![]() ![]() Because, as the confrontational and “new” gains acceptance and becomes institutionalized, it loses its critical powers, as with Duchamp’s (in)famous urinal. Recognizing the confrontational nature of the historical avant-garde, Dada, Surrealism, and so on, the neo-avant-garde is seen by a number of authors as a sort of “watered down version” of the historical phenomenon. A book of this size, already 424 pages, cannot be expected to be totally comprehensive, as the introduction notes: “this book is not to be read as a representative, let alone exhaustive, form of historiography, but rather as an intervention, aimed at prompting a new paradigm in literary historiography” (p. ![]() In lieu of an abstract, here is a brief excerpt of the content:ĥ60 Leonardo Reviews 11 chapters, looking a little more at individual authors and the movements they belonged to, for example Chapter 12, The Neo-Avant-Garde in Latin America: The Case of Mario Bellatin. ![]()
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