Regarding the Popular: Modernism, the Avant-Garde and High and Low Culture 2

Regarding the Popular charts the complex relationship between the avant-gardes and modernisms on the one hand and popular culture on the other. Covering (neo-)avant-gardists and modernists from various European countries, this second volume in the series European Avant-Garde and Modernism Studies explores the nature of so-called “low” culture, dealing with aspects as diverse as the everyday and the folkloric. Regarding the Popular charts the many ways in which the allegedly “high” modernists and avant-gardists looked at and represented the “low”. As such, this book will appeal to all those with an interest in the dynamic of modern experimental arts and literatures. The avant-garde and modernism take centre-stage within European academia today. The experimental literatures and arts in Europe between ca. 1850 and 1950, and their aftermath, figure prominently on curricula, while modernism and avant-garde studies have come to form distinct yet interlocking disciplines within the humanities in recent years. These disciplines take on various guises on the continent. Within French and German academia, "modernism" remains a term rather alien – "die Moderne" and "modernité" coming perhaps the closest to what is meant by "modernism" within the English context. Here, indeed, modernism has acquired a firm place in research, signaling above all a period in modern poetics and aesthetics, roughly between 1850 and 1950, during which a revolt against prevalent traditions in art, literature and culture took shape. Similarly, the term "avant-garde" comes with an array of often conflicting connotations. For some, the avant-garde marks the most radically experimental arts and literatures in modernism from the nineteenth century onward – the early twentieth-century vanguard movements of Futurism, Expressionism, Dada and Surrealism, among others, coinciding with the avant-garde's most "heroic" phase. For others, the avant-garde belongs to a cultural or conceptual order differing altogether from that of modernism – the vanguard exploits from the 1950s onward marking that avant-garde arts and literatures can also perfectly abide outside modernism. European Avant-Garde and Modernism Studies, far from aiming to reduce the complexity of various European research traditions, aspires to embrace the wide linguistic, terminological and methodological variety within both fields. Publishing an anthology of essays in English, French and German every two years, the series wishes to compare and relate French, German and British, but also Northern and Southern as well as Central and Eastern European findings in avant-garde and modernism studies. The series gathers the best and most thought-provoking recent research and devotes itself to the study of the European avant-garde and modernism throughout the nineteenth and twentieth centuries. European Avant-Garde and Modernism Studies promotes interdisciplinary and intermedial research on experimental aesthetics and poetics, and aims to encourage an interest in the cultural dimensions and contexts of the avant-garde and modernism in Europe. Essays accepted by the editorial board are subjected to blind peer-review by international experts. Editors-in-chief : Sascha Bru (Leuven University) and Peter Nicholls (New York University). Editorial Board : Jan Baetens (Leuven University), Hubert van den Berg (University of Groningen), Benedikt Hjartarson (University of Iceland) and Tania Ørum (University of Copenhagen). Advisory Board : Dawn Ades (University of Essex), Wolfgang Asholt (Universität Osnabrück), Karlheinz Barck (Zentrum für Literaturforschung Berlin), Henri Béhar (Paris III, Sorbonne nouvelle), Timothy O. Benson (LACMA), Günter Berghaus (University of Bristol), Stefano Boeri (Multiplicity & Università luav di Venezia), Endre Bojtár (Central European University, Budapest), Christina von Braun (Humboldt Universität), Peter Bürger (Universität Bremen), Matei Calinescu (University of Indiana), Claus Clüver (University of Indiana), Antoine Compagnon (Collège de France), Maria Delaperrière (INALCO, Paris), Pascal Dethurens (Université de Strasbourg), Eva... About the Series — Surla collection — Zur Buchreihe Introduction Given the Popular Terms and Canons “The Madness of the Unexpected”. Duchamp’s Readymades and the Survival of “High” Art Instrument of Inspiration High/Low Illusions in British Experimental Music and After English Rebels in Art Circles: The New Age in its Elitist and Populist Dimension Kinaesthetic Modernism? Rhythms, Bodies and Motion across the Great Divide Art, Nation and Political Discourse Culture en quête de repères Folklore Dada, Carnival and Revolution Spuren der Volksdichtung in der ungarischen Avantgardeliteratur Musical Boxes: The Impersonal Avant-Garde Poem, Everyday Language and Popular Song What Did They Need Jazz For? Jazz Music in Polish Interwar Poetry Der junge Borges und die ultraistische Avantgarde Das Populäre als Taktik The Theatre of Ramón del Valle-Inclán: Between Modernism and the Popular Imagination The Everyday Sitting Pretty: Modernism and the Municipal Chair in the Photographs of André Kertész and Robert Doisneau Everyday Life in André Breton’s Trilogy Nadja, Vases Communicants and L’Amour fou Entre mime et possession: récits surréalistes et fictions populaires The Blood of the Poet: Cocteau, Surrealism and the Politics of the Vulgar “Broken Clouds – also by Instalments”: Mediating Art and the Everyday, the High and the Low in the Finnish Literary Avant-Garde of the 1960s The “Abakans” and the Feminist Revolution A Glossier Shade of Brown: Imi Knoebel’s Raum 19 Commerce Selling Dada: New York Dada (1921) and Its Dialogue with the European Avant-Garde Wyndham Lewis and the Inter-War Popular Novel. Potboilers and Gunman Bestsellers Le Douanier Rousseau, Fantômas & Cie: La culture populaire, ressort majeur des Soirées de Paris Between the Old and the New: The Surrealist Outmoded as a Radical Third Term „The Hidden Network of the Avant-Garde“: der farbige Werbefilm als eine zentraleuropäische Erfindung? Media Lessons from the Press: Picasso and Mass Print Media, 1911–37 Film und Filmprojekte in der Wiener Avant-Garde Zeitschrift Ma (1920-25) „Produktion – Reproduktion”: Echos von Lázló Moholy-Nagys Medientheorie in der Geschichte von Film und Medienkunst Modernism in the Ether: Middlebrow Perspectives on European Literature in Flemish Radio Talks (1936-37) A Second Avant-Garde without a First: GreekAvant-Garde Artists in the 1960s and 1970s Mass Media Avant-Garde: Dislocating the Hi/Lo in the Swedish 1960s A Tentative Embrace. Superstudio’s New Media Nomads Index Regarding the Popular charts the complex relationship between the avant-gardes and modernisms on the one hand and popular culture on the other. Covering (neo- )avant-gardists and modernists from various European countries, this second volume in the series European Avant-Garde and Modernism Studies explores the nature of so-called "low" culture, dealing with aspects as diverse as the everyday and the folkloric. Regarding the Popular charts the many ways in which the allegedly "high" modernists and avant-gardists looked at and represented the "low". As such, this book will appeal to all those wit