Avant-garde Style Research Articles

Cataluña and Castilla, Noucentisme and avant-garde: towards a reading of Salvador Dalí’s Autorretrato cubista (1923)

ABSTRACTSalvador Dalí’s Autorretrato cubista is his only major painting done predominantly in the style of Analytic Cubism, although it also incorporates various examples of collage, typically associated with Synthetic Cubism. Close analysis of the compositional structure of the self-portrait, together with the identification and interpretation of the various objects and newspaper fragments glued to its surface, suggest the representation of a self divided and pulled simultaneously in different directions. The major lines of tension involve two oppositions: one between Cataluña and Castilla, that is to say, between a sympathetic stance towards Catalan nationalism versus Castilian centralism (tempered by the positive and horizon-expanding experience of student life in Madrid), and the other between the avant-garde and other artistic styles. This second tension manifests itself in the espousal of Analytic Cubism (with some features of Synthetic Cubism) and, at the same time, the inclusion of certain elements deriving from earlier tendencies, notably Noucentisme, a movement that in turn had very close links with Catalanism. In Autorretrato cubista, painted at the very end of 1923, it therefore seems possible to discern a complex and unresolved psychomachia of diverse and sometimes contradictory allegiances and influences played out on the canvas.

Left Bank Cinema: Memories of History and the Experience of Time

In this paper, I use two films—Les Statues MeurrentAussi (Statues also Die, 1953) directed by Resnais and Marker and Sans Soleil (Sunless, 1983) as representatives of Left Bank cinema to show how they construct experiences of time and memory using various modernist strategies. Key to this is the use of a mental journey genre in modernist cinema and the construction of a facial dispositif which leads to a perceptual experiencing of inner states. Les Statues MeurrentAussi is a key film in the history of French cinema as it highlights Alain Resnais’ and Chris Marker’s early commitment towards a politically avant-garde filmmaking style. The film was banned for many decades because it was highly critical of France’s colonial interests. The film is also a proof to the less emphasised collaboration between two pioneering directors and especially in their use of the essay film genre. Sans Soleil on the other hand is considered as a philosophical masterpiece because of its meditations on time and memory. In taking these two films, I hope not only to demonstrate cinema’s capability to generate affective spatio-temporal states but also to highlight a piece of film history which is often misappropriated under the tag of the French New Wave.

Design of Woman’s Clothes Collection Inspired by Salvador Dali’s Creative Work

The aim of the research. Development of modern collection of woman’s clothes with the usage of artistic stylistic elements by Sal’vador Dali in combination with trend ideas. Research methodology is based on the method of study of art supervisions and generalizations including research of the resource, recording general signs and properties; a structural and tipological method with the analysis of fashionable trends and literature source, and studying similarities to discover differences; a systematic method which includes dividing the system into subsystems to be studied independently; a comparative method studying the collected information with its interrelations on the basis of comparative and historical approach; a method of formalization which studies the adaptability and efficiency of project decisions of clothes models. Scientific novelty is represented in extended analysis of scientific and theoretical view of artworks by Salvador Dali. Signs in the works of the artist as a result of his psychological and emotional state in certain periods of creative way are analyzed and systematized. Based on the thorough analysis, such basic characteristics of the collection as shape, silhouette, lines, texture, manner of execution, colors and assortment are derived. Possessing initial characteristics, the first period of creativity of Salvador Dali was chosen for the design of the collection. Having decided on the assortment group – outerwear, and the shape - rounded, cocoon imitation, the work to design the collection using the transformation method was carried out. Conclusions. This design and compositional work presents the author’s collection of ready-to-wear women’s clothing, developed on the basis of the study of the psychological and emotional paradigm of Salvador Dali’s creative work, which is embodied in his paintings from the 1930s-1940s, using the latest trends. The collection is made in the avant-garde style - a fashionable trend that has a number of characteristic marks in fashion such as the usage of unusual materials, shapes, lines, the creation of non-standard silhouettes, where the advantage is often given to threedimensional geometric shapes, asymmetry, and the use of noticeable accessories [21]. In this collection avant-garde style was primarily represented in non-standard forms and designs.

Composer’s Word

Composer’s Word

New Findings of Sicilian Folk Songs in Luciano Berio´s Naturale

This paper gathers and analyzes information concerning Naturale, a work written by Luciano Berio in 1985 for viola, percussion and recorded voice, based on Sicilian folk songs. Several aspects surrounding Naturale's creation are taken into consideration in this study: Berio's compositional style and traits, the manner in which he relates his works one to another, what he sees in folk music and his own personal desire to intertwine art music and folk music. For Berio, Naturale is not an isolated venture into the realm of mixing folk music and his own avant-garde style; it is instead one of many works resulting from his long-standing relationship with folk music. Another essential aspect in this case is the study of the sources used by Berio to find the folk songs by which he was inspired. An interview with Maestro Aldo Bennici, the Sicilian violist for whom Naturale was composed, helped in the discovery of the usage of two more folk songs in a section of the piece, being their identification suggested in this paper.

Vortex Fluidic Chemical Transformations.

Driving chemical transformations in dynamic thin films represents a rapidly thriving and diversifying research area. Dynamic thin films provide a number of benefits including large surface areas, high shearing rates, rapid heat and mass transfer, micromixing and fluidic pressure waves. Combinations of these effects provide an avant-garde style of conducting chemical reactions with surprising and unusual outcomes. The vortex fluidic device (VFD) has proved its capabilities in accelerating and increasing the efficiencies of numerous organic, materials and biochemical reactions. This Minireview surveys transformations that have benefited from VFD-mediated processing, and identifies concepts driving the effectiveness of vortex-based dynamic thin films.

Sedap Cycle: A Multi-Movement ‘Compositional Tour’ of Malaysian Cuisine

Sedap Cycle is a composition inspired by the author’s interaction with Malaysian cuisine. The culture surrounding each meal, the food’s components and author’s background and experience with the food inspired the musical output. The music is drawn from music connected to a food’s culture and the interpretation of tastes as musical characteristics. The creation of the music used some quantitative methods to survey Malaysians about which local foods are well-known, but largely several categories of qualitative methods to create the music, such as practice-based, practice-led and autoethnographic research. The result is a six-movement composition based on six meals in a day (four main meals and two ‘teas’) with each major movement containing a title of well-known Malaysian food (‘Nasi Lemak’, ‘Nasi Campur’, ‘Char Kuey Teow’ and ‘Roti Canai’). This piece combines Western classical and avant garde styles with traditional and popular Malaysian, Chinese, Indian and American music. While a new musical work is the primary goal, other goals include the creation of a musical form inspired by Malaysia that composers could use and the ability to relate concepts of music and composition in the Western idiom to Malaysian composers, performers and educators.

English

This research was aimed at contributing to the effort of narrowing down the knowledge gap that exists in Ethiopia regarding postmodernism as an avant-garde style in literary studies. The core objective of the study was to identify the major stylistic features of postmodernism in the selected Amharic novel ኤላን ፍለጋ/የኣዞ ኮሌጅ (Elan Filega/Ye’azo Collej) which was used as a primary source of data. The design of research is descriptive. Important excerpts for the analysis were identified from the novel through a Close Reading technique and were transcribed into English using The Communicative Approach. The data used as textual evidences were identified after a critical reading based on the knowledge of postmodernism obtained from the literature review where by the postmodernist Literary Theory Frame Works were employed during the progress of data identification and coding. The method for data analysis was qualitative. All the concepts raised and analyzed and all the judgments made are supported by clearly stated textual evidences from the novel so that the research findings will be reliable. The study has shown that the novel is rich in features of postmodernist literature like fabulation, parody, radical plurality, intertextuality, magic realism, fragmentation, playfulness, and postmodern allegory. Key words: Postmodernism, novel, Elan Filega/Ye’azo Collej (a search for Ela/Crocodile College)

Scenic Impressions: Southern Interpretations from the Johnson Collection by Estill Curtis Pennington and Martha R. Severens

Reviewed by: Scenic Impressions: Southern Interpretations from the Johnson Collection by Estill Curtis Pennington and Martha R. Severens Carolyn Porter Phinizy Scenic Impressions: Southern Interpretations from the Johnson Collection. By Estill Curtis Pennington and Martha R. Severens. ( Columbia: University of South Carolina Press, 2015. Pp 215. $49.95, ISBN 978-1-61117-675-9.) The catalog Scenic Impressions: Southern Interpretations from the Johnson Collection accompanies an exhibition of the same title and features paintings from the Johnson Collection, a diverse body of works by southern artists housed permanently in Spartanburg, South Carolina. Traveling exhibition venues included the Dixon Gallery and Gardens in Memphis and the Morris Museum of Art in Augusta, Georgia. The catalog includes an essay each by curators Estill Curtis Pennington and Martha R. Severens, detailed catalog entries for each work exhibited, artists' biographies, and selected notes and bibliography. Without a doubt, this handsomely illustrated volume will be of great interest to enthusiasts of southern art and history. The curators made a wise decision to focus on Impressionist works in the Johnson Collection. These works will have broad appeal to those acquainted already with the European and American permutations of Impressionist style, which favors loose brushwork, pastel colors, and picturesque subjects. While Impressionism will be familiar to most readers, many of the artists included in the catalog are considerably less well known. Scenic Impressions offers a refreshingly new direction down the hackneyed art-historical path of Impressionism. In his essay "The Larger World of Scenic Impressions," Pennington contextualizes the development of Impressionism from its initial emergence in Paris [End Page 442] during the 1870s, at which time the movement was considered thoroughly revolutionary. As Pennington explains, the style quickly spread across the Atlantic to the United States through such expatriate artists as James McNeill Whistler, John Singer Sargent, and William Merritt Chase. These seminal figures popularized the style among American artists, many of whom subsequently traveled to France in search of training at alternative art schools such as the Académie Julian. Severens's essay offers a more specific narrative of how Impressionism flourished in the South during the late nineteenth and early twentieth centuries. As she explains, artists and patrons alike appreciated Impressionism as a style that epitomized the American spirit: it was unfettered by tradition, it emphasized freedom and spontaneity, and there were no strict rules. Southern cities like Charleston and Savannah beckoned to American artists as beacons of beauty and escape. The attraction of artists to the American South offers a fascinating parallel to how French artists of the late nineteenth century traveled to Brittany, Provence, and Polynesia in search of an ever-elusive primitive paradise. Undoubtedly, this correlation will offer a fruitful avenue for future research and discussion. Scenic Impressions effectively fills a significant gap in the literature on American Impressionism, itself a fairly recent area of study. Although art historians have long considered American Impressionism to be a belated imitation of the French movement, scholars including William H. Gerdts have successfully demonstrated the unique character of the American movement. In the United States, Impressionism was not a divisive, avant-garde style of painting but rather a quintessentially American mode of visual expression. While valuable in mobilizing greater scholarly appreciation for American Impressionism, Gerdts's work follows the tendency of much Americanist art history by favoring artists active primarily in the Northeast and offering little consideration to artists of southern descent or those working actively in the southern states. The problem with this approach, of course, is that one is left with an extraordinarily narrow view of American art and, particularly, of American Impressionism. Pennington and Severens, who have spent their scholarly and curatorial careers focused on southern art, augment Gerdts's history of American Impressionism. As Pennington and Severens show using the works from the Johnson Collection, Impressionism offered a visual language that was uniquely suited to the landscape and artists of the South. Carolyn Porter Phinizy Virginia Commonwealth University Copyright © 2017 The Southern Historical Association

Book Review: Bakich,O. M. (2015). Valerii Pereleshin: Life of a Silkworm Toronto: University of Toronto Press

Book Review: Bakich,O. M. (2015). Valerii Pereleshin: Life of a Silkworm Toronto: University of Toronto Press

The Mediation of Constructions of Pacifism in Journey's End and The Searcher, two Contrasting Dramatic Memorials from the Late 1920s

This article examines the ways in which journalism in Britain and the United States shaped understanding of the First World War through the promotion and reception of two contrasting dramas: the British writer R. C. Sherriff's Journey's End (1928/1929) and the American writer Velona Pilcher's The Searcher (1929/1930). Journey's End achieved pre-eminence at this point because it caught the mood of a shift in attitudes. The British media quickly became excited by its realistic portrayal of life on the front line, and the attention the play received across sectors of society worldwide established its position as positively “middlebrow”. This enthusiasm for Journey's End affected the reception of The Searcher, a far more symbolic text set behind the front line. Its avant-garde style quickly earned it the label “highbrow”, an expression used pejoratively. By anointing certain play productions as representative memorials of collective experience, and dismissing others, the press did much to reinforce particular understandings of the war. Gender and racial prejudices were also entwined in commentary on issues both plays raised about relationships between entertainment and mourning. Against the socio-political backdrop of developing notions of pacifism, the reception also exposed complexities in the designations of each of these plays as anti-war.

La traducción y recepción en España de <em>Nosotros,</em> de Evgueni Ivánovich Zamiatin

En 1921 Evgueni Zamiatin escribió Nosotros, novela precursora del género distópico que las autoridades soviéticas censuraron por ser una sátira de los regímenes totalitarios. Pese a inspirar a autores como Orwell o Huxley, Zamiatin ha pasado desapercibido para el gran público. Además de explicar las razones de esta falta de reconocimiento, hemos realizado un análisis contrastivo entre la novela rusa y cuatro traducciones españolas. Dicho análisis permite comprobar que el estilo vanguardista de Zamiatin se ha transformado en una prosa funcional y transparente en las versiones españolas. El hecho de catalogar la novela en el género de la ciencia ficción podría explicar que sus llamativos rasgos formales se hayan sacrificado en aras de la fluidez de lectura que caracteriza a los géneros populares. La ubicación de un texto en uno u otro género literario condiciona el método de traducción del que es objeto.

체크 패션에 나타난 미적 특성에 관한 연구

The purpose of this study is to investigate the aesthetic characteristics of check fashion of the 20th century and to analyze the formativeness for them shown in recent collections. The results of this study are as follows; 1) Before the First World War, check patterns were used for S silhouette dresses and hobble dresses. During the two wars, they were used for garçonne style dresses and military suits. Check patterns were used for mini style in the 1960s, uni-sex style in the 1970s, and power suits in the 1980s. Especially after the 1980s, check patterns have followed the fashion trend of each season and appeared in retro styles. Consequently, the aesthetic characteristics of check dresses of the 20th century are traditionality, ornamentation and eclecticism. 2) Traditionality of check fashion shown in recent collections was implied in the classic styles like suits with its grey glen check, avant-garde styles like boxy coat with its dark blue tartan check, and so forth. Ornamentation was shown in the modern styles like jackets decorated with block check colored white and black, casual styles like bomber jackets with hound tooth check colored white and black, and so forth. Eclecticism was reflected in the romantic styles like one-piece dresses with hound tooth check colored white and light blue, elegant styles like low-cut dress with its dark blue window pane check, ethnic styles like long cape with gingham check colored white and black, and so forth.

Echoes of the world: spectrality, community and sound in Recuerdos de una mañana

José Luis Guerin's short film Recuerdos de una mañana (2011) takes as its point of departure a haunting accidental shot of a seemingly ordinary neighborhood scene: a man alone in his apartment playing the violin. From this shot, Guerin constructs a powerful narrative about the violinist's life and embarks on an equally powerful contemplation of his unexpected and, for some, ineffable death. Perhaps most striking is the film's attention not to solving the mystery of the man's death by suicide, but rather turning toward how his life touched the lives of others – his neighbors, some of whom never knew him, but all of whom heard and remembered him by the sonic mark he left on the world through his music. This essay looks at some of the ways in which Recuerdos de una mañana offers us a cinematic space in which we, as spectators, are invited to contemplate the afterlife of this figure, and the way his memory has not only affected others but also remains with them as a dynamic force from the past that permeates and shapes the present. Bringing death and afterlife into dialog, this essay proposes too that a central component of Guerin's work has to do with absence, a poetics of loss, and the way that absence and loss serve as a basis for community. Through close readings of mise-en-scène, narrative, and audiovisual elements unique to Guerin's avant-garde style, this essay ultimately argues that the film begins from the place of memories and shifts into a space of address and mourning in order to work toward a new notion of community – exploring it not as something necessarily visible or collective, but as something whose very foundation, its very visibility and collectivity, is spectral.

The rhetoric of the new: The Field and the foundations of an institutional avant-garde in Australia

The Field, in 1968, was the first exhibition held at the new National Gallery of Victoria. The exhibition made a bold modernist statement: seventy-four abstract paintings and sculptures by forty young Australian contemporary artists. The Field was a controversial undertaking because it was clearly derived from contemporary New York avant-garde styles. This paper considers The Field's impact and legacy based on the numerous exhibitions it has subsequently inspired. It focuses on The Field's efforts to align Australian art with the international modernist tradition and argues that the exhibition established a new role and identity for the art institution in Australia. The modernist values introduced by The Field had a considerable impact on the Australian art world, far greater than the avant-garde style for which the exhibition is known.

Home Is Where the Self Is: Monodrama, Journey Play Structure, and the Modernist Fairy Tale

The first decade of the twentieth century witnessed the creation of two of the most beloved works of children's literature ever produced: The Wonderful Wizard of Oz by L. Frank Baum and The Blue Bird by Maurice Maeterlinck. Baum's novel The Wonderful Wizard of Oz was published in 1900 and was presented dramatically on a Chicago in 1902 and on Broadway a year after that (Gjovaag). Maeterlinck's Blue Bird enjoyed extremely successful productions on stages in Moscow (at the Moscow Art Theater, 1908), London (Theatre Royal, Haymarket, 1909), and New York (The New Theater, 1910) within two years of 1908 publication. Both works received significant film adaptations. Directed by Victor Fleming and starring Judy Garland, The Wizard of Oz was immortalized by 1939 production. The Blue Bird began receiving film treatments as early as 1910 and was filmed by such landmark directors as Maurice Tourneur (1918) and George Cukor (in a remarkable 1976 joint Soviet-American production), but perhaps best known film version came in 1940, with Shirley Temple in a starring role-a clear attempt to recapture the magic and success of Wizard. The two films even share the cinematic framing device of having the dreary worlds of Kansas and Tyltyl and Mytyl's bedroom in black and white, only to change to vivid Technicolor when the fantastic journeys begin. Both The Wizard of Oz and, to a lesser extent, The Blue Bird have become deeply ingrained in the cultural memory and construction of childhood in both Europe and the United States.But although reception of The Wonderful Wizard of Oz has come almost entirely within the confines of fairy tales and children's literature, Maurice Maeterlinck's status as one of the leaders of the symbolist avant-garde has ensured that The Blue Bird experienced a much broader reception from critics. Looking at Maeterlinck's fairy play in terms of place in a history of experimental drama, rather than solely in the context of children's literature, yields a more complex reading not only of The Blue Bird but also of The Wonderful Wizard of Oz and offers a unique wrinkle to the interpretation of earlier works that may seem less likely analogues to these great works for children. In this essay I explore links between the structure and themes of The Blue Bird and The Wonderful Wizard of Oz and earlier works penned by pioneers of the modem drama: Henrik Ibsen's Peer Gynt (1867) and August Strindberg's Lucky Per's Journey (1881-1882) and The Road to Damascus (1898-1901). The works in question share not only a kinship in journey structure but also a deep concern with the expression of interiority and the development of personal subjectivity, characteristic of a particular strain of modem (and arguably Romantic) drama. An examination of the relationship between these two pairs of works offers an intriguing extension of the groundbreaking work that has emerged in fairy-tale studies in recent years, suggesting that the theoretical interventions offered by scholars such as Jack Zipes and Maria Tatar might be used to analyze dramatic and theatrical works well beyond the boundaries of theater for children.In addition, such an analysis may lead to a more complex analysis of the representation of the fairy tale and related works on the stage. The fairy tale had long held a place (albeit a lesser place) alongside mythology as material for spectacle in the English theater, but by the mid-nineteenth century, J. R. Planche had given the fairy tale its definite and prominent place on the Victorian stage and laid the groundwork for a lasting (and continuing) tradition (MacMillan 790). There is little doubt that the 1902 Wizard of Oz and 1909 Blue Bird productions enter directly into this tradition, but the genre itself must be seen as part of a chronology in which each genre (fairy tales and avant-garde styles of theater) developed independently but with some significant shared influences, most notably the influence of the Romantics. …

레이디 가가의 뮤직 비디오 패션에 나타난 에로티시즘

The purpose of this study was to analyze eroticism shown in the fashion of Lady Gaga`s music video. This study methods taken theoretical consideration and then was classified eroticism based on previous studies and was analyzed costumes from Lady Gaga`s music video. The results of this study were as follows: Avant-garde style exaggerates shoulders, hips, a hat or uses metal and glossy material, tape, leather and it was expressed into emphasizing or baldly exposing breast. Primitive style was expressed in ethnic style and animal patterns, lingerie look with drastic, bald exposing fashion. Romantic style was expressed using rococo style costume, frill, pleats, decoration and was produces eroticism with see-through look or costume fitting to the body. Sportive style expresses a healthier and erotic image using tight costume in yellow, blue and black while exposing belly and legs. Janus-faced style was expressed by dressing up like a man or using the method of attachment and exposure in clergy`s costume. Humorous style was expressed by emphasizing parts of body or costume itself. As examined in the above, Lady Gaga was expressed various eroticism images in her music video and is builds her own sexually appealing.

Ch-ch-ch-ch-changes: David Bowie Is and the Stream of Warm Impermanence

Ch-ch-ch-ch-changes:David Bowie Is and the Stream of Warm Impermanence Martin Murray (bio) A review of David Bowie Is, Victoria and Albert Museum, London, UK: 23 Mar. - 11 Aug. 2013Art Gallery of Ontario, Canada: 25 Sept. - 27 Nov. 2013Museum of Image and Sound, São Paulo, Brazil: 28 Jan. - 21 Apr. 2014Museum of Contemporary Art Chicago, US: Sept. 2014 - Jan. 2015 Founded in 1852, the Victoria and Albert Museum in London (the V&A) is an established museum of decorative art and design. Recently, and controversially, it has moved the focus of its major exhibitions away from shows made up from its massive permanent holdings (around 4.5 million objects) towards ones curated using external collections. These new shows have concentrated on contemporary or recent cultural phenomena that have popular appeal but that have developed out of elite, subcultural or avant-garde styles or movements. The "From Club to Catwalk" exhibition is one example; it aims to show the influence of '80s British nightclub and street style on both haute couture and retail fashion. In adopting its new exhibitions policy, the V&A is following a global cultural and business trend. Major museums operate in an ever more competitive international field in which income is key. They have to put on lucrative shows to afford their acquisitions, which have become increasingly expensive since the 1970s, when art prices began to boom. Museums now show artistic and/or cultural movements that not only have popular appeal (in film and television representations or on calendars, posters, and fridge magnets), but whose reach is also supplemented by an original elite or avant-garde cachet—impressionism, for example. The result is blockbuster exhibitions that exponentially increase financial and cultural capital. An early and important example was the hugely successful Royal Academy Monet exhibition of 1999, which turned the "R.A." from a snooty if credible artists' club and gallery into a major international museum player. Museums' playoff of elite and popular, avant-garde and mainstream, subcultural and establishment elements can take many forms, as demonstrated by the New York Metropolitan Museum of Art's recent "Punk: Chaos to Couture" show. Economically, the strategy seems to have paid off. Like the international art market, the global museum market is booming. Yet the consequent enrichment is arguably less cultural than financial, as the following shows. The museum-world context is important in reviewing David Bowie Is. On the face of it, Bowie looks like a perfect subject for a contemporary blockbuster art show. It's hard to think of a popular musician who has been both as successful as Bowie and so patently influenced by a number of major ideas, movements, and techniques in modern and postmodern art. Bowie has, for example, worked in painting, installation art, video art, performance art, and digital art. He has often said that he sees himself as an "artist" rather than as a musician, and he has the canvases, costumes, and art world connections to prove it (he is an editor of Modern Painters). What's more, Bowie has avant-garde and subcultural credentials. Many if not most of his popular creations have drawn on work that was or is countercultural, experimental, elite, or obscure. Examples of his influences include dada, surrealism, the theatre of alienation, fluxus, live art, beat writing, motorik music, and noise. When Bowie gave the V&A access to his archive, it must have seemed like a real gift, much of which was turned into David Bowie Is. The exhibition is a sell-out and its organizers are confident enough of its global appeal to have arranged a tour. After London, the show is visiting Ontario, São Paolo, Chicago, Paris, and Groningen. The public appears to be accepting enthusiastically, even gratefully, what they've been given. Yet as Derrida has pointed out (as both Sartre and Genet did before him), gifts are never free; they always involve costs, or losses. The cost of David Bowie Is is partly financial, especially for the public. They've had to pay for expensive tickets, particularly if they've bought them from online agencies, "ticket touts," or "scalpers," who have increased face value prices by...

Lady Gaga 패션스타일에 나타난 알레고리 연구(제1보)

This study comprehends the various expressions of Lady Gaga's fashion style based on Craig Owens's Allegory theory. This study analyzed four application elements of Borrow, Site Specificity, Accumulate of Strategy, and Hybridization in addition, it studied all aspects of the aesthetic value of Lady GaGa (an influential popular culture icon). It was classified in the external representation of the fashion style for the aesthetic value. The results are summarized as follows: First, 'Borrow' of the singers of the 80's music and fashion style present from her elders and visual homage to shock artists. It influenced her fans with a difference in viewpoint for a star's fashion that subsequently resulted in a deformation of form, playful kitsch style, and mixed gender. Second, 'Site specificity' presents an extreme make over through an intentional and grotesques fashion style to extend physical territory and defenseless. The results remove stereotypes and reveal deconstructive performances. Third, 'Accumulate of strategy' simultaneously presents voluptuous beauty, futurism, and avant-garde style. This shows the countercultural tendency through the random repetition of fashion images and layerd coordination. Finally, 'Hybridization' presents multiful fashion style through a collaboration with world-famous designers and cosmetic brands. She expressed a diverse and complex fashion style composed of an art form that combines a high-tech cyborg image. The aesthetic values of Lady Gaga' fashion style are 'ambivalence virtuality', 'Transcendental mixed gender', 'plural textuality', and 'unexpected play culture'.

Lola Ridge's Pivotal Editorial Role at Broom

Many scholars know lola ridge (1873–1941) as a passionate, irish-born american poet and activist whose poetry was of-ten tied to American subjects, employed various traditional and avant-garde styles, invited a diverse readership, and “expressed a fiery awareness of social injustice” (Kay Boyle [McAlmon 15]). Her time as magazine editor, however, continues to be overlooked. In 1912 Ridge founded the Ferrer Association's journal Modern School and edited its first issue (Avrich 166). The periodical started as a radical, politically based newsletter for parents but soon became less political, publishing artistic and literary work by students of the association's school. Between late 1918 and early 1919, Ridge oversaw, along with several other associate editors, three issues of the avant-garde poetry journal Others. Ridge also organized the Others Lecture Bureau, which toured parts of the Midwest and hosted several literary parties for magazine contributors and supporters (Churchill 58). Ridge's leading editorial role occurred from February 1922 to April 1923, when she served as the American literary editor of Broom: An International Magazine of the Arts. Broom was an elaborate magazine praised by many, including William Carlos Williams, who exclaimed, “What a magazine that was! Too expensive for its time but superb to hold in the hand and to read” (187). Although publications that discuss Broom largely marginalize Ridge, the correspondence between her and Broom‘s expatriate editor and publisher, Harold Loeb, in files in Princeton's Department of Rare Books and Special Collections labeled “Broom Correspondence of Harold Loeb, 1920–1956,” shows that from the New York office Ridge orchestrated the magazine's recovery, making it one of the most widely circulated privately owned literary magazines of its time. She also created the magazine's standout “all-American” issue, which pushed against European influences and presented modernism as an American project in its own right. Ridge's pivotal role at Broom is noteworthy because the disagreements she had with Loeb highlight prescribed roles female editors encountered, polarize the modernist debates on both sides of the Atlantic, show her confronting one of modernism's well-known artists, and demonstrate how the fallout over the American issue irrevocably affected Broom‘s future.