Examines the canonical Latin American avant-garde texts of the 1920s and 1930s, with particular focus on Roberto Arlt and Mrio de Andrade. The movement developed on its own terms, in polemic dialogue with European movements, critiquing modernity itself, and developed a geopolitical awareness that bridged postcolonial and postmodern culture and continues its influence today.
Children’s Literature and the Avant-Garde is the first study that investigates the intricate influence of the avant-garde movements on children’s literature in different countries from the beginning of the 20th century until the present. Examining a wide range of children’s books from Denmark, France, Germany, Hungary, the Netherlands, Russia, Sweden, the United Kingdom, and the USA, the individual chapters explore the historical as well as the cultural and political aspects that determine the exceptional character of avant-garde children’s books. Drawing on studies in children’s literature research, art history, and cultural studies, this volume provides comprehensive insights into the close relationships between avant-garde children’s literature, images of childhood, and contemporary ideas of education. Addressing topics such as the impact of exhibitions, the significance of the Bauhaus, and the influence of poster art and graphic design, the book illustrates the broad range of issues associated with avant-garde children’s books. More than 60 full-color illustrations demonstrate the impressive variety of design in avant-garde picturebooks and children’s books.
Powers of Possibility presents a major development in thinking about American literature, and literary practice more generally, since the 1960s. Over recent decades there has been much debate about whether terms like 'postmodernism' and the 'postmodern avant-garde' adequately account for developments in literary experimentation and in writers' engagements with history and politics. This book outlines a novel concept of literary practice, 'potentialism',which facilitates a better understanding of how opening up literary possibilities (whether in terms of experiments with style or fictional possible worlds) has enabled writers to tackle matters of power andpolitics. In showing this, the book engages with a range of genres-fiction, poetry, drama-as well as a variety of political issues, including the Vietnam War, Black Power, the Cold War, the space programmes, and counter-cultural activism. Each chapter also draws on archival material to present original scholarship on the five main authors discussed: Allen Ginsberg; LeRoi Jones/Amiri Baraka; William S. Burroughs; Kathy Acker; and Lyn Hejinian. These authors have rarely been discussed at lengthin relation to each other, and the book sheds a fresh perspective on how their writings can be fruitfully compared.
Seminar paper from the year 2006 in the subject English Language and Literature Studies - Literature, grade: 2,7, University of Cologne (Philosophisches Seminar), course: Introduction to American Poetry, 12 entries in the bibliography, language: English, abstract: This term-paper was prepared in order to show the different poetic movements of the postmodern avant-garde. These are known under the names “Black Mountain school”, “San Francisco Renaissance”, “Beat-generation” and ” New York School” and began in the 1950s in America. My term-paper will show the development of these different poetic movements, give an understanding of the most important poets of each movement and explain if and how the different movements are linked to each other and what they have in common. From the middle of the 1950s up to the early years of the 1960s the world of American poetry was divided into two different groups. One of these groups represented the lyrical mainstream while the other group saw themselves as a kind of counterculture. The idols of this group where William Carlos Williams, Ezra Pound, Louis Zukofsky and Gertrude Stein. By the beginning of the 1950s this new way of writing, which was called postmodern avant-garde, was just in the beginning years. In 1960 the anthology New American Poetry was published by Grove Press and brought together many writers of this new poetic line for the first time.
Containing more than fifty essays by major literary scholars, International Postmodernism divides into four main sections. The volume starts off with a section of eight introductory studies dealing with the subject from different points of view followed by a section that deals with postmodernism in other arts than literature, while a third section discusses renovations of narrative genres and other strategies and devices in postmodernist writing. The final and fourth section deals with the reception and processing of postmodernism in different parts of the world. Three important aspects add to the special character of International Postmodernism: The consistent distinction between postmodernity and postmodernism; equal attention to the making and diffusion of postmodernism and the workings of literature in general; and the focus on the text and the reader (i.e., the reader's knowledge, experience, interests, and competence) as crucial factors in text interpretation. This comprehensive study does not expressly focus on American postmodernism, although American interpretations of postmodernism are a major point of reference. The recognition that varying literary and cultural conditions in this world are bound to produce endless varieties of postmodernism made the editors, Hans Bertens and Douwe Fokkema, opt for the title International Postmodernism.
The Avant-Garde and American Postmodernity: Small Incisive Shocks by Philip Nel. Was there a sudden break in the world of art, literature, and music when modernism gave way to postmodernism? Philip Nel attacks the notion of tremendous and sudden change in artistic understanding and literary practice. Instead, in The Avant-Garde and American Postmodernity: Small Incisive Shocks he proposes that a series of small but far-reaching changes drew understanding from modernism to postmodernism. What bonds these two periods together? The constant agent of change, Nel argues, was the avant-garde. Tracking its influence on novelists, popular culture figures, and children's authors, this book re-evaluates how twentieth-century culture has been traditionally divided into modern and postmodern. Suggesting that a modernism and postmodernism division prevents accurate evaluation of a work, Nel realigns our conceptions of twentieth-century literature, art, and music. Focusing on eight figures--Nathanael West, Djuna Barnes, Dr.Seuss, Donald Barthelme, Don DeLillo, Chris Van Allsburg, Laurie Anderson, and Leonard Cohen-as representative, this book examines works along a spectrum of political involvement. Unencumbered by excessive jargon but deeply rooted in theories of postmodernity, Nel's work has an accessible style, maintaining a balance between high theory and popular discourse. The first book to analyze postmodern children's literature, it revives the radical Dr. Seuss by reading him alongside avant-garde artists. Nel argues that Chris Van Allsburg speaks the Internet generation's vernacular, using a surrealist idiom to pose questions that linger beyond his picture books' final pages. Nel's book is a nuanced and wide-ranged rereading of how postmodernism displays art's ability to imagine a better world. Philip Nel is an assistant professor of English at Kansas State University.
"One of the most comprehensive and intelligent postmodern critics of art and literature, Huyssen collects here a series of his essays on pomo... " —Village Voice Literary Supplement "... his work remains alert to the problematic relationship obtaining between marxisms and poststructuralisms." —American Literary History "... challenging and astute." —World Literature Today "Huyssen's level-headed account of this controversial constellation of critical voices brings welcome clarification to today's murky haze of cultural discussion and proves definitively that commentary from the tradition of the German Left has an indispensable role to play in contemporary criticism." —The German Quarterly "... we will certainly have, after reading this book, a deeper understanding of the forces that have led up to the present and of the possibilities still open to us." —Critical Texts "... a rich, multifaceted study." —The Year's Work in English Studies Huyssen argues that postmodernism cannot be regarded as a radical break with the past, as it is deeply indebted to that other trend within the culture of modernity—the historical avant-garde.