Dante Tringali

As origens míticas e musicais do modernismo

Introduction

As origens míticas e musicais do modernismo. Explore as origens míticas e musicais do modernismo, um movimento de vanguarda do século XX. Descubra sua estética dionisíaca e a transição do impressionismo ao simbolismo.

Abstract

O modernismo é um fenômeno de vanguarda, no primeiro quartel do século vinte e compreende várias frentes como o expressionismo, o cubismo, o futurismo, o surrealismo, nas quais vigora uma esté tica dionisíaca. O modernismo se opõe radicalmente às escolas artísticas tradicionais que se estendem até o manifesto simbolista, em 1886. Ora, entre as escolas modernistas e as tradicionais, se localiza uma faixa de transição, ocupada pelo impressionismo, em pintura e pelo simbolismo, em literatura. O impressionismo, uma espécie de realismo científico, pretendendo ser mais realista que o rei, acaba por desfigurar a realidade e, desse modo, prepara o caminho para o surgimento do simbolismo.

Review

The article, titled "The mythical and musical origins of modernism," promises an intriguing exploration into the foundational elements shaping this pivotal artistic epoch. Based on the provided abstract, the piece situates modernism as a 20th-century avant-garde phenomenon, encompassing movements such as Expressionism, Cubism, Futurism, and Surrealism, all united by a prevalent Dionysian aesthetic. The abstract further establishes modernism's radical departure from traditional art schools, identifying Impressionism in painting and Symbolism in literature as critical transitional phases. It offers an interesting perspective on Impressionism, describing it as a "scientific realism" that paradoxically distorts reality, thereby paving the way for Symbolism. The abstract effectively outlines a historical-analytical framework for understanding modernism's emergence and its relationship with precursor movements. Its clear distinction between traditional, transitional, and modernist schools provides a useful context, and the characterization of Impressionism's role in "disfiguring reality" to prepare for Symbolism is an insightful point. However, a significant discrepancy exists between the title's promise and the abstract's content. While the "Dionysian aesthetic" hints at the "mythical origins," there is absolutely no mention of "musical origins" anywhere in the abstract. This omission is striking, given that music is explicitly highlighted in the title as a core subject. This suggests either a fundamental misalignment between the stated research question and the outlined methodology or a critical oversight in summarizing a key aspect of the article. As it stands, the abstract suggests an article that primarily delves into the historical progression and aesthetic characteristics of modernism within visual arts and literature, with a particular focus on its break from tradition and the role of transitional movements. The absence of any discussion regarding "musical origins" – a central theme according to the title – severely limits the abstract's ability to accurately represent the full scope and ambition of the work. For this article to effectively communicate its contribution, either the abstract must be substantially revised to include a summary of the promised musical analysis, or the title itself should be adjusted to reflect the actual content, which appears to be more focused on visual and literary modernism and its mythical (Dionysian) underpinnings. If the article indeed delivers on the title's full promise, a revised abstract would significantly enhance its appeal and clarity.

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