The present thesis about the Austrian writer Hans Carl Artmann (1921--2000) argues that his literary work is designed by a structuralist imagination in the sense of a reasoning that corresponds to linguistic structuralism that is based on Saussurean semiology. The study is divided in four sections. The first section provides introductory chapters on Artmann's biographic context, the scholarly context, and the cultural context of Austrianness. The second section discusses methodological implications that are relevant for theorizing postmodernity in general and Artmann's postmodernity in a particular sense. Given that Artmann's strong potential for postmodernity can be principally characterized by many different theories and notion of postmodernity, the study selects a narrow definition of postmodernity as bi-paradigmatic irony. The third section analyzes Artmann's three aesthetic principles (synchrony, arealism, smallness) and examines their relation to rhetoric, on the basis of which three typical categories of signs (aliens, angels, monsters) are proposed to be characteristic of his work. Taking into account Artmann's aesthetic principles, the fourth section applies the selected definition of postmodernity in terms of bi-paradigmatic irony to three prose texts (dracula dracula, tok ph'rong suleng, Grunverschlossene Botschaft).

Stravinsky's work spanned the major part of the twentieth century and engaged with nearly all its principal compositional developments. This Companion reflects the breadth of Stravinsky's achievement and influence in essays by leading international scholars on a wide range of topics. It is divided into three parts dealing with the contexts within which Stravinsky worked (Russian, modernist and compositional), with his key compositions (Russian, neoclassical and serial), and with the reception of his ideas (through performance, analysis and criticism). The volume concludes with an interview with the leading Dutch composer Louis Andriessen and a major re-evaluation of 'Stravinsky and Us' by Richard Taruskin.

To understand the full extent of this collective gesture of protest against history carried out in a brief space of time by Viennese artists in Vienna, it is essential to forget that they were born out of the horror of national-socialism. As a product of the 1960s, Viennese Actionism and its extremism represent an artistic phenomenon of great contemporary interest, when we find that violence resides everywhere behind the false appearance of universal peace. Arising in a marginal cultural environment, this book looks at Viennese Actionism art as a convulsive, virulent re-encounter between experimental art and destruction.

This text on the social construction of knowledge contains 13 contributions which: focus on specific applications of multimedia technology to cultural institutions; analyze narrative and other navigational structures in interactive multimedia systems; and present innovative uses of multimedia.

In this book leading scholars from Europe and North-America trace expanded cinema from its origins in early abstract film to post-war happenings and live events in Europe and the US; the first video and multi-media experiments of the 1960s; the fusion of multi-screen art with sonic art and music from the 1970s onwards, right up to the digital age. It brings new perspectives to bear on the work of established American pioneers such as Carolee Schneemann and Stan Vanderbeek as well as exploring expanded cinema in Western and Central Europe, the influence of video art on new media technologies, and the role of British expanded cinema from the 1970s to the present day. It shows how artists challenged the conventions of spectatorship, the viewing space and the audience, to explore a new participatory and performative cinema beyond the single screen.