The Invention of Politics in the European Avant-Garde (1906-1940)

By Sascha Bru; Gunther Martens | Go to book overview

Dragging Nordic Horses past the Sludge of Extremes.1
The Beginnings of the Icelandic Avant-Garde

Benedikt Hjartarson

When the literary scholar or art historian attempts to sketch out a historiography of the Icelandic avant-garde from the late 1910s into the early 1930s, he faces a series of problems. First of all, the early Icelandic Avant-Garde comprises the works of a couple of artists and writers who – mostly after having studied, lived or simply travelled abroad – picked up aesthetic ideas and concepts from contemporary European avant-garde movements and introduced them into the artistic and literary system in their home country. These individuals did not form aesthetic groups and never sketched out an individual Avant-Garde program either. The advent of the Icelandic Avant-Garde was thus marked by the absence of the radical cultural practices that characterized the project of the historical avant-garde. A second problem has to do with the fact that the reception of the historical avant-garde was not restricted to experimental aesthetic practices of Icelandic writers and artists. Quite the reverse, the beginning of the 1920s saw the emergence of a virulent critique of the avant-garde that preceded avant-garde experiments in Iceland. The idea of an Icelandic avant-garde emerged as an integral part of a nationalistic conception of aesthetic renewal. To a certain extent it could be argued that the Icelandic avant-garde was in fact a political construct. Thirdly, the historian faces the problem that the term avant-garde does not exist in Icelandic. The common term which came to be used as its equivalent, framúrstefna, seems to have appeared only in the 1950s. The absence of the term "avant-garde" in the early twentieth century is not a specific problem of the Icelandic context and may be said to be characteristic for the first half of the twentieth century, as it appears

-235-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

(Einhorn 25)

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Note: primary sources have slightly different requirements for citation. Please see these guidelines for more information.

Cited page

Bookmark this page
The Invention of Politics in the European Avant-Garde (1906-1940)
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Help
Full screen
Items saved from this book
  • Bookmarks
  • Highlights & Notes
  • Citations
/ 292

matching results for page

    Questia reader help

    How to highlight and cite specific passages

    1. Click or tap the first word you want to select.
    2. Click or tap the last word you want to select, and you’ll see everything in between get selected.
    3. You’ll then get a menu of options like creating a highlight or a citation from that passage of text.

    OK, got it!

    Cited passage

    Style
    Citations are available only to our active members.
    Buy instant access to cite pages or passages in MLA 8, MLA 7, APA and Chicago citation styles.

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

    "Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

    1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

    Cited passage

    Thanks for trying Questia!

    Please continue trying out our research tools, but please note, full functionality is available only to our active members.

    Your work will be lost once you leave this Web page.

    Buy instant access to save your work.

    Already a member? Log in now.

    Search by... Author
    Show... All Results Primary Sources Peer-reviewed

    Oops!

    An unknown error has occurred. Please click the button below to reload the page. If the problem persists, please try again in a little while.