Negating Agents in O’Neill’s Beyond the Horizon and their Counterparts in Picasso’s Arlequin à la Guitar
Negating Agents in O’Neill’s Beyond the Horizon and their Counterparts in Picasso’s Arlequin à la Guitar

Summary/Abstract: Postmodern art emerged as a critical compulsion in response to the domineering institutions of modern era which were suffering from conceptual absolutism and hesitant aesthetic outlooks. Being ascribed to chaotic qualities, the approach stood as the social and aesthetic antithesis of its qualitative unity, so as to reach an authentic understanding of the intrinsic reality. Hence, postmodern art embarked on negation, as its determinative trait in reception of modern aesthetic debates. Correspondingly, the current study ponders on lives of the margin in works of two prominently modern autobiographical artists, Pablo Picasso’s Cubist painting Arlequin à la guitar accompanied by Eugene O’Neill’s modern American drama, Beyond the Horizon, further to approach the interconnectedness of the masked with the concept of determinate self-negation in marginal existentialities. The discussion further concentrates on the role of society on modern individual’s imprisonment and spiritual remoteness. Regarding this, the paper has concerned itself with presenting modern artists’ intended application of metanarratives adjacent to dialogue scarcities in artworks. In addition, postmodern negation of aesthetic ideals provide readers with a more unifying and authentic perception of subjective truth content while dealing with hesitant yet overlapping representations of multilayered reality.

• Details
• Contents