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The avant-garde (from French, "advance guard" or "vanguard", literally "fore-guard") are people or works that are experimental or innovative, particularly with respect to art, culture, and politics. The avant-garde pushes the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The avant-garde is considered by some to be a hallmark of modernism, as distinct from postmodernism. Many artists have aligned themselves with the avant-garde movement and still continue to do so, tracing a history from Dada through the Situationists to postmodern artists such as the Language poets around 1981.〔(UBU Web ) List of artists from Dada to the present day aligning themselves with the avant-garde〕 The avant-garde also promotes radical social reforms. It was this meaning that was evoked by the Saint Simonian Olinde Rodrigues in his essay "L'artiste, le savant et l'industriel" ("The artist, the scientist and the industrialist", 1825), which contains the first recorded use of "avant-garde" in its now customary sense: there, Rodrigues calls on artists to "serve as (people's ) avant-garde", insisting that "the power of the arts is indeed the most immediate and fastest way" to social, political and economic reform. == Theories == Several writers have attempted, with limited success, to map the parameters of avant-garde activity. The Italian essayist Renato Poggioli provides one of the best-known analyses of vanguardism as a cultural phenomenon in his 1962 book ''Teoria dell'arte d'avanguardia'' (''The Theory of the Avant-Garde''). Surveying the historical, social, psychological and philosophical aspects of vanguardism, Poggioli reaches beyond individual instances of art, poetry, and music to show that vanguardists may share certain ideals or values which manifest themselves in the non-conformist lifestyles they adopt; he sees vanguard culture as a variety or subcategory of Bohemianism.〔, translated from the Italian by Gerald Fitzgerald, 2nd ed. 〕 Other authors have attempted both to clarify and to extend Poggioli's study. The German literary critic Peter Bürger's ''Theory of the Avant-Garde'' (1974) looks at the Establishment's embrace of socially critical works of art and suggests that in complicity with capitalism, "art as an institution neutralizes the political content of the individual work".〔 English translation (University of Minnesota Press) 1984: 90.〕 Bürger's essay also greatly influenced the work of contemporary American art-historians such as the German Benjamin H. D. Buchloh (born 1941), while older critics like Bürger continue to view the postwar neo-avant-garde as the empty recycling of forms and strategies from the first two decades of the twentieth century, others like Clement Greenberg (1909−1994) view it, more positively, as a new articulation of the specific conditions of cultural production in the postwar period. Buchloh, in the collection of essays ''Neo-avantgarde and Culture Industry'' (2000) critically argues for a dialectical approach to these positions.〔 〕 Subsequent criticism theorized the limitations of these approaches, noting their circumscribed areas of analysis, including Eurocentric, chauvinist, and genre-specific definitions.〔 Harding, James M. Cutting Performances: Collage Events, Feminist Artists, and the American Avant-Garde. University of Michigan, 2010.〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Avant-garde」の詳細全文を読む スポンサード リンク
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