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        <title type="main">Frammenti di massificazione: le neoavanguardie anglo-germanofone, il cut-up di Burroughs e la pop art negli anni Sessanta e Settanta</title>
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            <forename>Gabriele</forename>
            <surname>Bacherini</surname>
            <placeName type="affiliation">University of Florence, Italy</placeName>
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        <publisher>Firenze University Press</publisher>
        <pubPlace>Florence</pubPlace>
        <date when="2020">2020</date>
        <idno type="DOI">https://doi.org/10.36253/978-88-5518-131-0</idno>
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        <title>Biblioteca di Studi di Filologia Moderna</title>
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      <abstract xml:lang="en">
        <p>Frammenti di massificazione: le neoavanguardie anglo-germanofone, il cut-up di Burroughs e la pop art negli anni Sessanta e Settanta analyses the influence of William Seward Burroughs’ cut-up method on British and German-language neo-avant-gardes of the 1960s and 1970s from a comparative point of view, with particular attention to the literary context of the Federal Republic of Germany. In four chapters devoted to a profile of this American intellectual and artist, the origins, stylistic features and reception of the cut-up method, the author investigates the reasons for the success of this process, rediscovered by Burroughs and aiming at a reconstruction of text fragments to build up new textual entities. The last chapter is an overview of the most interesting of the uses of the cut-up method in artistic environments other than literary writing, documenting the transformation of a rebellious technique into a new form of expression, i.e. pop art.</p>
      </abstract>
      <abstract xml:lang="it">
        <p>Frammenti di massificazione: le neoavanguardie anglo-germanofone, il cut-up di Burroughs e la pop art negli anni Sessanta e Settanta analizza, da un punto di vista comparativo, l’influsso della tecnica del cut-up di William Seward Burroughs sulle neoavanguardie anglo-germanofone degli anni Sessanta e Settanta del Novecento, con particolare attenzione al contesto letterario della Germania Occidentale. In quattro capitoli dedicati al profilo dell’intellettuale e artista statunitense, alle origini, agli stilemi e alla ricezione del cut-up, l’autore del volume indaga i motivi del successo del procedimento riscoperto da Burroughs e finalizzato alla ricostituzione di testi frammentati in nuove entità testuali. Il capitolo finale passa in rassegna i più interessanti risultati dell’utilizzo del cut-up in ambiti artistici diversi da quelli della scrittura letteraria, documentando contestualmente la trasformazione di una tecnica di rottura in una nuova forma d’espressione, quella della nascente pop art.</p>
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            <item>Burroughs</item>
            <item>Cut-up</item>
            <item>Dada</item>
            <item>Neo-avant-gardes</item>
            <item>Pop art</item>
            <item>1968</item>
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      <p>It is available online at https://doi.org/10.36253/978-88-5518-131-0<ref target="https://doi.org/10.36253/978-88-5518-131-0" /></p>
      <div>
        <listBibl>
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