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This paper discusses the Dadaism that has recently been neglected in German literature.
Dadaism as avantgarde movement in the arts proclaimed an anti-art. It was engendered by despair over World War I and negation of bourgeois values. The Dada-movement was initiated 1916 by a german refugee, the poet Hugo Ball who opened in Zurich the Cabaret Voltaire, a sort of literary and artistic cafe. Dada grew out of the Cabaret Voltaire, where the artists in exile got together. The artists organizied the anti-autonomous events that were principally directed against traditional bourgeois art. They attempted to demolish current aesthetic standards. Abstraction and accident were the principles of deliberate irrationality, anarchy, and cynicysm and the rejection of laws of beauty and social organization. A public reading of phonetic poems (Lautgedichte) by Hugo Ball was the highest expression of the events at the Cabaret Voltaire.
In 1917 the Dada movement was transmitted from Zurich to Berlin, where it took on a more political character, dependent on the actual situation in this city. The resistance against the spirit of the Weimar Republic and the Expessionism was the fundamental sandpoint of the Berlin dadaists. They provoked the society with magazines, manifestos and anti-bourgeois caricatures. The montage-technique became the main-instrument for the works of the Berlin dadaists.
The beginnings of Dadaism were not the beginnings of an art, but of a disgust. The provocations, demonstrations and oppositions were only a means to provoke the bourgeois' rage and bring them to a rude awakening.
Dadaism faded and a few of Dadaists moved to Paris and the Surrealism was invented by them Dadaism was revived in the Nee-Dada movement in the 1960s, and its influence is found in all sorts of anti-traditional and revolutionary literature.
Dadaism as avantgarde movement in the arts proclaimed an anti-art. It was engendered by despair over World War I and negation of bourgeois values. The Dada-movement was initiated 1916 by a german refugee, the poet Hugo Ball who opened in Zurich the Cabaret Voltaire, a sort of literary and artistic cafe. Dada grew out of the Cabaret Voltaire, where the artists in exile got together. The artists organizied the anti-autonomous events that were principally directed against traditional bourgeois art. They attempted to demolish current aesthetic standards. Abstraction and accident were the principles of deliberate irrationality, anarchy, and cynicysm and the rejection of laws of beauty and social organization. A public reading of phonetic poems (Lautgedichte) by Hugo Ball was the highest expression of the events at the Cabaret Voltaire.
In 1917 the Dada movement was transmitted from Zurich to Berlin, where it took on a more political character, dependent on the actual situation in this city. The resistance against the spirit of the Weimar Republic and the Expessionism was the fundamental sandpoint of the Berlin dadaists. They provoked the society with magazines, manifestos and anti-bourgeois caricatures. The montage-technique became the main-instrument for the works of the Berlin dadaists.
The beginnings of Dadaism were not the beginnings of an art, but of a disgust. The provocations, demonstrations and oppositions were only a means to provoke the bourgeois' rage and bring them to a rude awakening.
Dadaism faded and a few of Dadaists moved to Paris and the Surrealism was invented by them Dadaism was revived in the Nee-Dada movement in the 1960s, and its influence is found in all sorts of anti-traditional and revolutionary literature.
목차
Ⅰ. 들어가는 말
Ⅱ. 아방가드 운동으로서의 다다이즘
Ⅲ. 다다이즘의 특징 및 주요개념
Ⅳ. 다다이즘의 전개
Ⅴ. 맺는 말
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