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dc.contributor.authorBacherini, Gabriele
dc.date.accessioned2022-05-31T10:35:09Z
dc.date.available2022-05-31T10:35:09Z
dc.date.issued2020
dc.identifierONIX_20220531_9788855181310_898
dc.identifier.issn2420-8361
dc.identifier.urihttps://library.oapen.org/handle/20.500.12657/55614
dc.languageItalian
dc.relation.ispartofseriesBiblioteca di Studi di Filologia Moderna
dc.subject.otherBurroughs
dc.subject.otherCut-up
dc.subject.otherDada
dc.subject.otherNeo-avant-gardes
dc.subject.otherPop art
dc.subject.other1968
dc.titleFrammenti di massificazione: le neoavanguardie anglo-germanofone, il cut-up di Burroughs e la pop art negli anni Sessanta e Settanta
dc.typebook
oapen.abstract.otherlanguageFrammenti di massificazione: le neoavanguardie anglo-germanofone, il cut-up di Burroughs e la pop art negli anni Sessanta e Settanta analyses the influence of William Seward Burroughs’ cut-up method on British and German-language neo-avant-gardes of the 1960s and 1970s from a comparative point of view, with particular attention to the literary context of the Federal Republic of Germany. In four chapters devoted to a profile of this American intellectual and artist, the origins, stylistic features and reception of the cut-up method, the author investigates the reasons for the success of this process, rediscovered by Burroughs and aiming at a reconstruction of text fragments to build up new textual entities. The last chapter is an overview of the most interesting of the uses of the cut-up method in artistic environments other than literary writing, documenting the transformation of a rebellious technique into a new form of expression, i.e. pop art.
oapen.identifier.doi10.36253/978-88-5518-131-0
oapen.relation.isPublishedBybf65d21a-78e5-4ba2-983a-dbfa90962870
oapen.relation.isbn9788855181310
oapen.relation.isbn9788855181327
oapen.series.number54
oapen.pages270
oapen.place.publicationFlorence


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