New Literary History, Volume 41, Number 4, Autumn 2010 - by hatchoi

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Furthermore, the category of repetition and the compulsion to repeat is one of Freud’s least defined concepts and remained something of a riddle for Freud himself. It is always delicate to transfer a category already avant-garde and neo-avant-garde 711 loaded with problems within the scholarly context in which it was developed (Freud ultimately could not explain the repetition compulsion) to another context. What could it contribute to our understanding of processes that are clearly not of an unconscious nature?

The primary function of the new avant-garde’s totalizing critique, then, is not to generate a utopian acceleration away from the world, but, on the contrary, to seek out those points and fissures in actuality where new cultural relations and forms of organization are possible or emergent. This means that it is precisely the pathos of the avant-garde, its role as the cultural memory of loss and defeat, that will direct and shape this potentiality. ” October 70 (1994): 5–32. 2 Peter Bürger, Theory of the Avant-Garde, trans.

19 Dmitry Vilensky, publication to the exhibition, “Make it Better,” April 9–17, 2003, St. ” (2003). ” (2007). ” Access Provided by University Of Texas-San Antonio at 04/22/11 3:25PM GMT Postcolonial Agitations: Avant-Gardism in Dakar and London Elizabeth Harney O n the opening night of Seven Stories about Modern Art in Africa, a much-anticipated exhibition held in conjunction with africa’95, the British art world’s year-long “celebration” of African arts and cultures, a hushed audience gathered in one dimly lit end of the Whitechapel Gallery to watch three men perform a solemn ritual of mummification.

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