Resumen de À la rencontre de quelques avant-gardes choisies
- español
Este artículo emprende un recorrido elegido a través de las diversas manifestaciones vanguardistas que florecieron desde finales del siglo XIX hasta la década de los 60. Las razones de su surgimiento y los excesos de sus creaciones constituyen los ejes del presente ensayo. Partiendo del imaginario fantasioso de Alfred Jarry encarnado por El rey Ubu, llegaremos a los sarcasmos de Boris Vian cantando La Java des bombes atomiques, para terminar con la belleza convulsiva de Paul Éluard. Al proclamarse como los defensores del anti-arte, rechazan la razón y se apoyan en el absurdo. Se caracterizan por el caos y la imperfección, lo que les lleva a cometer a veces actos destructores de obras míticas cuyo valor sagrado está arraigado en la opinión popular. A su vez, preconizan la no-significación y la contradicción como principios rectores de su creación. Coherentes con sus aspiraciones a la independencia total y en cualquier ámbito que fuera, incluyendo el político, experimentan una libertad creativa absoluta. Provocación, transgresión y subversión animan estos textos ansiosos de abrir nuevos horizontes poéticos de escritura y de lectura. Desde una doble aproximación, teórica y crítica, intentaremos forjar una visión renovada de esta creación desconcertante a través de las expectativas contemporáneas.
- English
This article undertakes a chosen journey through the various avant-garde manifestations that flourished since the end of the 19th century to the 60s. The reasons for their emergence and the excesses of their creations constitutes the axes of this essay. Starting from the fanciful imaginary of Alfred Jarry incarnated by King Ubu, we will arrive at the sarcasms of Boris Vian singing La Java des bombes atomiques, to end with the convulsive beauty of Paul Éluard. By proclaiming themselves as the defenders of anti-art, they reject reason and rely on the absurd. They are characterized by chaos and imperfection, which leads them to sometimes commit destructive acts of mythical works whose sacred value is rooted in popular opinion. In turn, they advocate non-signification and contradiction as the guiding principles of their creation. Consistent with their aspirations for total independence and in whatever fields, including politics, they experience absolute creation freedom. Provocation, transgression, and subversion animate these texts eager to open new poetic horizons of writing and reading. From a double approach, theoretical and critical, we will try to forge a renewed vision of this disconcerting creation through contemporary expectations.
- français
This article undertakes a chosen journey through the various avant-garde manifestations that flourished since the end of the 19th century to the 60s. The reasons for their emergence and the excesses of their creations constitute the axes of this essay. Starting from the fanciful imaginary of Alfred Jarry incarnated by King Ubu, we will arrive at the sarcasms of Boris Vian singing La Java des bombes atomiques, to end with the convulsive beauty of Paul Éluard. By proclaiming themselves as the defenders of anti-art, they reject reason and rely on the absurd. They are characterized by chaos and imperfection, which leads them to sometimes commit destructive acts of mythical works whose sacred value is rooted in popular opinion. In turn, they advocate non-signification and contradiction as the guiding principles of their creation. Consistent with their aspirations for total independence and in whatever fields, including politics, they experience absolute creation freedom. Provocation, transgression, and subversion animate these texts eager to open new poetic horizons of writing and reading. From a double approach, theoretical and critical, we will try to forge a renewed vision of this disconcerting creation through contemporary expectations.
