 $a 441 p.
500 $a Source: Dissertation Abstracts International, Volume: 73-11(E), Section: A.
500 $a Adviser: Bradley S. Epps.
502 $a Thesis (Ph.D.)--Harvard University, 2012.
520 $a My dissertation examines the experimental poetry of three periods, the historical avant-garde of the 1920s, the neo-avant-gardes of the 1950s, 60s, and 70s, and the digital avant-garde (from the 1990s until the present), drawing on the works of poets from the Luso-Hispanic world including the Iberian Peninsula and Latin America. Scholars such as Renato Poggioli and Peter Burger define the avant-garde as radically new and unrepeatable, an "advanced" guard that exhausted its aesthetic and political possibilities. I challenge this view by establishing a continuity of avant-gardes that emerge during periods of technological innovation and cultural exchange, introducing new artistic modalities, engaging with emerging media and re-purposing the strategies of past avant-gardes to their own historical conditions. Experimental poetic practices such as visual, kinetic, phonetic, concrete, video poetry, and poetic performance have unfolded over time and across national boundaries in response to global, social, and technological forces. My focus is on poetry broadly understood as works that "experiment" with the interplay between the visual, the sonorous and the verbal, questioning both genre and medium specificity, and contesting traditional discipline-bound tools of analysis. In order to critically approach poems that are often not printed on a page, and depend on more than verbal communication, I draw on disciplines such as literary analysis---including close-readings---media theory, and film analysis, and deploy theories of metaphor, embodiment and affect to interpret works that focus on the materiality of language through typographic experiments, script animation, and performance. The selection includes poems by authors from the 1920s such as Josep M. Junoy, Joan Salvat-Papasseit, Jose Juan Tablada, Guilherme de Almeida; neo-avant-garde visual and concrete poets from the 1960s such as Joan Brossa, Julio Campal, Edgardo Vigo, and Decio Pignatari; and their contemporary counterparts working with digital media such as Ana Maria Uribe, Olga Delgado, Maria Mencia, Arnaldo Antunes, and Eduardo Kac. Examining digital poetry in the light of older poetic practices, I compare and contrast how artists have queried the status of literature as a purely script-based art, considering how notions of experimental literature have changed through time (diachronically), but also isolate each period (synchronically).
590 $a School code: 0084.
650 4 $a Literature, Modern. $3 624011
650 4 $a Literature, Latin American. $3 1024734
650 4 $a Multimedia Communications. $3 1057801
650 4 $a Cinema. $3 854529
650 4 $a Literature, Romance. $3 1019014
690 $a 0298
690 $a 0312
690 $a 0558
690 $a 0900
690 $a 0313
710 2 $a Harvard University. $b Romance Languages and Literatures. $3 2101651
773 0 $t Dissertation Abstracts International $g 73-11A(E).
790 $a 0084
791 $a Ph.D.
792 $a 2012
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3514445