![]() Translated and edited by Ana Lucía De Bastos. MATANGRANO, Bruno Anselmi et.al (2015) (eds.). MAIOR, Dionísio Vila and Annabela RITA (2016) (eds.). Colóquio/Letras, n.º 190, Setembro-‐‑Dezembro, “À Volta de Orpheu”. Nós, os de "ʺOrpheu"ʺ | We, the "ʺOpheu"ʺ lot. ![]() Bibliography / 2 Most recent publications about Orpheu CARDIELLO, Antonio, Jeronimo PIZARRO, and Sílvia Laureano COSTA (2015) (eds.). “Die Stellung der Soziographie in der Reihe der Geisteswissenschaften“, in Archiv für Rechts-‐‑ und Wirtschaftsphilosophie, vol. Edited by Peter Brooker, Andrew Thacker, Sascha Bru, and Christian Weikop. “Modernist Magazines in Portugal: Orpheu and its Legacy: Orpheu (1915) Exílio (1916) Centauro (1916) Portugal Futurista (1917) Contemporânea (1915, 1922-‐‑6) Athena (1924-‐‑5) Sudoeste (1935) Presença (1927–38, 1939-‐‑40 “, in The Oxford Critical and Cultural History of Modernist Magazines. The Age of Extremes: The Short Twentieth Century, 1914–1991. ![]() 13, n.º 3, special issue, “Modernism and Transnationalisms”, pp. “Periodizing Modernism: Postcolonial Modernities and the Space/Time Borders of Modernist Studies”, in Modernism/modernity, vol. Bern New York Oxford and others: Peter Lang, pp. Edited by Maria Irene Ramalho and António Sousa Ribeiro. “One Hand Clapping: Colonialism, Postcolonialism, and the Spatio/Temporal Boundaries of Modernism”, in Translocal Modernisms: International Perspectives. “Planetarity: Musing Modernist Studies”, in Modernism/modernity, vol. Planetary Modernisms: Provocations on Modernity Across Time. Portuguese Modernisms: Multiple Perspectives on Literature and the Visual Arts. DIX, Steffen and Jerónimo PIZARRO (2011). Geographies of Modernism: Literature, Culture, Spaces. BROOKER, Peter and Andrew THACKER (2005) (eds.). ![]() Das Kunstwerk im Zeitalter seiner technischen Reproduzierbarkeit. Is Part of: Pessoa Plural―A Journal of Fernando Pessoa Studies, Issue 11 Introductory Note BIBLIOGRAPHY Bibliography / 1 BENJAMIN, Walter (1963). Pessoa Plural―A Journal of Fernando Pessoa Studies, No. I will discuss Ernesto’s marxist-based effort to find new languages for the portuguese art and the implications of this example in the widening of a concept like modernism in peripherical Europe.ĭIX, Steffen SILVA, Patrícia, "Introductory note-the emergence of Portuguese modernism: contributions to its cultural history" (2017). ![]() His method of mixing his interests and giving them an use value is based in his reading of Bertolt Brecht. The consolidation of his studies and his movement from the neo-realist cause to experimental art forms related with the international neo-avantgarde, led him to advocate for an avant-garde rooted in national folk art, as well as in the first portuguese modernists. Also in the 1960’s, ES deepened his studies in popular culture which he had started years before, and which had led him to promote crossings between “high” and “low” art, and to appropriate features he found in folk art for a renewal of neo-realism. In the late 1960’s he changed to a defense of experimental film and performative art, establishing relations with the Fluxus movement. In the forties, ES was a neo-realist and also a critic and main promotor of film societies and magazines, as well as a photographer and movie director. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |