European Studies 34/Russian 34: Birth of the Avant-Garde: Modern

Total Page：16

File Type：pdf, Size：1020Kb

European Studies 34/Russian 34: Birth of the Avant-Garde: Modern Poetry and Culture in France and Russia, 1870–1930 Professors Laure Katsaros and Catherine Ciepiela (Spring 2010) Artistic innovation in the visual arts was compared to developments in other arts in Europe at the turn of the 20th century. Il’ia Chashnik Russian, 1902-1929 Cosmos - Red Circle on Black Surface - with a Suprematist Cross, undated India ink and watercolor Gift of Thomas P. Whitney (Class of 1937) AC 2001.198 Aleksandra Ekster Russian, 1884-1949 Stage Set Design for Shakespeare's 'Merchant of Venice', 1927 Silk screen (pochoir) Gift of Thomas P. Whitney (Class of 1937) AC 2001.09 Natalia Goncharova Russian, 1881-1962 Self-Portrait, 1904 Oil on canvas mounted on board Gift of Thomas P. Whitney (Class of 1937) AC 2001.11 Natalia Goncharova Russian, 1881-1962 Cubo-Futurist Composition, ca. 1916 Gouache on paper Gift of Thomas P. Whitney (Class of 1937) AC 2001.38 Gustav Klutsis Russian, 1895-1944 Composition, undated Pencil on paper Gift of Thomas P. Whitney (Class of 1937) AC 2001.244 Mikhail Larionov Russian, 1881-1964 Soldier at Rest, 1950s Pencil Gift of Thomas P. Whitney (Class of 1937) AC 2001.221 Mikhail Larionov Russian, 1881-1964 Woman, 1920s Watercolor Gift of Thomas P. Whitney (Class of 1937) AC 2001.252 El Lissitzky Russian, 1890-1941 A Suprematist Tale of Two Squares, 1922 Paper Gift of Thomas P. Whitney (Class of 1937) AC 2001.698 Liubov’ Sergeevna Popova Russian, 1889-1924 Geometric Composition, ca. 1921 Gouache on paper Gift of Thomas P. Whitney (Class of 1937) AC 2001.52 Liubov’ Sergeevna Popova Russian, 1889-1924 Composition 'ROUGE', undated India ink, watercolor and pencil on paper Gift of Thomas P. Whitney (Class of 1937) AC 2001.54 Aleksandr Rodchenko Russian, 1891-1956 Composition, ca. 1917-1920 Oil on board Gift of Thomas P. Whitney (Class of 1937) AC 2001.24 Ol’ga Rozanova; Aleksandr Kruchenykh Russian Excerpt from a Newspaper Article, 1916 Linocut on paper Gift of Thomas P. Whitney (Class of 1937) AC 2001.56.11 Ol’ga Rozanova; Aleksandr Kruchenykh Russian Battle on Land, Sea, and in the Air, 1916 inocut on paper Gift of Thomas P. Whitney (Class of 1937) AC 2001.56.16 David Shterenberg Russian Still Life, undated Lithograph Gift of Thomas P. Whitney (Class of 1937) AC 2001.448 Varvara Stepanova Russian May 12, '26 to Moni, 1926 Collage Gift of Thomas P. Whitney (Class of 1937) AC 2001.81 Vladimir Tatlin Russian, 1885-1953 Monument to the Third International, ca. 1920 Pen and ink Gift of Thomas P. Whitney (Class of 1937) AC 2001.232 Aleksandr Aleksandrovich Vesnin Russian, 1883-1959 Architectronic Composition, 1922 Pen, ink and gouache over pencil on paper laid down on board Gift of Thomas P. Whitney (Class of 1937) AC 2001.237 .

Copy Link

Recommended publications

Read Book Kazimir Malevich
KAZIMIR MALEVICH PDF, EPUB, EBOOK Achim Borchardt-Hume | 264 pages | 21 Apr 2015 | TATE PUBLISHING | 9781849761468 | English | London, United Kingdom Kazimir Malevich PDF Book From the beginning of the s, modern art was falling out of favor with the new government of Joseph Stalin. Red Cavalry Riding. Articles from Britannica Encyclopedias for elementary and high school students. The movement did have a handful of supporters amongst the Russian avant garde but it was dwarfed by its sibling constructivism whose manifesto harmonized better with the ideological sentiments of the revolutionary communist government during the early days of Soviet Union. What's more, as the writers and abstract pundits were occupied with what constituted writing, Malevich came to be interested by the quest for workmanship's barest basics. Black Square. Woman Torso. The painting's quality has degraded considerably since it was drawn. Guggenheim —an early and passionate collector of the Russian avant-garde—was inspired by the same aesthetic ideals and spiritual quest that exemplified Malevich's art. Hidden categories: Articles with short description Short description matches Wikidata Use dmy dates from May All articles with unsourced statements Articles with unsourced statements from June Lyubov Popova - You might like Left Right. Harvard doctoral candidate Julia Bekman Chadaga writes: "In his later writings, Malevich defined the 'additional element' as the quality of any new visual environment bringing about a change in perception Retrieved 6 July A white cube decorated with a black square was placed on his tomb. It was one of the most radical improvements in dynamic workmanship. Landscape with a White House.
[Show full text]
Ukrainian Futurism: Re-Appropriating the Imperial Legacy
Ukrainian Futurism: Re-Appropriating the Imperial Legacy Oleh S. Ilnytzkyj Abstract: This article surveys the research on Ukrainian Futurism that appeared just before and after Ukrainian independence (1991), and offers critical annotations of these publications. It deals with the literary as well as the visual arts, with works that appeared in Ukraine and in the West. The literature review is preceded by a short outline of Ukrainian Futurism and its fate in scholarship from the 1930s. Much of what has been written on Ukrainian Futurism has appeared in the context of more general ‘avant-garde’ and even ‘modernist’ debates. This paper respects these perspec- tives but foregrounds Futurism. The author shows that one of the central issues of the new research has been the delineation of a ‘Ukrainian’ movement on the basis of cultural capital that is generally still called ‘Russian’. The research discussed here highlights the multi-national character of avant-garde practices in the Russian and Soviet Empires, offers a suggestion on how imperial cultural processes should be conceptualized and questions the appropriateness of current ‘Russian’ terminology. Keywords: Ukrainian Futurism, Cubo-Futurism, Russian Futurism, Avant-garde, Mykhail’ Semenko, David Burliuk, Nova generatsiia, imperial culture, culture and empire, Ukraine, Russia. Don’t mistake them for Russians: Kazimir Malevich, El Lissitsky, Alexander Rodchenko, Alexander Ar- chipenko and Alexandra Exter were actually born, or identiﬁ ed themselves as, Ukrainian.1 Ukrainian Futurism was the last literary avant-garde movement in the Soviet Union to succumb to pressures of the Communist Party, that is, to disband under duress as an organized and distinct group.
[Show full text]
Aksenov BOOK
Other titles in the Södertörn Academic Studies series Lars Kleberg (Stockholm) is Professor emeritus of Russian at Södertörn University. He has published numerous Samuel Edquist, � �uriks fotspår: �m forntida svenska articles on Russian avant-garde theater, Russian and österledsfärder i modern historieskrivning, 2012. Polish literature. His book �tarfall: � �riptych has been translated into fi ve languages. In 2010 he published a Jonna Bornemark (ed.), �henomenology of �ros, 2012. literary biography of Anton Chekhov, �jechov och friheten Jonna Bornemark and Hans Ruin (eds.), �mbiguity of ([Chekhov and Freedom], Stockholm: Natur & Kultur). the �acred, forthcoming. Aleksei Semenenko (Stockholm) is Research fellow at Håkan Nilsson (ed.), �lacing �rt in the �ublic the Slavic Department of Stockholm University. He is the �ealm, 2012. author of �ussian �ranslations of �amlet and �iterary �anon �ormation (Stockholm University, 2007), �he Per Bolin, �etween �ational and �cademic �gendas, �exture of �ulture: �n �ntroduction to �uri �otman’s forthcoming. �emiotic �heory (Basingstoke: Palgrave Macmillan, 2012), and articles on Russian culture, translation and semiotics. Ларс Клеберг (Стокгольм) эмерит-профессор Седертoрнского университета, чьи многочисленные публикации посвящены театру русского авангарда и русской и польской литературе. Его книга Звездопад. Триптих была переведена на пять языков. В 2010 году вышла его биография А. П. Чехова �jechov och friheten [«Чехов и свобода»]. Алексей Семененко (Стокгольм) научный сотрудник Славянского института Стокгольмского университета, автор монографий �ussian �ranslations of �amlet and �iterary �anon �ormation и �he �exture of �ulture: �n �ntroduction to �uri �otman’s �emiotic �heory, а также работ по русской культуре, переводу и семиотике. Södertörns högskola [email protected] www.sh.se/publications Other titles in the Södertörn Academic Studies series Lars Kleberg (Stockholm) is Professor emeritus of Russian at Södertörn University.
[Show full text]
A História Da Rte: Desconstruções Da Narrativa Oficial Da Arte
REVISTA DO CENTRO DE PESQUISA E FORMAÇÃO / Nº 8, julho 2019 A História da _rte: desconstruções da narrativa oficial da Arte A HISTÓRIA DA _RTE: DESCONSTRUÇÕES DA NARRATIVA OFICIAL DA ARTE Ananda Carvalho1, Bruno Moreschi2 e Gabriel Pereira3 RESUMO Este artigo relata as etapas do projeto A História da _rte que, em for- mato de panfletos gratuitos distribuídos na entrada de espaços de arte e de website, investiga a construção dos discursos oficiais da História da Arte em livros comumente utilizados em universidades brasileiras. Com análises quantitativas e qualitativas, o projeto representa um caso em- pírico de ativismo de dados e crítica institucional, realizados de maneira colaborativa por uma equipe multidisciplinar de pesquisadores. O texto especifica as contribuições dos principais integrantes da equipe, a metodo- logia do projeto, principais resultados e reverberações. Considerando que muitas das discussões sobre a História da Arte e suas problemáticas ain- da são restritas a poucos grupos, em geral no âmbito acadêmico de cursos de pós-graduação, este projeto procurou oferecer uma análise do cenário excludente do campo, contribuindo para que o debate ocorra em públicos mais amplos, não necessariamente especializados. Palavras-chave: História da arte. Crítica institucional. Ativismo de dados. Ernst Hans Gombrich. ABSTRACT This article is a report on the stages of the project History of _rt which, in the form of free pamphlets distributed in the entrance of art spaces and a website, investigates the construction of the official discourses of the His- tory of Art in books commonly used in Brazilian universities. Using both quantitative and qualitative inquiry, the project represents an empirical case of data activism and institutional criticism, carried out in a collabora- tive way by a multidisciplinary team of researchers and artists.
[Show full text]
Russian Plates Pp. 290-303
INDEX OF ARTISTS Dorfman, Elizaveta, 733 Ivanova, Vera, 868, 869 Litvak, M., 652 Index Dovgal’, Oleksandr, 783 Izenberg, Vladimir, 592–594, 643 Liubavina, Nadezhda, 74, 186, 364 Adlivankin, Samuil, 524, 525, 572, 573 Dubyns’kii, Hr., 858 (see also Author Index) Izoram, 1019 Liubimov, Aleksandr, 1197 Coordinated by Sarah Suzuki. (see also Author Index) Duplitskii, 1019 Liushin, 896 Contributors include Sienna Brown, Aivazovskii, 1021 Dvorakovskii, Valerian, 1080 K., B., 697, 698 Lopukhin, Aleksandr, 128 (see also Author Emily Capper, and Jennifer Roberts. Akishin, Leonid, 1019 K., F. P., 1151 Index) Aksel’rod, Meer (Mark), 789 Echeistov, Georgii, 284, 378–382, 455 K., N., 222 Lozowick, Louis, 706 Aleksandrova, Vera, 329 Efimov, B., 532 Kalashnikov, Mikhail, 263, 264 All numbers refer to the Checklist. Alekseev, Nikolai, 526, 574 Egorov, Vladimir, 583 Kalmykov, Mykola, 262 M., D., 608 Al’tman, Natan, 55, 56, 59, 117, 143, Elin, V. M., 1205 Kamenskii, Vasilii, 75, 76, 90, 94, 95, M., E., 751 144, 169, 215, 330, 331, 364, 447, Elkin, Vasilii, 793 142, 150, 164–66, 218 (see also Author Makarov, Mikhail, 1023 451, 527, 575, 636, 731, 1019, 1124, El’kina, D., 326 (see also Author Index) Index) Makletsov, Sergei, 206, 207 1162 (see also Author Index) Ender, Boris, 533, 584, 1228 Kandinsky, Vasily, 181, 223 (see also Malevich, Kazimir, 21, 37–40, 55, 56, Andreev, Aleksandr, 4 Epifanov, Gennadii, 1081 Author Index) 68, 69, 79–81, 91, 129, 236, Andreevskaia, M., 361 Epple, L., 1056 Kanevskii, A., 852 306–308, 348, 884, 1126–1128, 1153 Andronova,
[Show full text]
GCM2017 Catalogo+Calendario V6
ASSOCIAZIONE CULTURALE Kinemathek, Berlin); Anke Mebold (Deutsches “LE GIORNATE DEL CINEMA MUTO” Filminstitut – DIF); Andreas Thein (Filmmuseum Düsseldorf); Stefan Drößler (Filmmuseum Soci fondatori München); Oliver Hanley (Filmuniversität Paolo Cherchi Usai, Lorenzo Codelli, Babelsberg Konrad Wolf); Anke Wilkening Piero Colussi, Andrea Crozzoli, Luciano De (Friedrich-Wilhelm-Murnau-Stiftung); Anna Giusti, Livio Jacob, Carlo Montanaro, Mario Leippe, Reiner Ziegler (Landesfilmsammlung Quargnolo†, Piera Patat, Davide Turconi† Baden-Württemberg). Presidente Giappone: Masaki Daibo, Yoshiro Irie, Akira Livio Jacob Tochigi (National Film Center, Tokyo); Alexander Direttore emerito Jacoby, Johan Nordström David Robinson Italia: Luigi Calabrese (Associazione La Bottega Direttore delle Idee, Taranto); Carmen Accaputo Jay Weissberg (Cineteca di Bologna); Luisa Comencini, Roberto Della Torre, Matteo Pavesi, Marcello Seregni (Fondazione Cineteca Italiana, Milano); Laura Ringraziamo sentitamente per aver collaborato Argento, Daniela Currò, Franca Farina, Felice al programma: Laudadio, Irela Núñez Del Pozo, Maria Assunta Argentina: Fernando Citara (Archivo General de la Pimpinelli (Fondazione CSC - Cineteca Nazionale, Nación, Buenos Aires). Roma); Maria Ida Biggi, Marianna Zannoni (Fondazione Giorgio Cini, Venezia); Immagine Australia: Sally Jackson, Meg Labrum, Gayle Lake, Ritrovata, Bologna; Stella Dagna, Claudia Gianetto Caitlyn Leon (National Film and Sound Archive, (Museo Nazionale del Cinema, Torino); Luca Canberra). Mazzei (Università di Roma
[Show full text]
Read a Free Sample
LEAH DICKERMAN WITH CONTRIBUTIONS BY MATTHEW AFFRON YVE-ALAIN BOIS MASHA CHLENOVA ESTER COEN CHRISTOPH COX HUBERT DAMISCH RACHAEL Z. DELUE HAL FOSTER MARK FRANKO MATTHEW GALE PETER GALISON MARIA GOUGH JODI HAUPTMAN GORDON HUGHES DAVID JOSELIT ANTON KAES DAVID LANG SUSAN LAXTON GLENN D. LOWRY PHILIPPE-ALAIN MICHAUD JAROSLAW SUCHAN LANKA TATTERSALL MICHAEL R. TAYLOR 2 The Museum of Modern Art, New York 40 46 50 64 72 74 CONTENTS Pablo PICASSO: COLORS AND GAMES: VASILY KANDINSKY, MR. KUPKA AMONG ON THE MOVE ABSTRACTION THE CADAQUÉS MUSIC AND ABSTRACTION, WITHOUT WORDS VERTICALS HUBERT DAMIsCH CHEZ DELAUNAY EXPERIMENT 1909 TO 1912 LeAH DICKERMAN LANKA TatTersall GOrDON HUGHES YVe-ALAIN BOIs DAVID LANG 7 82 94 100 110 116 124 FOREWORD CONTRASTS OF COLORS, LÉOPOLD SURVAGE’S WITH COLOR FRANCIS PICABIA: FERNAND LÉGER: GIACOMO BALLA: GLeNN D. LOWrY CONTRASTS OF WORDS PAPER CINEMA rACHaEL Z. DeLUe ABSTRACTION METALLIC SENSATIONS THE MOST LUMINOUS MATTHeW AFFrON JODI HAUPTMAN AND SINCERITY MATTHeW AFFrON ABSTRACTION MICHAeL r. TAYLOr ESTER COeN 9 134 144 154 172 182 188 ACKNOWLEDGMENTS PAROLE IN LIBERTÀ MUSIC, NOISE, VORTICISM: PLANETARY PAINTING STRIPPED BARE DECORATION AND AGAINST JODI HAUPTMAN AND ABSTRACTION ABSTRACTION DAVID JOSELIT ABSTRACTION THE CIRCLE CHrIsTOPH COX MATTHeW GALe IN BLOOMSBURY rACHAeL Z. DeLUe MATTHeW AFFrON 12 200 206 226 238 254 262 370 INVENTING ABSTRACTION EARLY RUSSIAN 0.10 PIET MONDRIAN: 3 DE STIJL MODELS THE SPATIAL OBJECT THE LANGUAGE OF INDEX LeAH DICKERMAN ABSTRACTION, MAsHA CHLeNOVA TOWARD THE YVe-ALAIN BOIs MArIA
[Show full text]
Katia Denysova the Courtauld Institute of Art, London
VII. International Forum for doctoral candidates in East European art history, Berlin, 6th May 2021, organized by the Chair of Art History of Eastern and East Central Europe, Humboldt University Berlin Katia Denysova The Courtauld Institute of Art, London Ukrainian Avant-Garde Art and the Construction of National Identity The aim of my PhD research is to reconsider the history of art on the territory of the present-day Ukraine from the turn of the twentieth century and into the first decades after the October Revolution. I look, in particular, at the question of how avant-gardist art practices can be positioned within the complex historiographical discourse of ‘Ukraine’ and the interplay between art, politics and the ideology of identity. My thesis focuses on the cities of Kharkiv, Kyiv, and Lviv, to investigate the influence of ideological and socio- political factors on the artistic output in these key regional centres at a time when Ukraine did not exist as an independent state. By examining the work of artists such as Alexander Archipenko, Oleksandr Bohomazov, Aleksandra Ekster, and Kazimir Malevich, to name just a few, I address the complexity of ascribing ethnical and national identifications to artists hailing from the multicultural territory of Ukraine. While contributing to the process of the decolonisation of the post-Soviet space, my research also seeks to re-position the local Ukrainian artistic production within the broader trajectory of European modernism. Since the collapse of the USSR some thirty years ago, significant scholarly research has been undertaken examining the artistic movements, developments and practitioners active on the territory of the Russian Empire at the turn of the twentieth century and its subsequent iteration as the Soviet Union.
[Show full text]
The University of Chicago Kazimir Malevich And
THE UNIVERSITY OF CHICAGO KAZIMIR MALEVICH AND RUSSIAN MODERNISM A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART HISTORY BY DANIEL KALMAN PHILLIPS CHICAGO, ILLINOIS JUNE 2017 Copyright © 2017 by Daniel Kalman Phillips All rights reserved. TABLE OF CONTENTS LIST OF FIGURES ............................................................................................. iv ACKNOWLEDGEMENTS .............................................................................. viii ABSTRACT ............................................................................................................x INTRODUCTION MALEVICH, ART, AND HISTORY .......................................................................1 CHAPTER ONE MODERNISMS BEFORE SUPREMATISM........................................................18 CHAPTER TWO AN ARTIST OF THE NINETEENTH CENTURY ...............................................71 CHAPTER THREE SUPREMATISM IN 1915 ...................................................................................120 CHAPTER FOUR CODA: SUPREMATISMS AFTER SUPREMATISM .......................................177 WORKS CITED................................................................................................. 211 iii LIST OF FIGURES1 0.1 Kazimir Malevich, Black Square, 1915. 0.2 Kazimir Malevich, [Airplane Flying], 1915. 0.3 John Baldessari, Violent Space Series: Two Stares Making a Point but Blocked by a Plane (for Malevich), 1976. 0.4 Yves Klein,
[Show full text]
La Caballería Roja. Creación Y Poder En La Rusia Soviética De 1917 a 1945
La Caballería Roja. Creación y poder en la Rusia soviética de 1917 a 1945 07.10.2011 15.01.2012 Las relaciones diplomáticas entre Rusia y España han sido de cordial enten- dimiento a lo largo de siglos de historia y, desde que España y la URSS las restablecieran plenamente en 1977, de amistad y valioso intercambio. El Año de España en Rusia y de Rusia en España, o Año Dual, que ahora celebramos durante 2011, viene a refrendar esta realidad mediante un amplio programa de iniciativas y proyectos que aspiran a estrechar los lazos que unen a ambos países, deshaciendo tópicos y viejos estereotipos y ofreciendo a los ciudadanos la oportunidad de profundizar en la riqueza económica, científica, educativa y cultural de ambas naciones. Dentro del programa cultural del Año Dual, la exposición La Caballería Roja. Creación y poder en la Rusia soviética de 1917 a 1945 propone una visión global sobre un momento histórico fascinante durante el cual el pueblo ruso generó un nuevo mundo a su medida, guiado por un característico espíritu utópico. Ciertos aspectos de este periodo han sido abordados con anterioridad desde numerosos ángulos, pero lo que ahora se propone es un recorrido por la totali- dad de las expresiones artísticas, plásticas, musicales, cinematográficas y lite- rarias, así como la excepcionalidad de su desarrollo en relación con la política y la sociedad del momento. Me gustaría agradecer muy especialmente esta iniciativa de La Casa Encendida, Centro Social y Cultural de Obra Social Caja Madrid, y destacar que la colabo- ración de la iniciativa privada en la celebración del Año Dual consolida y es, a la vez, ejemplo del éxito del trabajo conjunto entre instituciones públicas y privadas.
[Show full text]
Modernism and the Spiritual in Russian Art New Perspectives
Modernism and the Spiritual in Russian Art New Perspectives EDITED BY LOUISE HARDIMAN AND NICOLA KOZICHAROW To access digital resources including: blog posts videos online appendices and to purchase copies of this book in: hardback paperback ebook editions Go to: https://www.openbookpublishers.com/product/609 Open Book Publishers is a non-profit independent initiative. We rely on sales and donations to continue publishing high-quality academic works. Modernism and the Spiritual in Russian Art New Perspectives Edited by Louise Hardiman and Nicola Kozicharow https://www.openbookpublishers.com © 2017 Louise Hardiman and Nicola Kozicharow. Copyright of each chapter is maintained by the author. This work is licensed under a Creative Commons Attribution 4.0 International license (CC BY 4.0). This license allows you to share, copy, distribute and transmit the work; to adapt the work and to make commercial use of the work providing attribution is made to the authors (but not in any way that suggests that they endorse you or your use of the work). Attribution should include the following information: Louise Hardiman and Nicola Kozicharow, Modernism and the Spiritual in Russian Art: New Perspectives. Cambridge, UK: Open Book Publishers, 2017, https://doi.org/10.11647/OBP.0115 In order to access detailed and updated information on the license, please visit https://www.openbookpublishers.com/product/609#copyright Further details about CC BY licenses are available at http://creativecommons.org/licenses/by/4.0/ All external links were active at the time of publication unless otherwise stated and have been archived via the Internet Archive Wayback Machine at https://archive.org/web Digital material and resources associated with this volume are available at https://www.openbookpublishers.com/product/609#resources Every effort has been made to identify and contact copyright holders and any omission or error will be corrected if notification is made to the publisher.
[Show full text]
La Danza Nel Futurismo : Giannina Censi E La Danza Moderna Thesis = the Dance of Futurism : Giannina Censi and Modern Dance
博士学位論文（東京外国語大学） Doctoral Thesis (Tokyo University of Foreign Studies) 氏名横田さやか学位の種類博士（学術）学位記番号博甲第 174 号学位授与の日付 2013 年 11 月 6 日学位授与大学東京外国語大学博士学位論文題目未来派の舞踊－ジャンニーナ・チェンシとモダン・ダンス－ Name Yokota, Sayaka Name of Degree Doctor of Philosophy (Humanities) Degree Number Ko-no. 174 Date November 6, 2013 Grantor Tokyo University of Foreign Studies, JAPAN Title of Doctoral La danza nel futurismo : Giannina Censi e la danza moderna Thesis = The Dance of Futurism : Giannina Censi and Modern Dance La danza nel futurismo : Giannina Censi e la danza moderna Sayaka YOKOTA Tokyo University of Foreign Studies PhD Dissertation Sommario Prefazione ........................................................................................................................................ 1 Capitolo I. Il “secondo” futurismo: il problema della periodizzazione ........................................... 5 Capitolo II. La sensibilità corporea di Marinetti ........................................................................... 29 Capitolo III. Danza e futurismo ..................................................................................................... 51 III. 1. Il futurismo attorno alla danza ........................................................................................ 51 III. 2. “Catalisi” tra il futurismo e i Ballets Russes ................................................................... 75 III. 3. Il doppio filone della danza moderna .............................................................................. 99 Illustrazioni
[Show full text]