Catalogue Search | MBRL
Are you sure you want to remove the book from the shelf?
{{itemTitle}}
6
result(s) for
"Avant-garde (Aesthetics) Spain History 20th century."
Sort by:
Avant-Garde Cultural Practices in Spain (1914–1936)
This book offers a critical reinterpretation of the Spanish avant-garde, focusing on narrative, transculturality, and intermediality. Narrative, because it prioritizes the analysis of prose over poetry, against the traditional use of critical literature on the subject up to this point. Transculturality, because the Spanish avant-garde simply cannot be understood without the acknowledgement of its multi-linguistic reality and the transnational scope of the experience of Modernism in Europe - of which Spain was an integral yet underexposed component. And intermediality, because the interrelations of painting, photography, film, and literature articulate a correlation and mutual affect among different media, creating a rich cultural tapestry that needs to be addressed. Contributors: Rosa Berland, Jennifer Duprey, Marcos Eymar, Regina Galasso, Eduardo Gregori, Juan Herrero-Senés, John McCulloch, Andrés Pérez-Simón, Lynn Purkey, Domingo Ródenas de Moya, Evelyn Scaramella and Antonio Sáez Delgado.
eBook
Avant-garde cultural practices in Spain (1914-1936) : the challenge of modernity
\"This book offers a critical reinterpretation of the Spanish avant-garde, focusing on narrative, transculturality, and intermediality. Narrative, because it prioritizes the analysis of prose over poetry, against the traditional use of critical literature on the subject up to this point. Transculturality, because the Spanish avant-garde simply cannot be understood without the acknowledgement of its multi-linguistic reality and the transnational scope of the experience of modernism in Europe--of which Spain was an integral yet underexposed component. And intermediality, because the interrelations of painting, photography, film, and literature articulate a correlation and mutual affect among different media, creating a rich cultural tapestry that needs to be addressed. Contributors: Rosa Berland, Jennifer Duprey, Marcos Eymar, Regina Galasso, Eduardo Gregori, Juan Herrero-Senés, John McCulloch, Andrés Pérez-Simón, Lynn Purkey, Domingo Ródenas de Moya, Evelyn Scaramella and Antonio Sáez Delgado\"--Provided by publisher.
BOOK
Barcelona and Madrid
For hundreds of years, Barcelona and Madrid have shared a deep rivalry. Throughout history, they have competed in practically every aspect of social life, sport, politics, and culture. While competition between cities is commonplace in many nations around the world, in the case of Barcelona and Madrid it has been, on occasion, excessively antagonistic. Over time they have each tried to demonstrate that one was more modern than the other, or more avant-garde, or richer, or more athletic, and so on. Fortunately, the Spain of today is a democracy and every nation and region of the State has the liberty to act. As such, the rivalry between these two capitals has become productive not only for the cities themselves, but also for Spain as a whole. One hundred years ago, at the onset of the Historical Avant-Garde in Spain, the connections between Barcelona and Madrid consisted of a complicated web of politics, friendships, publications, and inter-art collaborations. Over the last century, the antagonistic relationship between these two cultural capitals has been dismissed as simply a fact of life and thereby scholars, for the most part, have focused only on Barcelona or Madrid when addressing this cultural moment. By delving deep into the myriad of cultural and political complexities that surround these two cities from the onset of Futurism (1909) to the arrival of Surrealism in Spain (1929), a complex social and cultural network is revealed. Networking between artists, poets, journalists and thinkers connected avant-garde Barcelona and Madrid, thereby creating synergy for this artistic and literary movement. In a hybrid, transdisciplarian, translingual and historical approach using a wide range of visual and textual artifacts, the complexity of interactions described here opens our imagination to new ways of thinking about culture.
eBook
The Monument of Tomorrow
Rupture, iconoclasm, and tabula rasa are concepts commonly used to describe the approach to cultural heritage associated with the avant-garde and revolutionary politics during the early twentieth century. Highlighting artists and radical intellectuals who worked to protect public monuments in 1910–1950s Spain, The Monument of Tomorrow challenges the persistent narrative, imposed by Francoism, of an iconoclastic Second Republic in Spain.
Author Miguel Caballero draws on a wide range of sources to examine how artists, architects, writers, and activists transformed monument and heritage conservation into a progressive, experimental cause in their fight against fascism. During the Spanish War, with its devastating air raids, these individuals were motivated by the “defense of culture” to become determined conservationists. Caballero’s research incorporates surviving monuments, architectural plans, propaganda posters, and literary works, including novels, plays, and poetry. The war became a laboratory for experiments in conserving and redefining monuments and national heritage. Modernist-style protective structures, for example, were built atop Madrid’s historic monuments, including statues of Cybele, Neptune, and Phillip III in Plaza Mayor. Such innovations later influenced strategies for safeguarding monuments during the Second World War. This history, Caballero argues, makes the Spanish War pivotal to development of the concept of World Heritage.
Ultimately, The Monument of Tomorrow demonstrates that heritage conservation does not have to be politically conservative. Those interested in anti-fascism, art history, modern architecture, modernism, cultural heritage, conservation and preservation, Iberian studies, and war studies should find valuable insights in this innovative, original work.
eBook
Mapping the Landscape, Remapping the Text
Mapping the Landscape, Remapping the Text: Spanish Poetry from Antonio Machado's Campos de Castilla to the First Avant-Garde (1909-1925)explores the mapping of identity and memory in Antonio Machado's (1875-1939) Campos de Castilla (1912, 1917) before studying its disruption by the avant-garde movements Ultraismo (1918-1925) and Creacionismo (1910s-1930s). Machado's attribution of identity to the landscape was remapped by the first avant-garde in order to circumvent the placement of identity in textual landscapes that are coded as national or regional, transform the conception of subjectivity and identity through a reconstruction of poetic form, and reposition Spain at the center of the European avant-garde. Renee M. Silverman focuses on the way in which these mappings and remappings affect perspective and perception.As Silverman argues, both Ultraismo and Creacionismo employ spatio-temporal simultaneity and the multiperspectivism of abstract visual art idioms such as Cubism to break the bond between people and place that is characteristic of Campos de Castilla. Yet, as Silverman emphasizes, there are some important differences between Ultraismo and Creacionismo, particularly in Gerardo Diego's (1896-1987) idiosyncratic brand. This book--the first in English to center on Ultraismo and Creacionismo--contrasts the way in which Ultraismo's leader, Guillermo de Torre (1900-1971), displaces the subject from the terrain of memory, freeing it to cross borders, with how Diego re-roots identity in the textual landscape so as to restore a sense of collectivity to vanguard poetry.
eBook