scholarly journals To Brecht and Back. Notes on Clement Greenberg’s Avant-Garde and Kitsch

2021 ◽  
Vol 14 (1) ◽  
pp. 153-163
Author(s):  
Camilla Froio

Clement Greenberg’s international reputation is partly due to the success of one of his first and most perceptive essays, Avant-Garde and Kitsch, published in the Fall 1939 issue of “Partisan Review”. Despite its unsurpassed importance, the article still requires a broader comprehension of its origins: according to Greenberg’s personal papers, the essay’s main concepts began to take form during the Winter 1939, when the author was involved in the drafting of a new essay on Bertolt Brecht, still unpublished today, at that time submitted to the “Partisan Review”’s editorial board but rejected. A second document enables to trace back Avant-Garde and Kitsch’s roots even further: according to a letter by Greenberg, one of the editors, Dwight Macdonald, plagiarized the rejected script as his last essay, Soviet Society and Its Cinema, clearly seemed to prove. The varied topics articulated in the letter, as well as in the draft on Brecht, would be at the basis of Avant-Garde and Kitsch, becoming crucial and early components of the editorial process of the well-known essay. 

Author(s):  
Gregory Shupak
Keyword(s):  

“Letting the Moment Take You” is interview with Alexander Billet, a Chicago-based writer and music and arts critic on the editorial board of Red Wedge Magazine. The interview focuses on Fred Ho, whom Billet has written about in Jacobin magazine. Billet explains how neoliberalism interferes with peoples’ capacity to imagine a more utopian society and how artists such as Ho can nevertheless provide glimpses of a more just world. In this conversation, Billet discusses Ho’s views on how capitalism renders art “stagnant,” his concept of the popular avant-garde, and his place in the tradition of the radical imagination.


2009 ◽  
Vol 46 (1) ◽  
pp. 70-78
Author(s):  
Lev Kreft

Hook to the ChinWithin historical avant-garde movements from the beginning of the 20th century, a curious taste and fascination for boxing burst out, and developed later into the claim that art must become more similar to boxing, or to sport in general. This fascination with pugilism in the early stage of its popularity on the continent included such charismatic figures of the Parisian avant-garde as Arthur Cravan, who was Oscar Wilde's nephew, a pretty good boxer and an unpredictable organizer of proto-dada outrages and scandals.After WWI, the zenith of artists' and intellectuals' love for boxing was reached in Weimar Germany. One of the well known examples connecting boxing with art was Bertolt Brecht with his statement that we need more good sport in theatre. His and other German avant-garde artists' admiration for boxing included the German boxing star May Schmeling, who was, at least until he lost his defending championship match against Joe Louis, an icon of the Nazis as well. Quite contrary to some later approaches in philosophy of sport, which compared sport with an elite art institution, Brecht's fascination with boxing took its anti-elitist and anti-institutional capacities as an example for art's renewal.To examine why and how Brecht included boxing in his theatre and his theory of theatre, we have to take into account two pairs of phenomena: sport vs. physical culture, and avant-garde theatre vs. bourgeois drama. At the same time, it is important to notice that sport, as something of Anglo-Saxon origin, and especially boxing, which became popular on the European continent in its American version, were admired by Brecht and by other avant-garde artists for their masculine power and energy. The energy in theatre, however, was needed to disrupt its cheap fictionality and introduce dialectical imagination of Verfremdungseffect (V-effect, or distancing effect). This was "a hook to the chin" of institutionalized art and of collective disciplinary morality of German tradition.


2016 ◽  
Vol 14 (1) ◽  
pp. 1
Author(s):  
Marcio Poletti Laurini

RBFin is the main Brazilian publication outlet of academic papers about finance. Using the Open Journals System to manage the editorial process, publication of RBFin adheres to a strict publication schedule. The journal is indexed by EconLit, RedALyC, Proquest, Google Scholar, Gale and Ebsco and is listed in the JEL, DOAJ, Latindex, OpenJGate, and Cabell’s directories. RBFin is rated B2 in the business and economics areas of the Brazilian classification system. The editorial board undergoes partial turnover every year and comprises 19 individuals from four countries, the Brazilian members being affiliated with universities in five different Brazilian states. The acceptance rate was 44\% for papers submitted in 2015. The average number of days between receipt and first decision for articles submitted in 2015 was 86. The average number of days between receipt and final decision for articles submitted in 2015 was 104. The worst case was 345 days. Thirty five individuals served as reviewers in 2015.


2019 ◽  
pp. 1-32
Author(s):  
Emma Cole

This introduction makes the case for postdramatic classical receptions to be included within reception studies scholarship. It contextualizes the overall study by providing an overview of the role of the classics within the development of postdramatic theatre and by charting the history of postdramatic classical receptions. The chapter offers an alternative to the standard teleological approach of documenting the history of postdramatic theatre, and instead suggests that the form arose from a diverse range of international theatrical experiments led by highly influential avant-garde practitioners, which gained enough notoriety and exposure to influence a range of other theatre makers. It examines Antonin Artaud, Bertolt Brecht, Richard Schechner, Tadashi Suzuki, and Heiner Müller, alongside a range of broader contextual environments, to argue that an interest in the classical underpinned the development of postdramatic theatre.


2019 ◽  
Vol 16 (1) ◽  
pp. 51-66
Author(s):  
MARTIN BRADY

AbstractThis article examines the labour of socialist music in the German Democratic Republic, focusing on composer Paul Dessau's use of political cryptography and quotation in a number of compositions from the opera The Condemnation of Lukullus (1950) through to Choral Music No. 5 (1976). Most famous for his collaborations with Bertolt Brecht, Dessau was the leading avant-garde composer of the GDR and its chief practitioner of serialism. He believed that only difficult, progressive New Music could convey the struggle(s) of socialism. This brought him into conflict with the authorities, who accused him of formalism. Choral Music No. 5 is a setting of a poem by Heiner Müller based on a speech by Erich Honecker (Žižek refers to the text as an ‘obscenity’). Dessau's composition is complex and dialectical, abrasive in its rhythms and counterpoint, and pluralistic in style. It is the embodiment of Dessau's belief in socialist music as rewarding hard work.


2013 ◽  
Vol 11 (1) ◽  
pp. 1
Author(s):  
Ricardo Pereira Câmara Leal

RBFin is the main Brazilian publication outlet of academic papers about finance. The contents of the Review are open and online; a printed version was maintained, in part, thanks to a grant from CNPq/CAPES. Using the Open Journals System to manage the editorial process, publication of RBFin adheres to a strict publication schedule. The journal is indexed by EconLit, Google Scholar, Gale and Ebsco and is listed in the JEL, DOAJ, Latindex, OpenJGate, and Cabell's directories. It will soon appear in RedALyC and Proquest. RBFin is rated B1 in the business area of the Brazilian classification system. The editorial board undergoes partial turnover every year and comprises 18 individuals from four countries, the Brazilian members being affiliated with universities in five different Brazilian states. The acceptance rate was 18% for papers submitted in 2011, the most recent year in which all submissions have already received a final decision. The average number of days between receipt and acceptance for articles submitted in 2012 was 215. The worst case was 584 days. The average number of days between receipt and publication was 317. The worst case was 760 days. Sixty-three individuals served as reviewers in 2012.


2020 ◽  
Vol 1 (1) ◽  
pp. 1-2
Author(s):  
Mehmet Toran ◽  
Mesut Saçkes ◽  
Mine Gol-Guven

Journal of Childhood, Education & Society (JCES) was founded as a product of collective thought under the leadership of Dr. Mehmet Toran in July 2019 by a group of early childhood researchers who conduct both collaborative and independent academic research. Under the light of scientific research, current publishing policies cannot eliminate inequalities in public access for transfer and access of knowledge that is generated for the public weal (Beall, 2013). Particularly, having a limited access to the knowledge in early childhood studies is acknowledged as the first step for constitution of JCES. In this context, we would like to underline that independent researchers who are voluntarily taking part in the emergence of JCES are involved in a very courageous endeavour. This collective constitution takes an important responsibility for the public as well, and we point out that to fulfil this responsibility, it embraces moral and ethical rules as a reference point. Objectives, scope and ethical principles of JCES are determined with the contribution of the editorial board. In addition, we make promise to the larger research community of early childhood area that we will make sure to contribute to the area by giving a priority to high quality of research with robust evidence. JCES adopts open science perspective in early childhood studies. Therefore, JCES has a high opinion of sharing the knowledge among people who are in children’s ecology democratically. Attaching importance to open science policy, JCES defends scientific knowledge as public property that should be shared with all without depressing its value (Tonta, 2015). In the light of this target, -as JCES editorial board- we believe that scientific information that has been produced as public property should be shared with everyone through open access. The scientific communication enhanced between researchers-practitioners-readers is aimed to put into practice through the “open access” method. In this context, as open access policy within JCES, we embraced non-profit, voluntary editorial operations without charging a fee either from the reader or authors. Our experiences during publishing our first issue promise that it can be put into practice with a collective movement voluntarily on a digital platform. Solidarity is possible to carry out editorial process not only in Turkey but also with a contribution from every corner of the world. We have given extra importance to research ethics as our publishing policy. While specifying ethical principles, we aimed to take researcher’s attention to this issue. In this sense, after discussions with EECERA and then with the permission from Trustees of EECERA, we decided to embrace EECERA Ethical Code for Early Childhood Researchers that is formulated by Chris Pascal, Tony Bertram, Julia Formosinho, Colette Gray and Margy Whalley (2012). The ethical code bears qualification as a guide for researchers working in the early childhood area. We would like to indicate that applicant articles to the JCES are also evaluated in terms of those ethical codes during the editorial preliminary consideration process. After calling for papers for the inaugural issue, we had a considerable amount of article applications. Those applications studiously evaluated by the referees after preliminary considerations. In this process, constructive feedback from the referees and the revisions authors made in consideration to given feedback contributed to quality of articles concurrently to the quality of the journal. Peer review process that is held studiously, on time and constructively demonstrated that solidarity is built correctly and truthfully. Therefore, we would like to especially thank the referees for the inaugural issue. As you will see in the journal, there are six articles for the inaugural issue from five different countries: Belgium, Colombia, Israel,  Tanzania and the USA. This variety is a result of effective publicity of the journal by editorial board and efficient use of digital platforms with open access policy. Besides that, especially the call for papers announcements by EECERA in their member mail groups and social media accounts demonstrated once more how important solidarity is. As a result of this solidarity and cooperation, we would like to underline that the geographical variety of applicant articles strengthen our faith and self-confidence as well. After publishing first issue, we will continue pertinaciously working to strengthen international collaborations and to ensure continuity of the journal. Being aware of responsibility we are carrying and the risks we may face in the process, we would like to state that we have already taken necessary precautions. To ensure long running path and continuity of publishing for the journal, Gizem Alvan, Kerem Avcı and Taibe Kulaksız - doctorate students- have already started gaining experience in journal publishing and editorial administration process. These experiences would play an important role to provide sustainable publication of the journal. We would like to congratulate them to take part in a constitution courageously. We would like to thank all partners who contributed to spreading information to publish interest with open access with their articles and their supports in the editorial process for the inaugural issue. We would like to state that the call for papers continues for the second issue of JCES which will be published in August 2020 and we are open to early childhood researchers’ original contributions.


Author(s):  
Christa Rautenbach

 EDITORIALWhen PER (acronym for the Afrikaans journal title Potchefstroomse Elektroniese Regstydskrif, but also suggesting the Latin connotations of causation, durability and facilitation) first appeared in November 1998, there was an awareness of the incongruity of the notion of a law journal not being published in tangible form by an established law publisher on the one hand, and on the other of the inevitability of things to come. The editorial stated:"In this era of an unstoppable increase in information on offer and improved means of communication, it is inevitable that the exchange of juristic ideas should develop and escalate electronically, by internet. A problem already challenging the time starved legal user of the electronic medium, is to separate the wheat from the chaff. For many people it is relatively easy to publish something on the Web. It is, however, just as demanding to produce quality in this manner as through any other medium, be it primitive or avant garde."From the outset the Potchefstroomse Elektroniese Regstydskrif (PER) / Potchefstroom Electronic Law Journal (PELJ) was focused on maintaining high editorial standards, producing material for legal scholars worth reading. Probably still the most widely cited contribution to PER/PELJ (on Ubuntu by Justice Yvonne Mokgoro) appeared in the first volume. Papers delivered (referred to as orationes) by prominent scholars and judges are often published in PER/PELJ, and double-blind peer review practices are maintained throughout, except for the orationes.From time to time guest editors are invited to produce single or special editions. Renowned South African and foreign scholars are regularly approached to review submissions to PER/PELJ, and the editorial board is composed of prominent internationally recognised academics and judges.Since 2003, PER/PELJ has taken its place among a range of renowned internationally accredited journals, currently listed and indexed inter alia by IBSS, DOAJ, SSRN, AJOL, Boloka, SciELO, HeinOnline, and Web of Knowledge.In 2016, PER/PELJ migrated to this online journal system, and contributions accepted for publication are now published continuously as soon as the finally edited version becomes available.We are entirely grateful to our authors, reviewers and readers who have always believed in the scholarly quality of the contributions. You have been instrumental in the phenomenal growth of the journal over the last 18 years.We are proud to announce the first contribution of 2016 entitled “Remedial Principles and Meaningful Engagement in Education Rights Disputes” by the renowned author, Sandy Liebenberg, who is a distinguished professor and HF Oppenheimer Chair in Human Rights Law, University of Stellenbosch, South Africa.Editor-in-Chief: Christa RautenbachandFounding Editor: Francois Venter


Author(s):  
Bohdan Y. Nebesio

The Ukrainian film director, artist, and writer Alexander Dovzhenko was born in Sosnytsia (Chernihiv region) and graduated from the Hlukhiv teachers’ college in 1914. He continued his studies at the Ukrainian State Academy of Arts in Kiev (1917–1919) and in Berlin, where he worked at the Ukrainian consulate (1922–1923). Dovzhenko began his career as a cartoonist for the newspaper Visti VUTsVK in Kharkiv but switched to cinema in 1926. He wrote screenplays and directed films for the VUFKU [All-Ukrainian Photo Cinema Administration] studios in Odessa (1926–1928) and Kiev (1929–1932). To avoid being persecuted as a Ukrainian "nationalist" during Stalin’s region of terror, Dovzhenko fled to Moscow in 1932, where he continued working at the Mosfilm studio for the rest of his life. Dovzhenko learned the filmmaker’s craft through directing two short comedies and a feature-length film titled Sumka dypkur’iera [The Diplomatic Pouch] (1927), a spy thriller. Zvenyhora (1927), an epic tale hailed by critics as the founding work of Ukrainian national cinema, established his reputation in Ukraine. The formal complexity and strong pacifist message of Arsenal (1929) brought Dovzhenko recognition in European avant-garde circles. Zemlia [Earth] (1930), whose subject was the transition to collectivized agriculture, became Dovzhenko’s best-known work and cemented his international reputation as the "poet of cinema." Dovzhenko’s silent films were criticized in the Soviet Union for their "nationalist deviations" but received praise abroad, especially in Western Europe. His final film in Ukraine, Ivan (1932), marks the transition to sound in Ukrainian cinema.


2014 ◽  
Vol 30 (3) ◽  
pp. 249-268 ◽  
Author(s):  
Colin Gardner

Although Joseph Losey is best known as the blacklisted director of films such as the Pinter-scripted The Servant, The Go-Between, and Accident, as well as Mr Klein starring Alain Delon, he also had an important career in leftist theatre prior to making his Hollywood film debut in in the late 1940s. Because of his collaboration with Bertolt Brecht on the 1947 Hollywood production of Galileo, it is assumed that Losey learned from him most of his stagecraft – particularly the use of Verfremdungseffekt and self-reflexivity. However, as this article shows, Losey's apprenticeship was rooted not in the Epic Theatre (which was largely a second-hand phenomenon) but in the Soviet theatrical avant garde, observed at first hand during a 1935 Moscow visit studying the techniques of Meyerhold, Vakhtangov, and Pavlovich Okhlopkov, whose ‘theatre in the round’ stagings and use of complex ramps and projections provided the basis for Losey's subsequent Federal Theatre Project ‘Living Newspaper’ productions – notably Triple-A Plowed Under and Injunction Granted! Under the aegis of co-founder Hallie Flanagan, the Living Newspaper proved to be the model of 1930s political theatre: topical, didactic, fast-paced – and almost immediately obsolete as events superseded the plays' relevance. Colin Gardner is Professor of Critical Theory and Integrative Studies at the University of California, Santa Barbara. He is the author of critical studies on Joseph Losey and Karel Reisz for Manchester University Press's ‘British Film Makers’ series and of Beckett, Deleuze, and the Televisual Event: Peephole Art for Palgrave Macmillan. He is currently working with Felicity Colman on a three-volume Encyclopedia of Film-Philosophy.


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