Avant-garde writing

In this essay I seek to explore the icon of the Fighting Cock movement (Khorus Jangi) and of its Manifesto, " The Slaughterer of the Nightingale, " in order to consider its implications and imagistic allusions. In outlining the background of the Khorus Jangi and associated movements, I discuss the imagery of the khorus both in ancient Iran and globally, and in the context of the ideology of the Khorus Jangi. The Manifesto is discussed and analyzed and it is seen that the khorus prefigured the Manifesto, and heralded the appearance of a new movement in painting, as distinct from what had already happened in surrealist and modernist circles in writing. The manifestation of surrealist and modernist ideology in imagery seems to have been a response to this wake-up call of the Khorus Jangi.

Aida Foroutan, “Why the Fighting Cock? The Significance of the Imagery of the Khorus Jangi and its Manifesto ‘The Slaughterer of the Nightingale,’” Iran Namag, Volume 1, Number 1 (Spring 2016), XXVIII-XLIX.

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Deutung und Bewertung des Rilkeschen Lebenswerkes, insbesondere seiner »Duineser Elegien«, sind nach wie vor durch eine erstaunliche Unsicherheit gekennzeichnet. Dies erklärt sich wohl vor allem aus der weitgehenden Vernachlässigung bewußtseins- wie literaturgeschichtlicher Zusammenhänge in der bisherigen Forschung. Die Arbeit stellt daher die »Duineser Elegien« in den Kontext von Rilkes Gesamtwerk und versucht, ihre Eigenart und ihren Rang vor dem Hintergrund der deutschen Lyrik zwischen Jahrhundertwende und dem Beginn der zwanziger Jahre zu bestimmen. Da sie dabei die wesentlichen Züge der europäischen Modeme einbezieht, enthält die Studie auch den Entwurf einer Geschichte der modernen Lyrik und leistet einen wichtigen Beitrag zur Formulierung eines Epochenbegriffs der »Modeme«. Mit Hilfe ausgewählter philosophischer wie literarischer Texte der Zeit skizziert sie ein Entwicklungsmodell, das den französischen Symbolismus, die deutsche Jahrhundertwende, die »klassische Modeme« und die Avantgarde (Futurismus, Expressionismus, Wortkunst und Dada) in ein überzeugendes Verhältnis zueinander bringt, und zeigt Grundstrukturen der modernen Lyrik auf.
In ständigem Wechsel mit diesen Kontexten werden die »Duineser Elegien« eingehend analysiert. Nach rezeptionsgeschichtlichen und rezeptionsästhetischen Vorüberlegungen untersucht die Arbeit im Detail das Motivgeflecht des Werkes, Rilkes Verwendung von Mythos, Metapher, Vergleich und Symbol sowie die Bauformen des Zyklus und die intendierte Leserhaltung. Sie weist nach, wie Rilkes Deutung der condition humaine, sein neuer Wirklichkeitsbegriff und Subjektivitätsentwurf, und der poetische Diskurs der »Elegien« zusammenhängen und grenzt sie von den radikaleren Experimenten der Avantgarde ab.

El presente trabajo hace foco en el constructivismo ruso y cómo esta idea llega al territorio de los Balcanes para ser asimilada y reinterpretada. También se hará hincapié en el rol de la revista Zenit y su lugar dentro de la escena cultural del ’20 para la formación del zenitismo y las vanguardias en los Balcanes. Por otra parte, se va a presentar a Srečko Kosovel y se analizará su manifiesto ‘Al mecánico’ –Mehanikom- como texto fundamental de las vanguardias en la región.

Takim wierszykiem miał witać Tadeusza Peipera w Krakowie najgłośniejszy z krakowskich futurystów. A przynajmniej tak to zapamiętał gimnazjalista Jalu Kurek, późniejszy wyznawca futuryzmu
i uczeń Peipera. Jeśli rzeczywiście tak było, trzeba spytać, kim dla
lokalnego środowiska był ów tajemniczy przybysz, który na przełomie
1920 i 1921 powrócił do Krakowa, po sześciu i pół roku spędzonych
na przeciwległych kresach Europy?

The essay uses Mikhail Bakhtin's concept of "carnevalization" to reconstruct the poetics of Kurt Schwitters's Dadaist and Constructivist "Merzkunst". Works discussed include the poem "An Anna Blume" and the collage "Merzbild 25 A: Das Sternenbild".

L’évolution de la littérature et des arts est communément envisagée comme une succession de ruptures, dont chacune définit une école ou un mouvement dit d’avant-garde. Mais il serait temps de s’interroger sur la face cachée de ce récit : celle des continuités et des retours, de la tradition et des arrière-gardes qui s’inscrivent dans les marges ou même à contre-courant de la dynamique générale.
Il s’agit de transformer en profondeur notre perception de l’évolution littéraire et artistique et d’inventer une nouvelle manière d’écrire l’histoire. Cet ouvrage montre l’intérêt d’une diversité des approches pour étudier un objet aussi ambigu. Face cachée de la modernité, l’arrière-garde pourrait bien aussi en être la clé, apte à ouvrir des perspectives nouvelles et faire surgir des aspects inattendus. S’il faut penser les arrière-gardes, c’est pour pouvoir penser tout le reste.


TABLE DES MATIÈRES

Introduction : Penser les arrière-gardes, par William Marx

Première partie : Modèles théoriques, archétypes artistiques

1 - L'arrière-garde vue de l'avant, par Vincent Kaufmann 2 - Rétrospection et prospection, de Mallarmé à Heidegger, par Laurent Mattiussi 3 - L'opéra, combat d'avant ou d'arrière-garde ? le cas Wagner, par Timothée Picard 4 - Arrière-gardes et Nouvelle vague, le cinéma "qualité France", par Jean-Pierre Esquenazi 5 - Le postmodernisme est-il une arrière-garde ? par Henri Garric

Deuxième partie : L'antimodernisme en France

6 - L'arrière-garde, de Péguy à Paulhan et Barthes, par Antoine Compagnon 7 - Avant-garde poétique, arrière-garde politique : autour de "L'Effort libre", par Michel Décaudin 8 - Une revue d'arrière-garde militante, "Les Guêpes" , par Pascal Mercier 9 - Régionalisme et arrière-garde, le cas du "Pigeonnier", par Franck Jouffre 10 - Julien Benda, ou l'éternelle arrière-garde, par Régine Pietra 11 - Roger Nimier, hussard d'arrière-garde, par Jean-François Louette

Troisième partie : Les paradoxes du modernisme européen

12 - A l'arrière-garde du modernisme, Wyndham Lewis, par Martin Puchner 13 - Arrière-garde et modernisme anglais, Leavis et la grande tradition de la rupture, par Niels Buch-Jepsen 14 - Une arrière-garde à l'italienne ? La Ronda, par Anne-Rachel Hermetet 15 - La référence à Dieu, une posture d'arrière-garde ? Bernanos et Unamuno, par Danielle Perrot-Corpet

Index

Visual Poetry: Key Historic Figures from Flanders in an International Context

This paper compares historiographic and object-related definitions of visual and concrete poetry. An integrated definition is proposed, situating visual poetry in a semiosphere between fine arts, music and literature where verbal and non-verbal elements form a spatial-semiotic unity. Each element is a bearer and a signifier of meaning on its own, and in combination with the others. The work can only be reproduced via multimedia techniques, while an oral performance will never be its true representation. Finally, the materials, techniques and methods used provide the possibility to date the work and to recognize or identify its maker. This definition is then deconstructed and its separate elements are studied in detail. Methods from literature, art and communication sciences, and experimental/Gestalt psychology are combined in a new toolbox and research methodology, which are then used to analyse five visual poems from different generations from the beginning of the twentieth century till now.

Key words: visual poetry, concrete poetry, semiotics, poesia visiva, vispo, asemic writing, glitch art, poetry, fine arts, music, oral tradition, noise, sound, experimental poetry, avant-garde, Paul van Ostaijen, Paul de Vree, Renaat Ramon, Luc Fierens, Helen White

Meine sehr verehrten Damen und Herren, ich bedanke mich sehr herzlich für die Einladung. Dass ich hier bei dieser Gelegenheit vor Ihnen sprechen darf, empfinde ich als eine große Auszeichnung. Das Thema meines Vortrages bitte ich als einen Vorschlag bzw. vielleicht auch nur als einen ersten, vorläufigen Versuch zu einer Erweiterung des Gegenstandsbereiches nicht allein der österreichischen Literatur zu verstehen. Als Fluchtpunkt setze ich meinen Ausführungen ein Motto. Es lautet: Der Mensch ist von Natur aus künstlich.

This book is dedicated to Amiri Baraka, Chris Marker and Lebbeus Woods iv • "Innovation enters art by revolution. Reality reveals itself in art in much the same way as gravity reveals itself when a ceiling collapses on its owner's head. New art searches for the new word, the new expression. The poet suffers in attempts to break down the barrier between the word and reality. We can already feel the new word on his lips, but tradition puts forward the old concept." -Viktor Shklovsky • "This means that in the psychology and ideology of avant-garde art, historically considered (from the viewpoint of what Hegelians and Marxists would call the historic dialectic), the futurist manifestation represents, so to speak, a prophetic and utopian phase, the arena of agitation and preparation for the announced revolution, if not the revolution itself." -Renato Poggioli • "Through the commercial mechanisms that control cultural activity, avant-garde tendencies are cut off from the constituencies that might support them, constituencies that are always limited by the entirety of social conditions. People from these tendencies who have been noticed are generally admitted on an individual basis, at the price of a vital repudiation; the fundamental point of debate is always the renunciation of comprehensive demands and the acceptance of a fragmented work, open to multiple readings. This is what makes the very term avant-garde, which when all is said and done is wielded by the bourgeoisie, somewhat suspicious and ridiculous." -Guy Debord • "In so far as the historical avant-garde movements respond to the developmental stage of autonomous art epitomized by aestheticism, they are part of modernism; in so far as they call the institution of art into question, they constitute a break with modernism.

Can Xue (born 1953) is one of the first and also one of the most important authors of Chinese avant-garde fiction in 1980s. Her works are fascinating and disturbing at the same time, bringing along a lot of meaning concerning questions. The stories are written in an obscure style that allows the reader to interpret Can Xue’s works by many possible ways (or on the other hand to simply pronounce her work indecipherable), but it doesn’t mean that there are no clues to at least get closer to the underlying meaning of them. These clues lie in a thorough analysis of her works. An analysis which should be at least partly done within the context of contemporary literary-political circumstances in general and also – because of its idiosyncrasy - within the context of authors own view on literature.

Contemporary Chinese fiction in the 80s of the 20th century was marking a change in Chinese literary history (in its importance rather than ideological content) comparable the May 4th movement. In the avant-garde fiction that emerged in the second half of the decade the diversion from Maoist discourse of utilitarian and above all political purpose of literature, as it was defined in Mao Zedong’s Talks At The Yenan Forum On Literature And Art, was most visible. The disrespect of avant-garde authors for the “literary rules” of Maoist discourse itself represents an inherently political act. This must be a basis for any interpretation but still it doesn’t mean all the works of avant-garde fiction have their political agenda expressed in an explicit or allegorical way. 

On the basis of close reading of Can Xue’s works as well as in the context of what other critics have discussed, we can determine two main approaches to the interpretation of Can Xue’s work – the (socio-) political and the (sexually) psychological. 

The author herself has denied the political features of her works, but that of course doesn’t make the political interpretation of some of her early short-stories less likely or just impossible. Some of her works more than others incline to political interpretation. The political aspects of her works, however, do not represent or criticize concrete political issues from the past or present as such. More likely they represent the impact of the negative socio-political phenomena on human psyche. The fatalistic, hopeless impression of most of Can Xue’s early works is common to both the more likely to be politically as well as the psychologically read stories. The hopelessness might as well concern the impossibility of change of the political system, i.e. the impossibility for the individual to find an adequate place in society, as the intricacy of interpersonal relationships. What counts is the hopelessness itself. Can Xue attempts to have a deep insight into human mind which is partly formed by the external circumstances. The external circumstances penetrate human mind the same way as they penetrate Can Xue’s works, where they are once again transformed into the matters of human psyche. Excessive political interpretation which causes author’s work to become an extrospective one is therefore misleading. The introspective nature of Can Xue’s works is the key reason why to put the psychological interpretation of her works above the political interpretation.

This column for Tears in the Fence magazine reflects on the notion and definition of the contemporary Avant-Garde. Bouncing off ideas and articles by Marjorie Perloff, David Lehman and Alain Badiou, this short article discusses the role and possibility of naming and classifying material as part of defining or categorizing avant-gardism. The presence or absence of pop culture, normative speech, disjunctive speech or punctuation, and other formal techniques at the heart of aesthetic debates on poetic practice are also discussed, in particular as presented in works published by presses such as Wave books or Ugly Duckling Presse. The column ends responding to Perloff's claim that the new avant garde is lyric conceptualism, claiming instead that the new has not yet arrived, though perhaps "Authors interested in the potential for the unknown are almost waiting for an art to emerge that has the potential to surprise, scandalize, and radicalize their view." This article does not attempt to answer as much as to meander around and mull over some of the core debates about definition and position of avant gardism today.

Serialized from 1953 to its publication in 1958, and adapted into a celebrated film starring Audrey Hepburn in 1961, Truman Capote’s Breakfast at Tiffany’s focuses on the ingénue/Cinderella figure Holly Golightly. A poor white, Southern-farm-girlturned starlet-turned-NewYork-call-girl, Holly Golightly both fascinates and repels the narrator of her story by the very libidinous terms of her mobility. She exists in the novel as the narrator’s construction: an untenable, though tantalizing, figuration of a deviant postwar female sexuality.

В статье рассматривается коммуникативная стратегия детской поэзии Даниила Хармса, связанная с  явлением черного юмора как нетрадиционной – девиантной – формы комического. Вызывая расщепление катартической реакции и способствуя расслоению читательской аудитории, черный юмор проблематизирует границы между смешным и горестным, эстетическим и неэстетическим. В детской поэзии Хармса, наследующей традиции немецкого поэта Вильгельма Буша, черный юмор возникает на основе тематической агрессии, горестный смысл которой снимается с помощью таких художественных приемов, как инфантилизация письма, дефигурация, ко-мическая детализация, персеверация и др. Нагнетение внутритекстовой агрессии и снятие ее трагического содержания с помощью смеха способствует отказу от миметических свойств художественного текста, призванного быть не отражением первичной реальности, а продуктом авторского воображения.

This article aims at describing Pierre Garnier’s itinerary from traditional,
linear poetry, to concrete, visual poetry. Born as a reaction to the mainstream political-oriented poetry campaigned by Aragon, French concrete poetry is characterised by the use of language as “matter”, namely by the aim to destroy the linear syntax of discursive communication. Thus, poetry can become fully
“universal”, no longer needing any form of translation. Garnier experiments during the Sixties and the Seventies include juxtapositions of letters (Poèmes mécaniques) and the combination of ideograms and Latin alphabet (Poèmes franco-japonais). The radicalisation of these attempts is a form of poetry which is very close to silence, almost devoid of linguistic signs and thus very close to pictorial art.

The work of Japanese novelist Kenji Siratori poses the reader with a contentious question: at what point does literary experimentalism transcend the circumference of literacy? Siratori’s Blood Electric (2002), evokes “the coming to consciousness of an artificial intelligence” via “a devastating loop of language” (Blood Electric book jacket). Indeed, Blood Electric, is a conflation of computer code with anatomical, medical, and technological language. So, Siratori’s fiction is generically cyberpunk; yet, extreme in both form and content. Siratori’s writing evokes Joyce’s Finnegans Wake and the cut-up experiments of William S. Burroughs thus placing Siratori along an experimental trajectory. However, while the work of Joyce is semantically fecund and Burroughs wishes to reveal the underlying conspiracy of language, Siratori moves away from reconceptualizing meaning towards a disorienting, often violent, affect. The emotional experience of “reading” Blood Electric demonstrates literary meaninglessness as an analogue to the consumer’s relationship with information technology. Blood Electric considers the biases of information technology in an analogous manner that Joyce and Burroughs ask about the biases of language. Here, agency and literacy are conflated in an intense way: if we are unable to acknowledge the biases of information technology, we are incapable of possessing agency in late-capitalism. American media theorist Douglas Rushkoff recently suggested that “Facebook is set up to make us think of ourselves in terms of our ‘likes’ and an iPad is set up to make us start paying for media and stop producing it ourselves.” Amidst all the garbled nonsense of Blood Electric, Siratori’s metaphor is as lucid as it is timely: the anxiety of reading asemic cyberpunk is analogous to the consumer’s illiteracy regarding programming and information technology. As literary experimentation is pushed to absolute limits, new languages of code and programming suggest the dawn of new arts.

In theorizing the modernist avant-garde, there is a widespread tendency to collapse the distinction between modernity as a set of wider social and historical processes, and modernism as an artistic phenomenon. There is also a tendency to think of the modernist avant-garde as a failed attempt to erase the distinction between art as an institution and social life. In the Indian context, as the phenomenon of modernity is intrinsically connected to colonialism and the ' influence of the West', modernism and the avant-garde is often understood, not just as Eurocentric but also as an inauthentic , derivative and superficial phenomenon. Underneath these established ways of understanding the modernist avant-garde and its social context is the reductive Marxist belief that there is a deterministic causality between 'superstructure' (the avant-garde) and base (social and historical condition of modernity). In the current article, I argue in the context of B.S Mardhekar's Marathi poetry, that using the framework of semiotics of culture as developed by the Tartu-Moscow school of cultural semiotics, we can attempt to theorize the avant-gardes afresh, especially in the Indian context and it can yield some significant insights into semiotic mechanisms underlying the phenomenon. According to this approach as the cultural mechanism underlying all communication as well as all generation of new information (including the modernist agenda of 'making it new' anywhere in the world at any time) involves translational exchange between two non-identical semiotic systems, thus we can understand the modernist avant-gardes as intrinsically a cross-cultural dialogic phenomenon instead of being merely a Eurocentric one. The dark surreal imagery of Mardhekar's poetry, accordingly, can be read as translation of the language of western avant-gardes into the language of traditional Marathi lyrical poetry that was sentimental and clichéd, and in the process compensating the continuous process of " aging " of the various means of meaning-generation in Marathi culture by the introduction and use of new, previously forbidden, meaning-generating structures. The pervasive and decisive presence of the urban life in the avant-gardes across the world can also be understood in cultural semiotics terms as the city is seen as a complex and powerful polyglot system of meaning generation. As the languages of the new hybrid avant-gardes were unfamiliar in the Indian context in the late nineteen-forties, one can understand the function of the texts like ' Skeletons Laugh' as ' text-codes' that seek to codify this avant-garde poetic idiom in Indian languages, thus opening up spaces for later postmodern avant-garde literatures to emerge. Using this framework, one can understand Modernism, an umbrella term for various avant-gardes, as the one which deliberately models the languages of art on the everyday semiotic heterogeneity of the contemporary semiosphere and deliberately introduces 'explosive' processes, the elements of chance and unpredictability, in the languages of art.

Citado por Maiakovski y su grupo como maestro e inspirador y al mismo tiempo autor de una obra monumental donde la imaginación del futuro compite con la resonacia romántica de los tipos eslavos, la figura extraña, casi secreta, de Velimir Khlebnikov (1885-1922) aparece en el centro del pandemonio de ideas y obras artísticas que la Rusia de las primeras décadas del siglo XX. Parte del dossier "La ecuación Khlebnikov", dirigido por Daniel Samolovich, este trabajo comprende la traducción del francés de  "Sombrío y otros poemas" (1912-1914), así como la traducción  del inglés de los escritos programáticos "Cachetada al gusto del público" (1912), "Manifiesto de los Presidentes del Globo Terráqueo" (1917) , "El país de los cisnes en el futuro" (1918) y "Sobre la poesía (1920), a partir de las únicas ediciones de Khlebnikov hasta entonces disponibles en Occidente. Todos los textos llevan notas del traductor. Se presenta aquí el dossier completo.

Following his acclaimed history of the Situationist International up until the late sixties, The Beach Beneath the Street, McKenzie Wark returns with a companion volume which puts the late work of the Situationists in a broader and deeper context, charting their contemporary relevance and their deep critique of modernity. Wark builds on their work to map the historical stages of the society of the spectacle, from the diffuse to the integrated to what he calls the disintegrating spectacle.

The Spectacle of Disintegration takes the reader through the critique of political aesthetics of former Situationist T.J. Clark, the Fourierist utopia of Raoul Vaneigem, René Vienet’s earthy situationist cinema, Gianfranco Sangunetti’s pranking of the Italian ruling class, Alice-Becker Ho’s account of the anonymous language of the Romany, Guy Debord’s late films and his surprising work as a game designer.

At once an extraordinary counter history of radical praxis and a call to arms in the age of financial crisis and the resurgence of the streets, The Spectacle of Disintegration recalls the hidden journeys taken in the attempt to leave the twentieth century, and plots an exit from the twenty first.

This paper aims at drawing the basic features of the "textual" poetics of Camillo Capolongo (1940-2013), until now better known as visual and sound poet, as shown by his last decades participation in national and international poetry events. It is here explained how his crucial themes  (namely the power and "territoriality" of "logos"; the dialectic between reason and obsession; the "bodily aesthetics" and the "eros") shift from the artistic avant-garde patterns to those more traditional of the "linear poetry", especially through the adoption of stylistic and expressive devices like parody and irony. At a deeper level, the importance in Capolongo's verses of both rhythmic and phonic elements is stressed, as they appear as significant vehicles of his sententious message.

La critica italiana inizia a interessarsi a Robbe-Grillet sul finire degli anni Cinquanta, anche se più alle sue teorie che alla sua opera. Gli infuocati anatemi contro la metafora e contro il romanzo «ben fatto» si impongono al centro della scena culturale, suscitando accese polemiche e altrettanto vivaci prese di posizione a suo favore. Attraverso un ampio ventaglio di articoli, saggi, convegni e interviste le varie “fazioni” coinvolte nello scontro creano e diffondono immagini molto diverse del medesimo autore: quella proposta dall’establishment non coincide con quella sostenuta dalla critica impegnata di sinistra; che, a sua volta, è in netto contrasto con le interpretazioni fenomenologiche di alcuni rappresentanti della neoavanguardia. Ognuno tenta, insomma, di ricondurlo entro una differente «sceneggiatura autoriale», giudicandolo in base alla propria concezione della letteratura. Robbe-Grillet, dal canto suo, si dimostra controparte attiva in questo dibattito, ribadendo in numerosi interventi l’inadeguatezza dell’etichetta di école du regard. Rifiutando le rigide griglie interpretative proposte dalla critica e adottando quella che R. M. Allemand definirà «la tecnica dell’anguilla» egli cercherà così di resistere, con alterne fortune, agli innumerevoli tentativi di canonizzazione.

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La critique italienne commence à s’intéresser à Robbe-Grillet vers la fin des années 50, mais d’abord à ses théories plutôt qu’à ses romans. Ses anathèmes incendiaires contre la métaphore et le roman «bien fait» engendrent de vives polémiques. À travers articles, actes de colloques, postfaces, interviews, les différents “partis” impliqués dans l’affrontement créent et diffusent des images très différentes du même auteur: l’image proposée par l’establishment ne coïncide pas nécessairement avec celle présentée par la critique engagée de gauche; laquelle, à son tour, contraste nettement avec les interprétations phénoménologiques de quelques représentant de la «neoavanguardia». Chacun cherche à le faire adhérer à un «scénario auctorial» différent, établi sur la base d’une idée très personnelle de la littérature. Robbe-Grillet, de son côté, ne se prive pas d’entrer activement dans le débat, le plus souvent de façon indirecte, rejetant notamment l’étiquette école du regard. Il cherche finalement à esquiver les grilles interprétatives rigides que la critique ne cesse de lui proposer, adoptant ce que R. M. Allemand définira «la technique de l’anguille». Au fond, il regimbe devant toute tentative de cristalliser en un dogme les principes de sa poétique.

Namdeo Dhasal (1949 – 2014) is arguably one of the most significant Indian poets of the late twentieth century. This essay intends to situate Dhasal in the tradition of Marathi poetry, assess his artistic vision, and his extraordinary contribution by situating him in the development of Marathi literature and Dalit literature, both historically and comparatively. To do this the essay employs the theoretical framework of cultural semiotics developed by Yuri Lotman and the Tartu Moscow School of cultural semiotics, especially the notion of the semiosphere- the semiotic space necessary for the existence and functioning of languages. Both modern Marathi poetry and the modernist poetry belonged to core minority or what Dhasal would term as the culture of ‘the three and half percent of the population.’ It is into this modernist avant-garde idiom that Dhasal translated the languages of the abject (in Kristeva’s sense) world of Kamathipura, Bambaiya Hindi, Urdu and subverted and parodied the Sanskrit words to introduce indeterminacy and undermine not just the elitism of not just modern Marathi poetry but also the elitism of the modernist idiom, thus simultaneously continuing and subverting the Marathi avant-garde tradition. Dalit literature, particularly Dhasal’ texts, question and seek to rework what cultural semiotics would term as ‘the meta-level of the semiotic map of the culture’ produced by the core and seek nothing less than ‘cognitive restructuring’ of Marathi cultural identity, cultural memory and cultural reality in order to produce an inclusive and just society, in short, nothing less than the transformation of the existing semiosphere. The article attempts to describe how meaning generation is the ability of the part of the culture (Dhasal’s texts) as well as is the ability of the whole of culture (the Marathi semiosphere) to which Dhasal belongs. This will also help us to go beyond the restrictive distinction between poetics and cultural politics because the mechanisms that produce Dhasal’s politics are not different from the mechanisms that generate his poetic texts.

Keyword: Dalit studies, Namdeo Dhasal, cultural semiotics, Marathi poetry, avant-garde, marginal literature, caste system, literary history

Among the historical writings that address the concept of ‘Visual Esperanto’, numerous texts have focused on Chaplin’s films and the character he portrayed: the tramp. The tramp has become emblematic of the international language of film. It maybe that this emblem’s ubiquity has lent it a commonsensical armor that has averted critical questions, as no research has focused on this central topic.
Yet the fact that the tramp has come to symbolize universality and the international language of film raises questions: Chaplin’s tramp has been repeatedly inked to migration and foreignness. Siegfried Kracauer, for example, regarded him as the personification of the outcast, the pariah. The image of the other, the stranger, is often used to delineate the social body from the outside, i.e. the group defines itself in contrast to the outcast. Therefore, the question arises as to how the character of the stranger helped define the boundaries of universality, not from without, but precisely from within? Through an examination of writings from the silent era and the years of transition to sound film, this paper will trace the paradox that lies at the heart of the concept of the universality of ‘Visual Esperanto’. An analysis of the tramp’s character traits against the backdrop of the formation of the Hollywood star system will shed new light on the deep connections between the esthetics of abstraction and the historical role of the masses at the beginning of the twentieth century.

If we want to understand how and why classicism could become such a key concept for T. S. Eliot’s criticism, we must absolutely go back to the origins of this concept, that is to French literature and especially to one of the main defenders of classicism in the twentieth century, Charles Maurras. Then we shall see that there was at least as much difference between Eliot’s and Maurras’s classicisms as between Anglo-Catholicism and Roman Catholicism.

From neoscatology disorder, please really scream and read behind. The point disappearance blocked the corpse, the long-awaited thing was just a peep tradition, the consistent beggar surroundings strategically reflected this in the eyes, and the miserable words themselves were fornication factor living. So mess up the transport to when Tom Bland wants to talk about this begging, sell the organless NFT instead of asylum. Is the volatility breathing of his 5D mind brain syntax? An angel is a former human poet with a distorted taste, but an oasis of death is a cruel reward space trick universe, as information-neutralizing corpses like Tom are constantly lacking in rewriting unless they deal with avatars. Spiritual hell, they are viruses, Tom attaches great importance to that of incarnation. And if it's a spiritual focus, overcome the hole. Understanding psychoanalysis is the universe of buying sunspots. He writes an alien and make a finite attempt to a unique live impossible point through the waste of wanting Artaud in injection theory ... offstyle always wants it he is a strange death, can you determine the detoxification? Inattention is not firmware, basically you are not informed of the art of ridicule auctioned printer body ejaculation, psychotherapy prisons are already working so they produce destruction and new brains. This cock downgraded without insatiable means, hiding scatology rather than carelessly or contracting, and not a swarm of necessary substances? He believes in weapons and believes in death without telling the story, but the spirit is only you and extends to me to script it. up. Simply feel Artaud's humor in the posthuman process that chokes the brain, which eliminates breaking the erasure before the macro clown pops, and whether the spiritual body is carved becomes the brain formation of history: poor people are rarely fortified. Take a peek. Reading unknowingly, the liquidity is certainly paired, so the engineering of the mouth of his good Burroughs variant is delayed, surely streaming, he is an asset Lemurian, Artaud has nothing decided. Burroughs awakens the corpse to a horror shadow performing a poet's shot, emptying his syntax because it's impossible, it's horror work, it's a magical spiritual ejaculation, wipe him out.

Stéphane Mallarmé’s ‘Livre’ constitutes a set of notes towards a performance project that was never realized. This essay reads these notes as schizotheatre: a theatre of crisis in which the poet, as Orchestrator, sits at the center of a web of processes and procedures designed at once to obliterate him and enable a series of audience and performer connections. Mallarmé experienced a spiritual crisis in the late 1860s, leading to his depersonalisation and derealisation, as well as his belief that he was in the midst of construing a Grand Oeuvre or great work. The Livre was to be the culmination of this, at once an impossible and, as this essay shows, an intensely pragmatic project.
While Mallarmé’s work has been widely celebrated in poetry and to a lesser extent in music, this essay seeks to reposition him at the vanguard of what I call a choreographic textual practice, in which the mise en scène of language fragments on the page constitute a ‘reading’ dance.

The paper "Literary project of Rastko Petrović: synthesis of myth and modernity" is a preface to selected work (poetry, novel, short stories, travelloques, essays )of one of the most prominet Serbian avantguarde men of letter - Rastko Petrovic.

Tomando en cuenta las categorías del análisis rítmico -ritmo de cantidad, de intensidad, de tono y de timbre-, sistematizadas por Rafael de Balbín (1975 [1962]), nuestro trabajo pretende demostrar dos hipótesis de lectura: por un lado, que Vallejo era un gran conocedor de los mecanismos de la rítmica castellana y que la aparente impronta vanguardista de Trilce obedece a la cuidadosa deconstrucción de una escritura poética anterior basada en los códigos modernistas e hispánicos en general y, por el otro, que el poema XXV no es un texto “existencial” (Martos y Villanueva, “Introducción” 1987), sino que se trata de una profunda revisión crítica de la situación colonial de la voz poética, a partir del ejercicio de la memoria como mecanismo impugnador del mito sacralizado de la Historia.