Abstract This paper examines how the avant-garde movement in jazz is important because it represents the departure from traditional forms of jazz into a more free-flowing form that allowed musicians to express themselves in a way that they had not done before. The writer argues that many jazz greats have contributed to this movement, and many critics feel that it is a shame to ignore the significance of the jazz avant-garde movement.
From the Paper "Musicians that illustrated a departure from traditional jazz and regularly included bebop into their music are Ornette Coleman, Wilbur Barr, Ed Blackwell, and Billy Higgins. An interesting characteristic of bebop is the type of singing that generally accompanied songs. Much like scat singing, bebop singers would incorporate "something like chants and field hollers" into the music. This freedom allowed the musical instruments to carry the "entire rhythmic impetus of the music" (226). This type of rhythmic freedom and diversity is what Jones claims is the "valuable" legacy of bebop. Gottlieb claims that the Hard Boppers? wanted to revolutionize jazz but did not go far enough. What was seemingly lost in the 1940s was rediscovered in the 1960s. ?Because rhythm and melody complement each other so closely in the latter style, the drummer and bass player were better able to play melodically. There was no longer a concern with continuing the beat in a song."
Abstract This paper reviews two examples of avant-garde cinema, Italian neorealist filmmaker Vittorio De Sica's 'Bicycle Thief' and Spanish filmmakers Luis Bunuel and Salvador Dali's 'Un Chien Andalou'. According to the paper, avant-garde pushes the boundaries of what is accepted as the norm within definitions of art, culture and reality.
From the Paper " For example, Lamberto Maggiorani, the actor who played Antonio, was in real life a factory worker in Rome ("Bicycle Thieves"). (In the aftermath of World War II, it is also likely, however, that this casting of "real people", instead of professional actors, was done to save money by not having to pay professional actors). The documentary-style camera work of De Sica's The Bicycle Thief, moreover, further increases for the audience the sense that the film is about true-to-life people and real situations, a characteristic also typical of post-World War II Italian neo-realist cinema. This is, also, an avant-garde filmmaking technique that resists, explicitly and implicitly, the commercialism of Hollywood, while offering, instead, a "purer", more "realistic" (and lower-cost) alternative to film audiences."
This paper presents an in depth looks at art criticism and focuses on the life of Clement Greenberg and his contribution to the world of art critiquing. The reader is taken on an exploratory journey in which the life and career of Greenberg are discussed.
2,750 words (approx. 11 pages), 7 sources, 2001, $ 82.95
Abstract This paper presents an in depth looks at art criticism and focuses on the life of Clement Greenberg and his contribution to the world of art critiquing. The reader is taken on an exploratory journey in which the life and career of Greenberg are discussed.
From the paper:
Throughout history artists have placed their works out for the world to see and respond to. Museums and galleries are set up for the purpose of allowing art patrons to go and view what the artist has put together. Each piece of art is a unique blend of the artist's personality and the patron reacts to it partly on what the artist has created and partly because of his or her own life experiences. The world of art is extremely subjective making the critiquing of the works especially difficult. There have been many art critiques in the world but few have had the major impact on critiquing that famed critic Clement Greenberg had. Greenberg helped shape the field of art criticism and was especially involved in the avant-garde field.
Abstract By examining two of Greenberg's articles written 35 years apart, the writer explores this critic's changing attitudes towards art. The articles examined are "Avant-Garde and Kitsch? written in 1939 and ?Modernist Painting,? written in 1965.
From the Paper "Clement Greenberg has over influenced the art world greatly with his ongoing criticism. In two of his essays written over 35 years apart, he presents two arguments which show his evolving opinion as the nature of art changes around him, despite (or perhaps because of) his outspoken opinions. The first article, from 1939, discusses exactly what the title indicates: "Avant-Garde and Kitsch" and frames them in the social attitudes of the time. He criticizes kitsch, stating that avant-garde art, which is only understood by the cultural elite, is the one true art. The second is called ?Modernist Painting,? written in 1965. This piece seems to accept kitsch as part of our culture, and as part of Modernism. By analyzing the ramifications of what Greenberg says in these two essays, I am able to determine the relevance of his arguments from my own perspective, which is obviously different from his."
Abstract Discusses emergence of radical feminist art & militant feminist artists of the 1970s. Work of Nancy Ellison, Alice Baber, Judy Chicago. Significant exhibitions including (Women Choose Women. Erotic Art by Women. Sexual Politics). Response & confrontation of the new avant-garde art. Major themes of 1970s feminist art. Political and aesthetic aspects.
From the Paper "Feminist Art and the Avant-Garde
It has been noted that the artist-driven nature of radical art exhibitions that reigned by the late 1960s, when museum and gallery curators were increasingly usurping the role of the impresario, museums themselves were replacing galleries as venues, and formerly subversive artists were becoming "tamed" by a ?society of mass consumption" (Altshuler, p. 220). While this statement is undoubtedly true, it is also true that with the emergence of radical feminist art and militant feminist artists in the 1970s, a new spirit of the avant-garde was born. The story of the avant-garde has typically been one of ?mutual support among a community and reception of art by a public, all participants enmeshed in systems of personal and economic relations (Altshuler, p. 8)."
Abstract The paper looks at how the art exhibitions in the 1970s featured "women's art" that was inherently bound up with the protest movement politics of that time. The paper discusses the revolutionary nature of these early exhibitions and the historical impact of the selection process used in constructing these exhibitions. It also mentions the fact that modern feminist art tends to focus on lesbian artists exclusively.
From the Paper "Less significant today is the question of "who created it"
than what the creation means. Women artists with a radical feminist agenda are employing performance art much as Yoko Ono did some 35 or 40 years ago to publicize her own understanding of what it means to be a woman within a male-dominated social system and artistic milieu.
"Women Choose Women" was important not only because it was a ?first.? It was important because it demonstrated that women artists were no longer content to have males determine what works of theirs would be exhibited and how these exhibitions would be interpreted. Feminist art and scholarship have advanced significantly since that time."
Abstract This paper discusses how Maya Deren, born Eleanora Derenkowsky on April 29, 1917 in Kiev, Ukraine, has been referred to as the high priestess of experimental cinema. It looks at how, although she was a dancer, choreographer, poet, writer and photographer, she is still considered a pioneer not only in experimental filmmaking, but also a voice for the feminist film community. It examines how, as a pioneer of American avant-garde cinema, Deren's legacy is both abstract and tangible and how her innovations in filmmaking continue to fascinate aspiring experimental filmmakers. It shows how her pioneering, uncompromising spirit enabled her to elude the institutional limitations that controlled filmmaking in 1940's American culture.
From the Paper "Another of Deren's experimental films, A Study in Choreography for the Camera, was filmed in 1945. Deren's 16mm Bolex camera becomes a performer equal in significance to the star of this film. (Talley Beattey) In the opening sequence, Deren's camera rotates more than 360 degrees, scanning past the figure in movement. In this film Deren articulates the potential for transcendence through dance and ritual. The movement of the dancer does not always motivate the camera, so Deren's visual expression remains free- floating. The spaces linked in this film range from the interior of a museum to the forest and courtyard. Deren writes, ?The movement of the dancer creates a geography that never was. With a turn of the foot, he makes neighbors of distant places.? As Beattey spins, he appears to develop more than one face, forming an illusion of a totem pole."
Abstract This paper represents a concept analysis on disclosure. The paper offers an in-depth understanding of the concept of disclosure and defines what it represents, as well as what it does not represent. The paper's focus and motivation is to identify a foundation for future exploring, measuring, and testing the idea in regard to a full dissertation on abused pregnant women. The paper is based on Avant and Walker's "Strategies for Theory Construction in Nursing" and, therefore, provides a brief discussion of the overall concept and insights into why this topic was selected. The paper discusses how it relates to nursing, as well as to abused pregnant women. The paper describes the inherent literature search process and identifies possible uses of the concept, including non-nursing literature. The paper explores how the theoretical framework used relates to the original concept.
From the Paper "It is critical to clearly define the attributes associated with the aspects of this idea. The first is the concept of disclosure itself which will be driven by the legal community. The second attribute structure would revolve around the pregnant women abused in a scientifically significant way. "Walker and Avant maintained that mid-range theories balance this specificity with the conceptual economy normally seen in grand theories. As a result mid-range theories provide nurses with the 'best of both worlds ' - easy applicability in practice and abstract enough to be scientifically interesting. Thus, the attributes associated with pregnant women's abuses would be of a relatively broad scope of phenomena and would not cover the full range of phenomena that could be of concern in this discipline."
Abstract Joni Mitchell and Hector Berlioz lived in different parts of the world at different times. Berlioz died in 1869 almost eighty years before Mitchell's birth in 1944. This paper explains that Berlioz worked in the milieu of the symphonic orchestra and the complexity of classical music of the nineteenth century, while Mitchell accompanied herself with a guitar in the revival of traditional folk music that was occurring in the 1960s. The writer shows how neither was educated formally in music, but both became established as composers of their own works which were marked by genius. It concludes that both artists were considered by contemporaries to be in the avant-garde of the musical movement of the times.
From the Paper "Berlioz was raised by prosperous parents in Paris, and was expected by his father, a physician, to enter medical school. The thought of a musical career was not given a great deal of respect by Berlioz's father, and he felt that the boy's future could only be secured by preparation to enter into a lucrative field like the practice of medicine.
But Berlioz was repelled by his first experience in an anatomy lab and left his medial studies as a result. The romantic movement was just beginning in France, and its rich palette of orchestral expression was being called "The Music of the Future." In 1825 Berlioz assembled an orchestra of 150, and he dreamed of an ensemble 467 instruments, with a chorus of 360."
Abstract In this paper, the writer studies the life and the musical development of tenor saxophonist John Coltrane. The writer looks at Coltrane's early life and his musical beginnings. The writer discusses Coltrane's search for new modes of expression. The writer notes Coltrane's position as an avant-garde leader and examines the influence of religion on his work.
From the Paper "One of modern jazz's most innovative musicians, tenor saxophonist John Williams Coltrane, commonly called Trane, died a couple of months before ..... yet his influence remains as profound after his death as in his lifetime. His greatness comes from his search for new modes of expression as well as his masterful musicianship. Starting in the bebop style he reshaped modern jazz as a leader in the avant-garde with his later free form style and modal improvisation. John Coltrane's life was based ... "
An analysis of the architecture in fin de siecle Vienna and the influence of Adolf Loos, an architect and dominant and controversial critic during the period of the Vienna Secession.
1,800 words (approx. 7.2 pages), 5 sources, 2006, $ 71.95
Abstract From our 21st century perspective, the world of architecture in fin de siecle Vienna is resonant of the atmosphere of a noisy coffee house with a cacophony of different voices and arguments mingling, conflicting and synthesizing the avant garde and the traditional. This paper discusses the influential, modernist architect and critic Adolf Loos, whose polemical ideas and violent rhetoric challenged the prevailing aesthetics of the Vienna Secession.
Abstract This paper discusses nursing theorists, Walker and Avant's conceptual theory in nursing. Specifically, the paper details eight steps to a more effective concept analysis of "screening" for nurses in theory and practice. It describes the relevance of each step and the ways that they should be implemented for the most successful screening and treatment.
Table of Contents:
Introduction
Step 1
Selecting a concept
"Screening"
Step 2
Purpose Or Aims Of The Concept
Step 3
Identify Uses Of The Concept
Step 4
Determine the Defining Attributes
Step 5
Identify A Model Case
Step 6
Examine Other Cases
Step 7
Identify Antecedents and Consequences
Step 8
Define Empirical Referents
From the Paper "An "invented" case of such a problematic screening, however, one that may or may not contain ideas outside of the experience of many nurses, however, might be that of a mother who brought her infant in for a routine screening by a pediatrician, and who volunteered to the nurse, without the prompting of a screening, the fact that she was depressed or had trouble coping. Then, if the nurse broached the subject in a more formal fashion, according to some of the language that is used to characterize the physical and emotional problems of screening for postpartum depression, the mother might reject such a diagnostic inquiry. This is problematic, because the nurse may or may not be qualified to make such a psychological assessment, even though she, by virtue of her position, might be led to believe that the woman is suffering from postpartum depression."
Abstract In this article, the writer notes that in every enterprise, someone has to be first and in the case of modern science fiction motion pictures, the "first" is widely acclaimed to be Stanley Kubrick's masterpiece, '2001: A Space Odyssey'. This paper provides an avante garde analysis of Stanley Kubrick that includes some of his most important works, such as '2001: A Space Odyssey' and 'A Clockwork Orange'. To this end, a biographical assessment of Kubrick is followed by a description of the man himself, his style, and the themes expressed in his films. A summary of the research and salient findings are presented in the conclusion. This paper includes a photograph.
Outline:
Review and Discussion
Conclusion
From the Paper "It would seem that Kubrick was the right man at the right time with the right stuff to create these masterpieces, and it is difficult to determine whether they helped fuel the turbulent period in American history in which they were produced or if they were social reflections of what was taking place in American society at the time. Either way, the research was consistent in employing superlatives in describing Kubrick's work and it is safe to suggest that people will be watching his movies a hundred years from now. It would also seem safe to posit that Kubrick naturally recognized what humans would like to see if they had the opportunity to see it for themselves, whether they want to admit it or not. In the case of 2001: A Space Odyssey, for example, the director showed audiences what a happy and unexpected future might be like and how they might be a part of it. By sharp contrast, in his movie, A Clockwork Orange, Kubrick also showed audiences what the future might be like, but there was a definite "horror-show" difference involved."
Abstract This paper deals with the social factors involved in the existence and deterioration of Bohemia.
Introduction
The Concept of Bohemia
Historical background
Analysis on the Bohemian history
On the present condition of Bohemia
Conclusion
From the Paper "The phenomenon that is Bohemia has been around our society for almost two centuries now with the same basic definitions of a bohemian as someone who lives an unconventional life and one who works in the fields of the arts, literature and theatre. But bohemian living is definitely not a fad or a fallacy; Bohemia is a social phenomenon that will continue to exist because of the need to reflect the reality a society fails to see. And since a society undergoes changes from time to time, bohemia adapts to its new environment by stripping off some of the basic ideals and characteristics we have confined it into."
Tags: artist, avant, garde, beat, bohemia, generation, lost
This essay examines the origins of the unconventional Dada art movement. These pioneers of the avant-garde thrived for a few short years after World War I before splintering into several groups in the early 1920s.
Abstract The Dada art movement was about using protest, confrontation and chaos in the arts as a way to change an unjust society recovering from the horrors of World War I. By explaining the origins of the Dadas and looking at their most famous sculpture, "The Spirit of Our Time", this essay explains how the Dada artists were making direct challenges to modern culture and technology long before it was fashionable.
From the Paper "By the late 19th century machine technology was everywhere, available to millions, and part of humanity's daily existence. The products of machines, such as giant structures and trains, planes, and automobiles, were infinitely more "useful" to people than traditional art had ever been. Some artists became envious of scientists and wanted to match their achievements, and some scientists wanted to be thought of as artists."
