Titlebook: Dada‘s Subject and Structure; Performing Ideology Brandon Pelcher Book 2023 The Editor(s) (if applicable) and The Author(s), under exclusi

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書目名稱Dada‘s Subject and Structure影響因子(影響力)




書目名稱Dada‘s Subject and Structure影響因子(影響力)學(xué)科排名




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書目名稱Dada‘s Subject and Structure網(wǎng)絡(luò)公開度學(xué)科排名




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書目名稱Dada‘s Subject and Structure被引頻次學(xué)科排名




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皮薩

,“A Constant Problem and Preoccupation”: Dada and/as Sign,chapter begins with the individual letter, the most fundamental element of (ideological) communication, with a reading of the ideological complex inherent in Kurt Schwitters’ “The i-Poem” (linguistic transparency, educational and national apparatuses, etc.) and its subversion of its own role within

侵略者

,“A Spectre is Haunting Dada”: Dada and/as Manifesto, and to Dadaist praxis itself as the subversion of ideological subject formation. This exploration expands on the difficulties of naming elucidated in the previous chapter, where the word . already precludes stable Dadaist manifestos. Further building on theories of the manifesto, this chapter analy

主動脈

,“We Need Only Take Scissors”: Dada and/as Photographic Image,vidual sign and the genre of the manifesto. Centered on Berlin Dada and the “First International Dada Fair,” this chapter investigates Dada’s subversion of the indexicality of the mass-reproduced photographic images that flooded early Weimar Germany and their ideological complexities. Dadaist photom

fluoroscopy

,“So That Its Useful Significance Disappeared”: Dada and/as Commodity,e confrontations with the commodity form and its aesthetics as elements of interpellation and ideological subject formation. This chapter reads the ways that Dada commodified their own works in journals, shows, etc., as well as their various uses of commodities in their works. Dadaist assemblages of

焦慮

焦慮

facetious

Metamorphosis

expository

Jürgen Kühling,Thomas Weck,Philipp Reinholdvidual sign and the genre of the manifesto. Centered on Berlin Dada and the “First International Dada Fair,” this chapter investigates Dada’s subversion of the indexicality of the mass-reproduced photographic images that flooded early Weimar Germany and their ideological complexities. Dadaist photom