At the end of XIX century the crisis of realism offered avantguarde art the opportunity to reflect once more on the relations between reality and the means of its representation (in literature, art and music). The reality of the language of the representation consciousnessly established itself as the actual reality of the world. The presumed totality of any idea of the world and of the human being in it could not hold under the infinite opportunities that the constituent elements of artistic creation (the written word, the stroke of the brush, and sounds) offered in any representation. The reality as a presumably “other” and “absolute” world, temporarily or forever inaccessible, loses its status of truth. In the constituent elements of art truth of what is real can be defined as the difference of the description of that reality. In the 20’s and 30’s in the italian-slovene border territories this reflection on art does not find fertile ground. The demand for a definitive and often forced identification between an absolute principle (from national up to ideological) and its means of representation prevented development of any free creative idea for many decades.

Na prelomu absolutnosti. L'incrinarsi dell'assoluto

VERC, IVAN
2006-01-01

Abstract

At the end of XIX century the crisis of realism offered avantguarde art the opportunity to reflect once more on the relations between reality and the means of its representation (in literature, art and music). The reality of the language of the representation consciousnessly established itself as the actual reality of the world. The presumed totality of any idea of the world and of the human being in it could not hold under the infinite opportunities that the constituent elements of artistic creation (the written word, the stroke of the brush, and sounds) offered in any representation. The reality as a presumably “other” and “absolute” world, temporarily or forever inaccessible, loses its status of truth. In the constituent elements of art truth of what is real can be defined as the difference of the description of that reality. In the 20’s and 30’s in the italian-slovene border territories this reflection on art does not find fertile ground. The demand for a definitive and often forced identification between an absolute principle (from national up to ideological) and its means of representation prevented development of any free creative idea for many decades.
2006
9616568620
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11368/1688823
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