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This 5 page paper provides an overview of Dada, Surrealism and pop art. Bibliography lists 5 sources.
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5 pages (~225 words per page)
File: MH11_MHDadaSu.rtf
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indifference and the presence of modernity is the midst of what Tzara claims is a movement that "is not at all modern" (386). Tzara suggests that the reconciliation of
these seeming contradictions is based in the acceptance of the primary role of Dada and the way in which Dada "reduces everything to an initial simplicity, growing always more relative"
(386). In other words, while the contradiction may appear between violent acts/passion and indifference, the reduction of these concepts to the view of what is relative suggests that one
mans passion may be another mans indifference. The idea of relativism, then, becomes a substantial part of Tzaras argument. 2. If reconcilable, what is the social
medium which creates a maintainable bond between these supposed contradictions? The reconciliation of contradictory forces appears as a major element in Dadaism, based on the assertion that contradictory forces create
the substance in the world and the absolutes, the views of the mighty philosophers, are limited by a singular perspective. Dada, Tzara argues, "reduces everything to an initial simplicity"
(386), a process that is defined by contrasts. The bond that is created, then, between these seeming contradictions is based on the conceptual view of relativism and the sense
of the connection between dissenting forces inherent in this kind of simplicity. Rather than creating a facade of art, one that is neither representative or substantive, Dada promotes the
view of the conflicts that exist and the response to the earnest nature of these conflicts as a form of artistry. 3. Supposing there is an outcome to Dada,
what does Tzara think it to be? Tzara does not claim that there is an outcomes of Dada, but instead views Dada as a cyclical process, one that is never
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