dynamic
toggle menu
menu
vocabulary
1000+ books

avant-garde
in a sentence

show 48 more with this conextual meaning
  • The other side of the room is as neat as Cedric'sa few books stacked in one corner of a spotless desk next to a botde of hand cream, a few avant-garde posters, several pairs of stylish shoes and boots per-fecdy aligned on the closet floor.†   (source)
  • It read as follows : The position which the rebels occupy in our front may be turned by a gorge about six miles from us, through a country in which cavalry may make the avant garde.†   (source)
  • Quite avant-garde.†   (source)
  • It helped that his hairstyle was a tad avant-garde, or "messy," as Kara put it.†   (source)
  • Nor do I know whether accepting the lesson has placed me in the rear or in the avant-garde.†   (source)
  • For years, B. B. Smithers had been considered the queen of avant-garde jewelry.†   (source)
  • Paul Rousseau's observation post was located directly above the café, and the sharp downward angle of the surveillance camera was such that Natalie and Jalal seemed like characters in an avant-garde French film.†   (source)
  • Do you know anything about the avant-garde theatre there's so much talk about?†   (source)
  • This is the last avant-garde.†   (source)
  • AVANT-GARDE AND KITSCH by Clement Greenberg.†   (source)
    avant-garde = radically new and experimental; or people who practice radically new and experimental ideas -- especially in the arts
  • Where there is an avant-garde, generally we also find a rear-guard.†   (source)
  • If the avant-garde imitates the processes of art, kitsch, we now see, imitates its effects.†   (source)
  • And this, precisely, is what justifies the avant-garde's methods and makes them necessary.†   (source)
  • For it is to the latter that the avant-garde belongs.†   (source)
  • Kitsch's enormous profits are a source of temptation to the avant-garde itself, and its members have not always resisted this temptation.†   (source)
  • That avant-garde culture is the imitation of imitating — the fact itself — calls for neither approval nor disapproval.†   (source)
  • The example of music, which has long been an abstract art, and which avant-garde poetry has tried so much to emulate, is interesting.†   (source)
  • This can mean only one thing: that the avant-garde is becoming unsure of the audience it depends on — the rich and the cultivated.†   (source)
  • Whether or not the avant-garde could possibly flourish under a totalitarian regime is not pertinent to the question at this point.†   (source)
  • It is for this reason that the avant-garde is outlawed, and not so much because a superior culture is inherently a more critical culture.†   (source)
  • But the avant-garde itself, already sensing the danger, is becoming more and more timid every day that passes.†   (source)
  • As for the other fields of literature — the definition of avant-garde aesthetics advanced here is no Procrustean bed.†   (source)
  • In seeking to go beyond Alexandrianism, a part of Western bourgeois society has produced something unheard of heretofore: — avant-garde culture.†   (source)
  • Since the avant-garde forms the only living culture we now have, the survival in the near future of culture in general is thus threatened.†   (source)
  • Is it the nature itself of avant-garde culture that is alone responsible for the danger it finds itself in?†   (source)
  • But there is one most important difference: the avant-garde moves, while Alexandrianism stands still.†   (source)
  • This is not to say, however, that it is to the social advantage of the avant-garde that it is what it is.†   (source)
  • It has been in search of the absolute that the avant-garde has arrived at "abstract" or "nonobjective" art — and poetry, too.†   (source)
  • Hitler is a bitter enemy of the avant-garde, both on doctrinal and personal grounds, yet this did not prevent Goebbels in 1932-1933 from strenuously courting avant-garde artists and writers.†   (source)
  • Yet it is true that once the avant-garde had succeeded in "detaching" itself from society, it proceeded to turn around and repudiate revolutionary as well as bourgeois politics.†   (source)
  • A magazine like the New Yorker, which is fundamentally high-class kitsch for the luxury trade, converts and waters down a great deal of avant-garde material for its own uses.†   (source)
  • Moreover, as Macdonald himself points out, around 1925 when the Soviet regime was encouraging avant-garde cinema, the Russian masses continued to prefer Hollywood movies.†   (source)
  • Nevertheless, if the masses were conceivably to ask for avant-garde art and literature, Hitler, Mussolini and Stalin would not hesitate long in attempting to satisfy such a demand.†   (source)
  • True, the first settlers of bohemia — which was then identical with the avant-garde — turned out soon to be demonstratively uninterested in politics.†   (source)
  • And in the case of the avant-garde, this was provided by an elite among the ruling class of that society from which it assumed itself to be cut off, but to which it has always remained attached by an umbilical cord of gold.†   (source)
  • Hence it developed that the true and most important function of the avant-garde was not to "experiment," but to find a path along which it would be possible to keep culture moving in the midst of ideological confusion and violence.†   (source)
  • It was no accident, therefore, that the birth of the avant-garde coincided chronologically — and geographically, too — with the first bold development of scientific revolutionary thought in Europe.†   (source)
  • Courage indeed was needed for this, because the avant-garde's emigration from bourgeois society to bohemia meant also an emigration from the markets of capitalism, upon which artists and writers had been thrown by the falling away of aristocratic patronage.†   (source)
  • Their personal philistinism simply adds brutality and double-darkness to policies they would be forced to support anyhow by the pressure of all their other policies — even were they, personally, devotees of avant-garde culture.†   (source)
  • The neatness of this antithesis is more than contrived; it corresponds to and defines the tremendous interval that separates from each other two such simultaneous cultural phenomena as the avant-garde and kitsch.†   (source)
  • Ostensibly, at least, it meant this — meant starving in a garret — although, as we will be shown later, the avant-garde remained attached to bourgeois society precisely because it needed its money.†   (source)
  • The avant-garde poet or artist tries in effect to imitate God by creating something valid solely on its own terms, in the way nature itself is valid, in the way a landscape — not its picture — is aesthetically valid; something given, increate, independent of meanings, similars or originals.†   (source)
  • Retiring from public altogether, the avant-garde poet or artist sought to maintain the high level of his art by both narrowing and raising it to the expression of an absolute in which all relativities and contradictions would be either resolved or beside the point.†   (source)
  • This was at a time when the Nazis felt that the prestige which the avant-garde enjoyed among the cultivated German public could be of advantage to them, and practical considerations of this nature, the Nazis being skillful politicians, have always taken precedence over Hitler's personal inclinations.†   (source)
  • True enough — simultaneously with the entrance of the avant-garde, a second new cultural phenomenon appeared in the industrial West: that thing to which the Germans give the wonderful name of Kitsch: popular, commercial art and literature with their chromeotypes, magazine covers, illustrations, ads, slick and pulp fiction, comics, Tin Pan Alley music, tap dancing, Hollywood movies, etc., etc. For some reason this gigantic apparition has always been taken for granted.†   (source)
  • As a matter of fact, the main trouble with avant-garde art and literature, from the point of view of fascists and Stalinists, is not that they are too critical, but that they are too "innocent," that it is too difficult to inject effective propaganda into them, that kitsch is more pliable to this end.†   (source)
  • But aside from the fact that most of our best contemporary novelists have gone to school with the avant-garde, it is significant that Gide's most ambitious book is a novel about the writing of a novel, and that Joyce's Ulysses and Finnegans Wake seem to be, above all, as one French critic says, the reduction of experience to expression for the sake of expression, the expression mattering more than what is being expressed.†   (source)
  • The avant-garde's specialization of itself, the fact that its best artists are artists' artists, its best poets, poets' poets, has estranged a great many of those who were capable formerly of enjoying and appreciating ambitious art and literature, but who are now unwilling or unable to acquire an initiation into their craft secrets.†   (source)
▲ show less (of above)