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ITHIN THE EUROPEAN CULTURAL TRADITION, the questions of artistic identity and subjectivity, the role of the artist, and the function of art in society have rarely been addressed more rigorously than during the last decades of the nineteenth century and the first decades of the twentieth.1 During this period a common denominator for otherwise disparate works was an engagement with an epistemological crisis of subjectivity and representation in a context that we may define as âmodernistâ (Moroni 7). As Anthony Tamburri succinctly writes: The notion of art, in general, at the turn of the century, was questioned by many . . . it was a critical moment in art during which time the writer, and artist in general, in questioning the status of art, expressed such a temperament formalistically in the artwork by privileging dissonance and nonsense, and thereby refuting a definitive image of the individual and the artist. (A Reconsideration 125) In other words: as the classic idea of form central to the mimetic-realistic artwork tended to dissipate over time and was replaced by the more visibly interdisciplinary, formalistic features of modernism (among which, perhaps, the most influential was a new way of interpreting the category of
Comparative Literature – Duke University Press
Published: Jan 1, 2004
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