發(fā)布時(shí)間：2018-05-15 22:04

  本文選題：國際藝術(shù) + 新興文化��； 參考：《世界美術(shù)》2014年04期

【摘要】：正在過去十年里,柏林作為國際藝術(shù)中心的重要性日益增加,堪與紐約和倫敦相媲美,這掩蓋了德國和美國藝術(shù)之間復(fù)雜而長期的交流。在這種交流的過程中,德國藝術(shù)家同時(shí)扮演而又抗拒著他們作為國際藝術(shù)"主流"的角色。20世紀(jì)的現(xiàn)代主義是歐洲前衛(wèi)藝術(shù)和美國新興文化與經(jīng)濟(jì)勢力的一場大戰(zhàn),競爭和協(xié)作并存,常常難以區(qū)分。深受歐洲文化影響的外籍美國詩人T.S.艾略特和龐德在歐洲發(fā)起了一場詩歌現(xiàn)代派運(yùn)動,并通過異域源頭影響了北美文學(xué)。從1925年起直到1942年定居美國,馬塞爾·杜尚一直生活在巴黎和紐約之間。在1930年代,他與歐洲超現(xiàn)實(shí)畫派以紐約為基地展開合作,并為他們舉辦了
[Abstract]:The growing importance of Berlin as an international centre of art over the past decade, comparable to that of New York and London, has masked the complex and long-term exchange between German and American art. In the process of this exchange, German artists simultaneously played and resisted their role as the "mainstream" of international art. Modernism in the 20th century was a major battle between European avant-garde art and the emerging cultural and economic forces of the United States. Competition and cooperation coexist and are often difficult to distinguish. T. S., a foreign American poet deeply influenced by European culture. Eliot and pound launched a poetic modernist movement in Europe and influenced North American literature through exotic sources. Marcel Duchamp lived between Paris and New York from 1925 until he settled in the United States in 1942. In the 1930s, he teamed up with European surrealist schools based in New York and organized
【作者單位】： 江南大學(xué)數(shù)字媒體學(xué)院;
【分類號】：J151.6
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本文編號：1894120