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Modernismens ansigter
Around the First World War, all artistic expressions underwent major changes. The Russian painter Vasily Kandinsky dissolved any recognizability into points and lines. His countryman, composer Igor Stravinsky, rejected the lightness of classical ballet and replaced graceful leaps with stomping, intr...
| Clasificación: | Libro Electrónico |
|---|---|
| Autor principal: | |
| Formato: | Electrónico eBook |
| Idioma: | Danés |
| Publicado: |
Aarhus :
Aarhus Universitetsforlag,
2019
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| Colección: | Book collections on Project MUSE.
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| Temas: | |
| Acceso en línea: | Texto completo |
MARC
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| 100 | 1 | |a Sørensen, Peer E., |d 1940- |e author. | |
| 245 | 1 | 0 | |a Modernismens ansigter |c Peer E. Sorensen. |
| 264 | 1 | |a Aarhus : |b Aarhus Universitetsforlag, |c 2019 | |
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| 264 | 4 | |c 2019 | |
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| 520 | 8 | |a Around the First World War, all artistic expressions underwent major changes. The Russian painter Vasily Kandinsky dissolved any recognizability into points and lines. His countryman, composer Igor Stravinsky, rejected the lightness of classical ballet and replaced graceful leaps with stomping, introverted feet. Poets wrote works full of meaningless words like 'Gaga blung' and gathered in a movement of multi-artists they called Dada, while Irish James Joyce and English Virginia Woolf abandoned the traditional novel forms and indulged in the associative consciousness streams of literary characters. Ancient art lost its naturalness. In the faces of modernism, Professor Emeritus Peer E. Sorensen examines how the collapse of values in the wake of the extreme horrors of war created a breeding ground for modernism's radical break with the past. The book shows both how revolutions, fascism and violence permeate modernism, and that it as an artistic current is more and more than war and chaos. It contains landmark visions, aesthetic and existential experiments as well as a wealth of new artistic expressions. "All this literature is a rush towards the last earthly frontier", wrote the author Franz Kafka in his diary. The faces of modernism are about this onslaught and about all the experiences that made it impossible to return to art before the breakthrough of modernism. | |
| 520 | 8 | |a Omkring Forste Verdenskrig undergik alle kunstneriske udtryk store forandringer. Den russiske maler Wassilij Kandinskij oploste enhver genkendelighed til punkter og linjer. Hans landsmand, komponisten Igor Stravinskij, forkastede den klassiske ballets lethed og erstattede yndefulde spring med stampende, indadvendte fodder. Digtere skrev vaerker fulde af meningslose ord som 'gaga blung' og samlede sig i en bevaegelse af multikunstnere, de kaldte for Dada, mens irske James Joyce og engelske Virginia Woolf forlod de traditionelle romanformer og hengav sig til litteraere karakterers associative bevidsthedsstromme. Den gamle kunst mistede sin selvfolgelighed. I Modernismens ansigter undersoger professor emeritus Peer E. Sorensen, hvordan vaerdisammenbruddet i kolvandet på krigens ekstreme raedsler skabte grobund for modernismens radikale brud med fortiden. Bogen viser både, hvordan revolutioner, fascisme og vold gennemsyrer modernismen, og at den som kunstnerisk stromning er mere og andet end krig og kaos. Den rummer skelsaettende visioner, aestetiske og eksistentielle eksperimenter samt en rigdom af nye kunstneriske udtryk. Hele denne litteratur er stormlob mod den sidste jordiske graense?, skrev forfatteren Franz Kafka i sin dagbog. Modernismens ansigter handler om dette stormlob og om alle de erfaringer, der gjorde det umuligt at vende tilbage til kunsten for modernismens gennembrud. | |
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