The Beautiful Language of My Century": Reinventing the Language of Contestation in Postwar France, 1945--1968 (October Books)

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9780262516099: The Beautiful Language of My Century

In postwar France, the aesthetics of appropriation and collage gave cultural form to a struggle over meaning. A new wave of avant-garde experimentation used -- or stole, plagiarized, and expropriated -- elements from advertising, journalism, literature, art, and other sources of common discourse (the ironically named "beautiful language" of this book's title, itself an appropriation from Guy Debord's collaged Mémoires). Redeployed, often in startling or pointed juxtapositions, these elements took on newly oppositional meanings. A famous photograph taken inside the occupied Sorbonne in May 1968, for example, shows a massive academic painting altered by a clever cartoonish speech bubble that transforms the painting into a parody of itself and memorializes an event very different from the one captured by the original artist. The Beautiful Language of My Century describes the various forms of critical culture that culminated in the events of May 1968, and investigates the ways those forms have come down to us today.

McDonough explores the montage practice developed by Guy Debord and his situationist colleagues under the name of détournement and its expression in the later fifties as a form of cultural theft. He addresses the influence of colonialism on these practices, examining a 1961 exhibit of torn posters of the Algerian War ("La France déchirée"), Godard's early film Le Petit Soldat, and Christo's Project for a Temporary Wall of Steel Drums. He discusses the French left's adoption in the mid-sixties of the "end of art" as a theoretical position and describes the leftist idea of the fête as a Rabelaisian and revolutionary upwelling of everything that is low. This influential conception, inspired equally by the American urban revolts of the sixties and the writings of theorists Marcel Mauss and Georges Bataille, coalesced into a new image of revolution, a new model of contestation, in the events of May 1968 -- when the struggle over language and culture merged with a broader resistance to capitalist modernization.

Le informazioni nella sezione "Riassunto" possono far riferimento a edizioni diverse di questo titolo.

About the Author:

Larry Press is Professor of Information Systems atCalifornia State University, Dominguez Hills. He isalso a member of the Mosaic Group, which hasbeen conducting research on the global diffusion ofthe Internet since 1995.



William McHenry is Associate Professor, ManagementDepartment, the University of Akron. He isalso a member of the Mosaic Group, which hasbeen conducting research on the global diffusion ofthe Internet since 1995.



William Foster is Assistant Professor of Global InformationTechnology at the School of Managementon the West Campus of Arizona State University. Heis also a member of the Mosaic Group, which hasbeen conducting research on the global diffusion ofthe Internet since 1995.



Peter Wolcott is Associate Professor in the Departmentof Information Systems and Quantitative Analysisat the University of Nebraska at Omaha. He isalso a member of the Mosaic Group, which hasbeen conducting research on the global diffusion ofthe Internet since 1995.

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Descrizione libro MIT Press Ltd, United States, 2011. Paperback. Condizione libro: New. Language: English . This book usually ship within 10-15 business days and we will endeavor to dispatch orders quicker than this where possible. Brand New Book. In postwar France, the aesthetics of appropriation and collage gave cultural form to a struggle over meaning. A new wave of avant-garde experimentation used -- or stole, plagiarized, and expropriated -- elements from advertising, journalism, literature, art, and other sources of common discourse (the ironically named beautiful language of this book s title, itself an appropriation from Guy Debord s collaged Memoires). Redeployed, often in startling or pointed juxtapositions, these elements took on newly oppositional meanings. A famous photograph taken inside the occupied Sorbonne in May 1968, for example, shows a massive academic painting altered by a clever cartoonish speech bubble that transforms the painting into a parody of itself and memorializes an event very different from the one captured by the original artist. The Beautiful Language of My Century describes the various forms of critical culture that culminated in the events of May 1968, and investigates the ways those forms have come down to us today.McDonough explores the montage practice developed by Guy Debord and his situationist colleagues under the name of detournement and its expression in the later fifties as a form of cultural theft. He addresses the influence of colonialism on these practices, examining a 1961 exhibit of torn posters of the Algerian War ( La France dechiree ), Godard s early film Le Petit Soldat, and Christo s Project for a Temporary Wall of Steel Drums. He discusses the French left s adoption in the mid-sixties of the end of art as a theoretical position and describes the leftist idea of the fete as a Rabelaisian and revolutionary upwelling of everything that is low. This influential conception, inspired equally by the American urban revolts of the sixties and the writings of theorists Marcel Mauss and Georges Bataille, coalesced into a new image of revolution, a new model of contestation, in the events of May 1968 -- when the struggle over language and culture merged with a broader resistance to capitalist modernization. Codice libro della libreria BTE9780262516099

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Descrizione libro MIT Press Ltd, United States, 2011. Paperback. Condizione libro: New. Language: English . Brand New Book. In postwar France, the aesthetics of appropriation and collage gave cultural form to a struggle over meaning. A new wave of avant-garde experimentation used -- or stole, plagiarized, and expropriated -- elements from advertising, journalism, literature, art, and other sources of common discourse (the ironically named beautiful language of this book s title, itself an appropriation from Guy Debord s collaged Memoires). Redeployed, often in startling or pointed juxtapositions, these elements took on newly oppositional meanings. A famous photograph taken inside the occupied Sorbonne in May 1968, for example, shows a massive academic painting altered by a clever cartoonish speech bubble that transforms the painting into a parody of itself and memorializes an event very different from the one captured by the original artist. The Beautiful Language of My Century describes the various forms of critical culture that culminated in the events of May 1968, and investigates the ways those forms have come down to us today. McDonough explores the montage practice developed by Guy Debord and his situationist colleagues under the name of detournement and its expression in the later fifties as a form of cultural theft. He addresses the influence of colonialism on these practices, examining a 1961 exhibit of torn posters of the Algerian War ( La France dechiree ), Godard s early film Le Petit Soldat, and Christo s Project for a Temporary Wall of Steel Drums. He discusses the French left s adoption in the mid-sixties of the end of art as a theoretical position and describes the leftist idea of the fete as a Rabelaisian and revolutionary upwelling of everything that is low. This influential conception, inspired equally by the American urban revolts of the sixties and the writings of theorists Marcel Mauss and Georges Bataille, coalesced into a new image of revolution, a new model of contestation, in the events of May 1968 -- when the struggle over language and culture merged with a broader resistance to capitalist modernization. Codice libro della libreria AAH9780262516099

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Descrizione libro MIT Press Ltd, United States, 2011. Paperback. Condizione libro: New. Language: English . Brand New Book. In postwar France, the aesthetics of appropriation and collage gave cultural form to a struggle over meaning. A new wave of avant-garde experimentation used -- or stole, plagiarized, and expropriated -- elements from advertising, journalism, literature, art, and other sources of common discourse (the ironically named beautiful language of this book s title, itself an appropriation from Guy Debord s collaged Memoires). Redeployed, often in startling or pointed juxtapositions, these elements took on newly oppositional meanings. A famous photograph taken inside the occupied Sorbonne in May 1968, for example, shows a massive academic painting altered by a clever cartoonish speech bubble that transforms the painting into a parody of itself and memorializes an event very different from the one captured by the original artist. The Beautiful Language of My Century describes the various forms of critical culture that culminated in the events of May 1968, and investigates the ways those forms have come down to us today.McDonough explores the montage practice developed by Guy Debord and his situationist colleagues under the name of detournement and its expression in the later fifties as a form of cultural theft. He addresses the influence of colonialism on these practices, examining a 1961 exhibit of torn posters of the Algerian War ( La France dechiree ), Godard s early film Le Petit Soldat, and Christo s Project for a Temporary Wall of Steel Drums. He discusses the French left s adoption in the mid-sixties of the end of art as a theoretical position and describes the leftist idea of the fete as a Rabelaisian and revolutionary upwelling of everything that is low. This influential conception, inspired equally by the American urban revolts of the sixties and the writings of theorists Marcel Mauss and Georges Bataille, coalesced into a new image of revolution, a new model of contestation, in the events of May 1968 -- when the struggle over language and culture merged with a broader resistance to capitalist modernization. Codice libro della libreria AAH9780262516099

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Descrizione libro Paperback. Condizione libro: New. Paperback. In postwar France, the aesthetics of appropriation and collage gave cultural form to a struggle over meaning. A new wave of avant-garde experimentation used ? or stole, plagiarized, .Shipping may be from multiple locations in the US or from the UK, depending on stock availability. 273 pages. 0.612. Codice libro della libreria 9780262516099

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Descrizione libro MIT Press Ltd. Paperback. Condizione libro: new. BRAND NEW, "The Beautiful Language of My Century": Reinventing the Language of Contestation in Postwar France, 1945-1968, Tom McDonough, In postwar France, the aesthetics of appropriation and collage gave cultural form to a struggle over meaning. A new wave of avant-garde experimentation used -- or stole, plagiarized, and expropriated -- elements from advertising, journalism, literature, art, and other sources of common discourse (the ironically named "beautiful language" of this book's title, itself an appropriation from Guy Debord's collaged Mmoires). Redeployed, often in startling or pointed juxtapositions, these elements took on newly oppositional meanings. A famous photograph taken inside the occupied Sorbonne in May 1968, for example, shows a massive academic painting altered by a clever cartoonish speech bubble that transforms the painting into a parody of itself and memorializes an event very different from the one captured by the original artist."The Beautiful Language of My Century" describes the various forms of critical culture that culminated in the events of May 1968, and investigates the ways those forms have come down to us today.McDonough explores the montage practice developed by Guy Debord and his situationist colleagues under the name of dtournement and its expression in the later fifties as a form of cultural theft. He addresses the influence of colonialism on these practices, examining a 1961 exhibit of torn posters of the Algerian War ("La France dchire"), Godard's early film Le Petit Soldat, and Christo's Project for a Temporary Wall of Steel Drums. He discusses the French left's adoption in the mid-sixties of the "end of art" as a theoretical position and describes the leftist idea of the fte as a Rabelaisian and revolutionary upwelling of everything that is low. This influential conception, inspired equally by the American urban revolts of the sixties and the writings of theorists Marcel Mauss and Georges Bataille, coalesced into a new image of revolution, a new model of contestation, in the events of May 1968 -- when the struggle over language and culture merged with a broader resistance to capitalist modernization. Codice libro della libreria B9780262516099

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