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The confluence of literary and visua...

Ternes, Katherine.

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The confluence of literary and visual culture: The Mexican avant-garde movements, 1920--1940.

Record Type:	Electronic resources : Monograph/item
Title/Author:	The confluence of literary and visual culture: The Mexican avant-garde movements, 1920--1940./
Author:	Ternes, Katherine.
Description:	317 p.
Notes:	Source: Dissertation Abstracts International, Volume: 67-06, Section: A, page: 2173.
Contained By:	Dissertation Abstracts International67-06A.
Subject:	Literature, Latin American. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3222970
ISBN:	9780542754814

The confluence of literary and visual culture: The Mexican avant-garde movements, 1920--1940.
Ternes, Katherine.

The confluence of literary and visual culture: The Mexican avant-garde movements, 1920--1940. - 317 p.

Source: Dissertation Abstracts International, Volume: 67-06, Section: A, page: 2173.

Thesis (Ph.D.)--The University of Wisconsin - Madison, 2006.

This dissertation proposes a new interdisciplinary conceptualization of Mexican modernity during the two decades following the Revolution. Through an analysis of the visual and literary production of various, coexisting avant-garde movements, I achieve a clearer vision of the social function and dynamic experience of art within Mexican society during this prolific era. I combine two approaches in the course of this investigation: the creation of a Mexican visual culture collage that highlights competing artistic, cultural, and political agendas and an in-depth comparison of the Estridentistas and the Contemporaneos that questions their historical polarization by revealing verbal-visual correspondences between these two dominant literary-artistic groups. In chapters one, two, and three, I construct visual semiotic dialogues based on the works of Estridentistas and Contemporaneos , of muralists, of government-sponsored drawing, painting and engraving instructors, and of local producers of folk art. The materials assembled are representative of both academic and popular art forms: paintings, murals, photographs, book and magazine cover designs, illustrations and vignettes, and folk art. I thematically organize these visual products into three interconnected chapters that focus on the Mexican metropolis, regional identity, and art education respectively. In the two subsequent chapters, I counter the universalist perspective of the avant-garde, i.e., Peter Burger's Theorie der Avantgarde (1974). I demonstrate that Burger's notion of the opposition between the political avant-garde and the artistic avant-garde contrasts with the close association of politics and art in post-revolutionary Mexico. Chapter four explores these groups' parallel ambiguous response to modern technology, and chapter five, which deals with montage as an experimental technique and worldview, illustrates an underlying characteristic of their repertoires: the interrelatedness among art, mass media, and popular culture. These chapters compare literary works with visual components by the Estridentistas Manuel Maples Arce, Arqueles Vela, List Arzubide, and Xavier Icaza and by the Contemporaneos members Xavier Villaurrutia, Bernardo Ortiz de Montellano, Salvador Novo, Jaime Torres Bodet, and Carlos Pellicer.

ISBN: 9780542754814Subjects--Topical Terms:

1024734
Literature, Latin American.

The confluence of literary and visual culture: The Mexican avant-garde movements, 1920--1940.
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245 1 4 $a The confluence of literary and visual culture: The Mexican avant-garde movements, 1920--1940.
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500 $a Adviser: Ruben Medina.
502 $a Thesis (Ph.D.)--The University of Wisconsin - Madison, 2006.
520 $a This dissertation proposes a new interdisciplinary conceptualization of Mexican modernity during the two decades following the Revolution. Through an analysis of the visual and literary production of various, coexisting avant-garde movements, I achieve a clearer vision of the social function and dynamic experience of art within Mexican society during this prolific era. I combine two approaches in the course of this investigation: the creation of a Mexican visual culture collage that highlights competing artistic, cultural, and political agendas and an in-depth comparison of the Estridentistas and the Contemporaneos that questions their historical polarization by revealing verbal-visual correspondences between these two dominant literary-artistic groups. In chapters one, two, and three, I construct visual semiotic dialogues based on the works of Estridentistas and Contemporaneos , of muralists, of government-sponsored drawing, painting and engraving instructors, and of local producers of folk art. The materials assembled are representative of both academic and popular art forms: paintings, murals, photographs, book and magazine cover designs, illustrations and vignettes, and folk art. I thematically organize these visual products into three interconnected chapters that focus on the Mexican metropolis, regional identity, and art education respectively. In the two subsequent chapters, I counter the universalist perspective of the avant-garde, i.e., Peter Burger's Theorie der Avantgarde (1974). I demonstrate that Burger's notion of the opposition between the political avant-garde and the artistic avant-garde contrasts with the close association of politics and art in post-revolutionary Mexico. Chapter four explores these groups' parallel ambiguous response to modern technology, and chapter five, which deals with montage as an experimental technique and worldview, illustrates an underlying characteristic of their repertoires: the interrelatedness among art, mass media, and popular culture. These chapters compare literary works with visual components by the Estridentistas Manuel Maples Arce, Arqueles Vela, List Arzubide, and Xavier Icaza and by the Contemporaneos members Xavier Villaurrutia, Bernardo Ortiz de Montellano, Salvador Novo, Jaime Torres Bodet, and Carlos Pellicer.
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