Sociološki aspekti stvaralaštva i recepcije na primeru evropskih neoavangardnih umetnosti: Italija i Francuska

Abstract

The work approaches theoretical study of creativity and reception of European neo-Avant-Garde arts, and the artistic practices in the regions of Italy and France in the period from mid-50s until the beginning of the 80-s of the XX century are taken as an example. The primary goal of this research is the description and understanding of social and cultural conditions when neo-Avant-Garde artists created, the way of their creation and the connection established between neo-Avant-Ggarde creation and the audience. The second goal is studying the characteristics of neo-Avant-Garde art audience: overall social position, ideological orientation and aesthetic preferences, as well as the differetiations that can be noticed within neo-Avant-Garde audience itself. The study is primarily guided by methodological principles of the relationship between the work of art and the reception emphasized in Jaus' theoretical-methodological programme. Jaus' point of view was completed with the insights into the understanding of creativity of modern literature in the work of Lubomir Dolezel. As additional research methods, the analysis of text and context and method of comparative analysis were used. The empiciral check of theoretical findings is provided by the case study of works of literature. The work shows that neo-Avant-Garde creativity appears as the authentic contribution to the entire Avant-Garde repertoire. Historically, it is determined as a bond between the Avant-Garde and postmodern poetics. Its audience although differentiated from inside, shows itself on the outside as a homogenous group. According to the findings of the neo-Avant-Garde creativity, it can be concluded that the creator searches for educated audience in the wide field of humanity, which does not imply its elitism, since neo-Avant-Garde serves to the accomplishments of mass culture as well. The research establishes that neo-Avant-Garde audience is mainly made out of social middle-class which, due to social open-mindedness, appreciation of education and aspiration towards social progress is seen as the bearer of neo-Avant-Garde taste. Furthermore, neo-Avant-Garde creativity is theoretically divided into, conditionally speaking, the original neo-Avant-Garde, which grew in Italy through the work of Group 63 and some new Avant-Garde movements especially presented by artistic practices of the 60-s and the 70-s, outside the cultural area of Italy.