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Avant-garde and center: Devetsil in ...

Witkovsky, Matthew Stephen.

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Avant-garde and center: Devetsil in Czech culture, 1918--1938.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Avant-garde and center: Devetsil in Czech culture, 1918--1938./
作者:	Witkovsky, Matthew Stephen.
面頁冊數:	678 p.
附註:	Source: Dissertation Abstracts International, Volume: 63-11, Section: A, page: 3767.
Contained By:	Dissertation Abstracts International63-11A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3073073
ISBN:	0493929622

Avant-garde and center: Devetsil in Czech culture, 1918--1938.
Witkovsky, Matthew Stephen.

Avant-garde and center: Devetsil in Czech culture, 1918--1938. - 678 p.

Source: Dissertation Abstracts International, Volume: 63-11, Section: A, page: 3767.

Thesis (Ph.D.)--University of Pennsylvania, 2002.

This dissertation offers a panoramic analysis of avant-gardism in interwar central Europe, grounded in four “case studies” connected with the Czech movement Dev&ecaron;tsil (1920–1931). Avant-gardism here means an internationally informed but locally conditioned practice that is pedagogical and highly public; less interested in commodity culture than performance as an arena of intervention; and attached to history and commemoration as legitimating structures for radical ideas. The 1926 book <italic>Alphabet</italic> allies humorous verses by Vit&ecaron;zslav Nezval with a constructivist layout by Karel Teige featuring photomontages of the dancer Mil&ccaron;a Mayerová. Text and typography express a utopian belief in universal communicability fundamental to this “era of the ABC.” Mayerová, however, subverts that ideal through her performance of gender—and she responds as well to her teacher, Rudolf von Laban, author of a dance notation system he called an “alphabet of movement.” As <italic>Alphabet </italic> shows, the Czech avant-garde engaged with popular culture not dialectically but indirectly, via the medium of spectacle (film, cabaret, dance). Two avant-garde artists turned star performers, Ji&rcaron;í Voskovec and Jan Werich, developed an analogous strategy; their work triangulates the international constructivism, dada and surrealism of their Dev&ecaron;tsil mentors and the nationalist expectations of their popular constituency. Photographer Jaromír Funke, meanwhile, epitomizes avant-garde efforts to lay claim, belatedly, to the status of “modern,” by fashioning a historical narrative that in the case of photography derives loosely from periodizing art histories proposed by Alois Riegl, Heinrich Wölfflin, and their disciples or popularizers. With history comes a renewed commitment to commemoration, highly fraught in countries where the reward of modern statehood issues directly from the calamity of World War I. Cremation, a thoroughly modern form of commemoration in Europe, is allied in Czechoslovakia with both avant-garde architecture (e.g., Dev&ecaron;tsil architect Bed&rcaron;ich Feuerstein) and official sentiment. At the Monument to National Liberation in Prague-&Zcaron;i&zcaron;kov (1927–38), vast columbaria consecrate cremation as exemplary memorialization—yet these rooms are impenetrably blank, as if in anticipation of the perversions effected with the aid of further crematoria during World War II.

ISBN: 0493929622Subjects--Topical Terms:

635474
Art History.

Avant-garde and center: Devetsil in Czech culture, 1918--1938.
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