Clement Greenberg’s 1939 essay “Avant-Garde and Kitsch.”

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Hi, in the Documents section of Blackboard, you will find Clement Greenberg’s 1939 essay “Avant-Garde and Kitsch.” You don’t need to read through it with immense concentration (and you only need to read up to page 20), just skim through and make sure you understand the basic concepts, then answer the following questions (you may post as a direct answer to my questions or as a discussion or response to your classmates, if you choose the latter, indicate whose post you are responding to by writing their first name in the subject line of your post):

1. In your opinion, is his perception of high and low art correct to some degree? If yes, why so? If not, why not? Is high art any more valuable that “low” or “mass” art? Or are they both significant in different ways? If high art is the peak of any one artistic genius at a given time, can mass art then not be considered the marker of a collective whole, an entire population, at a moment in history?

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2. Osmu Tezuka believed comics are a bridge between cultures and often dabbled into adaptations of classic literature into manga. His assumption was that this is an effective way to bring ideas to individuals incapable of accessing them otherwise. However, something else may be at play here as well. If comics are a universal language, does their adaptation of literature then in turn make the literature more universal and more easily understood through comics? For instance, there are certain specificities in local cultures, ways of expression, phrases, traditions, modes of thinking, etc., which are actually quite difficult to reconcile with to someone from a profoundly different culture. But, because of the ‘placeless’ nature of comics, or rather cartoons who have no distinct features bound to any locale, does that make the work itself more easy to assimilate and even agree with, despite cultural differences? Does it become easier to appreciate a foreign culture through comics? Does the universality of cartoons in turn succeed in presenting an accurate portrayal of a different culture or not or does it create an unrealistic illusion?

Topographically, Ruritania is generally situated between domains that would have been called Saxony and Bohemia in Hope’s time. It has become a conventional term, both concrete and theoretical, for a nonexistent pre WW1 European realm utilized as the setting for sentiment, interest and the plots of experience books. Its name has been given to an entire type of composing, the Ruritanian sentiment, and it has spread outside writing to a wide range of other areas.4

This paper will examine Petru�elkov�’s (P) (1994 (1940))5 Czech form of the short-novel-length Biggles Goes To War (BGW; Biggles Let� na Jih (BLJ) in Czech), set in Maltovia, portrayed in plot as a little Ruritanian-type 6 nation with a German-type upper-

class found “somewhat toward the north-east of the Black Sea, depicted by its diplomat to London as “� ..just barely in Europe. � . Asia � . isn’t a long way from our eastern frontier”.7 Its classification echoes Hope’s somewhat, e.g., Max/Ludwig Stanhauser, von Nerthold, Janovica, Bethstein, Menkhoff, Vilmsky, Klein, Nieper, Gustav, and so on. Maltovia is undermined by its neighbor Lovitzna, a marginally bigger nation, additionally Ruritanian to the extent can be judged, depicted by the Maltovian diplomat as: “� another state, not huge, as nations in Europe go, yet bigger than we are.” Johns gives minimal enough genuine data on Maltovia, and even less on Lovitzna, in spite of the fact that the names he cites for the last nation, e.g., Zarovitch (the name of the decision administration), Hotel Stadplatz, Shavros, Stretta Barovsky, do extend a Ruritanian picture like that of Maltovia. Lovitzna is building up an aviation based armed forces with the help of European educators, and the story starts with the Maltovian diplomat in London asking Biggles, Algy, and Ginger to create one for Maltovia to counter the danger from Lovitzna.

BGW incorporates scenes, for example, e.g., Biggles telling a German pilot that local people “dislike us, you know, they are volatile (93; No. 17 underneath)”, which may have evoked unwelcome pictures and meanings among Czech perusers, particularly during the period when BGW and BLJ were first published.8 The arrangement picked by P to deal with such circumstances has been to go one little above and beyond than interpretation, and to transpose the story, moving Maltovia to some unclear spot in the Middle East,

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III. TRANSPOSITION

Whittlesey 2012 sets up an exhaustive continuum for any exchange of any substance starting with one medium then onto the next, principally, however not only, including language to language, language to different mediums, e.g., pictures (films, kid’s shows, and so forth.) or from different mediums to different mediums, with interpretation, comprehended as in exactly the same words replication in the thin sense, at the one end, transposition including different degrees of free rendering of the source, and adjustment saw as the uttermost expelled from the source. He calls attention to that genuine interpretation in the thin sense he proposes is somewhat confined then again, with numerous guidelines: exclusions of words, expressions, and sentences, not to mention entire segments, is disliked, as are augmentations, or bends of the source or its purpose. Interpretations must summon a similar picture as the source messages and pass on their content.9 The exactness of an interpretation must be obvious, which is considerably less simple for transposition or adaptation.10

Whittlesey likewise refers to such models as condensed variants of the works of art, making old messages increasingly available absolutely by modernizing the language; decorating, enhancing or really

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