Is it Possible to Leave the “Original” vs. “Copy” Dichotomy Finally Behind?

Chapters in this book

1. Frontmatter I
2. Contents V
3. About the Series – Sur la collection – Zur Buchreihe IX
4. Introduction
5. Worlds within Worlds 1
6. Theory
7. Pluriversal Avant-Gardisms 13
8. The Globalisation of The Avant-Garde 35
9. Avant-Garde: A Globalised Concept? 53
10. Japan
11. Is it Possible to Leave the “Original” vs. “Copy” Dichotomy Finally Behind? 67
12. The Flowering of Self Expression in Japan 85
13. Unleashing Fantastic Nightmares: Ee ja nai ka (1867–1868) 109
14. Travel and Ethnography
15. From Scandinavia to the Maghrib and Back 125
16. Elective Affinity with the ‘Other’ 145
17. Les Archives de la Planète 161
18. Breathe In, Breathe Out 173
19. Abe Nobuya in the Balkans 191
20. A Modern Woman Artist in Asia 207
21. Oceanic
22. Fleeting Images from an Oceanic Avant-Garde 229
23. From Symbolism to Exoticism 249
24. Translations and Appropriations
25. Global Parataxis 267
26. Efforts to Globalize the Russian Avant-Garde in the West by Downplaying its Local Conflicts 287
27. Analphabetic Modernism 301
28. Going Global
29. Futurism in a Global Perspective 315
30. Global Noir 333
31. Modalities and Localities
32. Stuff Everywhere, Art with No Place 351
33. Schizoradio und Globalisierung 363
34. Surrealism Outmapped 379
35. Archiving the Avant-Garde or Making Its Globalisation Visible? 395
36. The Informal Avant-Garde 415
37. Cosmopolitical? 431
38. Das Filmmanifest und das avantgardistische Projekt 447
39. List of contributors 469
40. Select Bibliography of Works Cited 471
41. Index 479