LEADER 01112nam0-22003491i-450 001 990000242590403321 005 20200722081540.0 010 $a972-8311-48-6 035 $a000024259 035 $aFED01000024259 035 $a(Aleph)000024259FED01 035 $a000024259 100 $a20020821d1999----km-y0itay50------ba 101 0 $aita$ager 102 $aPT 105 $aa-------001yy 200 1 $aTeehaus Boa Nova$d= Casa de Cha di Boa Nova$eLeca de Palmeira, Portugal, 1958-1963$f[a cura di Luiz Trigueiros$gtesti di Nuno Portas e Paulo Varela Gomes$gfotografie di Rui Morais de Sousa] 210 $aLisboa$cEditorial Blau$d1999 215 $a64 p.$cill.$d17 cm 300 $aTesto in tedesco e in italiano 700 1$aSiza,$bÁlvaro$f<1933- >$0334261 702 1$aMorais De Sousa,$bRui 702 1$aPortas,$bNuno 702 1$aTrigueiros,$bLuiz 702 1$aVarela Gomes,$bPaulo 801 0$aIT$bUNINA$gRICA$2UNIMARC 901 $aBK 912 $a990000242590403321 952 $aA 215 CAN$b3227/836 URB$fDARPU 959 $aDARPU 996 $aTeehaus Boa Nova$9116721 997 $aUNINA LEADER 05607nam 2200601 a 450 001 9910785321103321 005 20230606175932.0 010 $a90-420-3161-1 024 7 $a10.1163/9789042031616 035 $a(CKB)2670000000059266 035 $a(EBL)617756 035 $a(OCoLC)781364916 035 $a(SSID)ssj0000472251 035 $a(PQKBManifestationID)11280641 035 $a(PQKBTitleCode)TC0000472251 035 $a(PQKBWorkID)10433024 035 $a(PQKB)10899669 035 $a(MiAaPQ)EBC617756 035 $a(OCoLC)697517676$z(OCoLC)774509535$z(OCoLC)781364916 035 $a(nllekb)BRILL9789042031616 035 $a(Au-PeEL)EBL617756 035 $a(CaPaEBR)ebr10432577 035 $a(CaONFJC)MIL989001 035 $a(EXLCZ)992670000000059266 100 $a20101220d2010 uy 0 101 0 $aeng 135 $aur|n|---||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 04$aThe popular avant-garde /$feditor, Rene?e M. Silverman 210 1$aAmsterdam :$cRodopi,$d2010. 215 $a1 online resource (307 pages) $cillustrations 225 1 $aAvant garde critical studies ;$v25 300 $aDescription based upon print version of record. 311 0 $a90-420-3160-3 320 $aIncludes bibliographical references and index. 327 $tPreliminary material /$rEditors The Popular Avant-Garde --$tAcknowledgements /$rEditors The Popular Avant-Garde --$tThe Avant-Garde is Popular (Again) /$rRenée M. Silverman --$t?Not Reactionary, Just Late?: The Case for Ariano Suassuna as Brazilian Modernist /$rKirsten Ernst --$tThis Impossible Toyen /$rMalynne Sternstein --$tHuidobro, Cagliostro: Demiurge as Mage Conjuring a Metaphor for the Avant-Garde /$rAlexander Starkweather Fobes --$tRevisiting the Vanguard: Duchamp in Buenos Aires /$rLori Cole --$tDuende and Modernism: Hart Crane?s and Federico García Lorca?s Variations on Rhythm and Sound /$rEsther Sánchez-Pardo --$tA Revolution of Shadows: Culture and Representation in Early-Twentieth-Century Mexico /$rR. Hernández Rodríguez --$tGiménez Caballero?s Fractured Fairy Tale: ?El Redentor mal parido? (1926) /$rMaria T. Pao --$t?A new dictionary of gestures?: Chaplin?s The Rink and Ricciotto Canudo?s Skating Rink /$rChristopher Townsend --$tA Quick Read(ies): Speed and Formula in Bob Brown?s Pulp Fiction and Avant-Garde Machines /$rCraig Saper --$tReading Freire in London: Jo Spence?s Photographs between Popular and Avant-Garde /$rSiona Wilson --$tTouching Pasts In The Shadow of No Towers: 9/11 and Art Spiegelman?s Comix of Memory /$rJennifer Cho --$tFrom Avant-Garde to Para-Garde: The Truth About Marika /$rAntti Salminen --$tFranciszka Themerson?s Ubu Comic Strip: Autography, Caricature, and the Avant-Garde /$rBarnaby Dicker --$tIn Search of a People?s Art: The Divergent Positions of Jorge Oteiza and David Alfaro Siqueiros /$rMarina Pérez de Mendiola --$tVenezuelan Avant-Garde: María Calcaño?s Erotic Poetry /$rGiovanna Montenegro --$tPopular Anthropology: Dance, Race, and Katherine Dunham /$rKirsten Strom --$tTom Zé?s Unsong and the Fate of the Tropicália Movement /$rFabio Akcelrud Durão and José Adriano Fenerick --$tIndex of Names /$rEditors The Popular Avant-Garde. 330 $aThe avant-garde has been popular for some time, but its popularity has tended to fly under the radar. This ?popular avant-garde,? conceived as the meeting ground of the avant-garde and popular, avoids the divorce of art and praxis of which the avant-garde has been accused. The Popular Avant-Garde takes stock of the debates about both the ?historical? (?modernist?) and posterior avant-gardes, and sets them in relation to popular culture and art forms. With a critical introduction that examines the concepts of ?the avant-garde,? ?the popular,? and ?the popular avant-garde,? the series of essays analyzes the way in which the avant-garde employs popular genres for political purposes, as well as how the popular acquires a critical function with respect to the avant-garde. Each of the volume?s three sections considers a different aspect of the productive exchange between the avant-garde and popular: the popular avant-garde as a culturally hybrid and cross-border phenomenon; the play between the popular avant-garde and developments in media and technology; and the popular avant-garde?s upending of conventional ideas about ?the people? and ?the popular.? The Popular Avant-Garde takes a fresh look at the now canonical Dadaist, Futurist, and Surrealist movements from the perspectives of gender and sexuality, and cultural and critical theory, while at the same time exploring less well-known avant-garde work in literature, film, television, music, photography, dance, sculpture, and the graphic arts. This volume?s coverage of the American and Afro-American, Luso-Brazilian and Latin-American, East-European, and Scandinavian avant-gardes, in addition to the vanguards of Spain and other parts of Western Europe, will appeal to all those interested in avant-garde and popular art forms. 410 0$aAvant garde critical studies ;$v25. 606 $aAvant-garde (Aesthetics) 606 $aPopular culture 615 0$aAvant-garde (Aesthetics) 615 0$aPopular culture. 676 $a709/.03/4 701 $aSilverman$b Rene?e M$01196205 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910785321103321 996 $aThe popular avant-garde$93689734 997 $aUNINA