Thomas Strychacz
- Published in print:
- 2008
- Published Online:
- September 2011
- ISBN:
- 9780813031613
- eISBN:
- 9780813038926
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813031613.003.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This introductory chapter discusses masculinity. It looks at male writers, who slowly found themselves being embroiled in a “battle of the sexes”, which left marks everywhere on the virtually ...
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This introductory chapter discusses masculinity. It looks at male writers, who slowly found themselves being embroiled in a “battle of the sexes”, which left marks everywhere on the virtually all-male terrain of High Modernism. It also discusses male modernists, who were determined to carve out an aesthetic man's land, and highlights the purpose and content of the book. It describes a century's worth of studies of modernism, and brings up the question of the concept of a masculinist modernism.Less
This introductory chapter discusses masculinity. It looks at male writers, who slowly found themselves being embroiled in a “battle of the sexes”, which left marks everywhere on the virtually all-male terrain of High Modernism. It also discusses male modernists, who were determined to carve out an aesthetic man's land, and highlights the purpose and content of the book. It describes a century's worth of studies of modernism, and brings up the question of the concept of a masculinist modernism.
Lara Feigel
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748639502
- eISBN:
- 9780748652938
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748639502.001.0001
- Subject:
- Literature, Film, Media, and Cultural Studies
This book tells the story of a generation of writers who were passionately engaged with politics and with cinema, exploring the rise and fall of a distinct tradition of cinematic literature. Dismayed ...
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This book tells the story of a generation of writers who were passionately engaged with politics and with cinema, exploring the rise and fall of a distinct tradition of cinematic literature. Dismayed by the rise of fascism in Europe and by the widening gulf separating the classes at home, these writers turned to cinema as a popular and hard-hitting art form. The book crosses boundaries between high modernism and social realism and between ‘high’ and ‘popular’ culture, bringing together Virginia Woolf with W.H. Auden, Elizabeth Bowen with John Sommerfield, Sergei Eisenstein with Gracie Fields, and offering new interpretations of their texts. The book ends in the Second World War, an era when the bombs and searchlights rendered everyday life cinematic. The book interrogates the genres she maps, drawing on cultural theories from the 1920s onwards to investigate the nature of the cinematic and the literary. While it was not possible directly to transfer the techniques of the screen to the page any more than it was possible to ‘go over’ to the working classes, the attempts nonetheless reveal a fascinating intersection of the visual and the verbal, the political and the aesthetic. In reading between the frames of an unexplored literary tradition, this book redefines the 1930s and wartime literature and politics, offering a new perspective on Spanish Civil War as well as Second World War writing.Less
This book tells the story of a generation of writers who were passionately engaged with politics and with cinema, exploring the rise and fall of a distinct tradition of cinematic literature. Dismayed by the rise of fascism in Europe and by the widening gulf separating the classes at home, these writers turned to cinema as a popular and hard-hitting art form. The book crosses boundaries between high modernism and social realism and between ‘high’ and ‘popular’ culture, bringing together Virginia Woolf with W.H. Auden, Elizabeth Bowen with John Sommerfield, Sergei Eisenstein with Gracie Fields, and offering new interpretations of their texts. The book ends in the Second World War, an era when the bombs and searchlights rendered everyday life cinematic. The book interrogates the genres she maps, drawing on cultural theories from the 1920s onwards to investigate the nature of the cinematic and the literary. While it was not possible directly to transfer the techniques of the screen to the page any more than it was possible to ‘go over’ to the working classes, the attempts nonetheless reveal a fascinating intersection of the visual and the verbal, the political and the aesthetic. In reading between the frames of an unexplored literary tradition, this book redefines the 1930s and wartime literature and politics, offering a new perspective on Spanish Civil War as well as Second World War writing.
Mererid Puw Davies
- Published in print:
- 2001
- Published Online:
- October 2011
- ISBN:
- 9780199242757
- eISBN:
- 9780191697180
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199242757.001.0001
- Subject:
- Literature, European Literature
‘Bluebeard’, in which women are slaughtered by a monstrous husband and their bodies hidden in a horrible chamber, is the most hair-raising of tales; yet with its happy ending, it also has a utopian ...
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‘Bluebeard’, in which women are slaughtered by a monstrous husband and their bodies hidden in a horrible chamber, is the most hair-raising of tales; yet with its happy ending, it also has a utopian force. Using the idiom of literary criticism, this study considers Bluebeard texts as a seismograph of gender politics and of the process of civilization from 17th-century France to 1990s Germany, in a broad range of canonical and non-canonical, often forgotten texts. The study discusses Charles Perrault's French version of Bluebeard of 1697, through Ludwig Tieck's versions of 1797 and classic versions by the Grimms and Ludwig Bechstein, to 19th-century romantic fiction, the savagery of High Modernism, and 20th-century versions such as that of the Surrealist Unica Zürn. While the focus is on literature in German, this is the first full-length study published in any language of the history of Bluebeard.Less
‘Bluebeard’, in which women are slaughtered by a monstrous husband and their bodies hidden in a horrible chamber, is the most hair-raising of tales; yet with its happy ending, it also has a utopian force. Using the idiom of literary criticism, this study considers Bluebeard texts as a seismograph of gender politics and of the process of civilization from 17th-century France to 1990s Germany, in a broad range of canonical and non-canonical, often forgotten texts. The study discusses Charles Perrault's French version of Bluebeard of 1697, through Ludwig Tieck's versions of 1797 and classic versions by the Grimms and Ludwig Bechstein, to 19th-century romantic fiction, the savagery of High Modernism, and 20th-century versions such as that of the Surrealist Unica Zürn. While the focus is on literature in German, this is the first full-length study published in any language of the history of Bluebeard.
William Solomon
- Published in print:
- 2016
- Published Online:
- April 2017
- ISBN:
- 9780252040245
- eISBN:
- 9780252098468
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252040245.003.0001
- Subject:
- Society and Culture, Media Studies
This introductory chapter traces a process of cultural transformation that, beginning in the early decades of the twentieth century, led to the rise after World War II of the phenomenon called ...
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This introductory chapter traces a process of cultural transformation that, beginning in the early decades of the twentieth century, led to the rise after World War II of the phenomenon called slapstick modernism. Manifesting itself in literature, (underground) film, and popular music, the rise of slapstick modernism signaled the coalescence in cultural practice of the artistic experimentation associated with high modernism, and the socially disruptive lunacy linked to the comic film genre. However, the concept of slapstick modernism has yet to receive adequate theorization; this is partly due to the insufficiency of the terms initially used to capture the specificity of this new, hybrid cultural entity. Slapstick modernism had no manifesto of the sort that mobilized the various avant-garde ventures of the early decades of the twentieth century.Less
This introductory chapter traces a process of cultural transformation that, beginning in the early decades of the twentieth century, led to the rise after World War II of the phenomenon called slapstick modernism. Manifesting itself in literature, (underground) film, and popular music, the rise of slapstick modernism signaled the coalescence in cultural practice of the artistic experimentation associated with high modernism, and the socially disruptive lunacy linked to the comic film genre. However, the concept of slapstick modernism has yet to receive adequate theorization; this is partly due to the insufficiency of the terms initially used to capture the specificity of this new, hybrid cultural entity. Slapstick modernism had no manifesto of the sort that mobilized the various avant-garde ventures of the early decades of the twentieth century.
Steve Lacy, Roswell Rudd, and Randy Weston
- Published in print:
- 2007
- Published Online:
- May 2012
- ISBN:
- 9780520252004
- eISBN:
- 9780520940963
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520252004.003.0009
- Subject:
- Music, History, American
While the “mainstream” has marked itself off as the jazz style associated with tradition and as the bearers of Monk's legacy into the present, musicians who do not fit into the mainstream mold have ...
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While the “mainstream” has marked itself off as the jazz style associated with tradition and as the bearers of Monk's legacy into the present, musicians who do not fit into the mainstream mold have found Monk's musical legacy an important point of reference and source of creativity. This chapter looks at a number of countermainstream claims on Monk's legacy, on the line of high modernism, exploring a diverse body of music from players who are not part of the neo-bop movement, but who also do not fit neatly into another particular subgroup. Lacy, Rudd, and Weston are particularly interesting to consider when thinking about the historical implications of Monk's music and its ability to impact jazz over time, because much of their work has dealt with Monk's music. All of this music plays an indispensable role in shaping the impressions of Monk as a historical figure and as a composer-performer.Less
While the “mainstream” has marked itself off as the jazz style associated with tradition and as the bearers of Monk's legacy into the present, musicians who do not fit into the mainstream mold have found Monk's musical legacy an important point of reference and source of creativity. This chapter looks at a number of countermainstream claims on Monk's legacy, on the line of high modernism, exploring a diverse body of music from players who are not part of the neo-bop movement, but who also do not fit neatly into another particular subgroup. Lacy, Rudd, and Weston are particularly interesting to consider when thinking about the historical implications of Monk's music and its ability to impact jazz over time, because much of their work has dealt with Monk's music. All of this music plays an indispensable role in shaping the impressions of Monk as a historical figure and as a composer-performer.
Born Georgina
- Published in print:
- 1995
- Published Online:
- May 2012
- ISBN:
- 9780520202160
- eISBN:
- 9780520916845
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520202160.003.0007
- Subject:
- Anthropology, European Cultural Anthropology
This chapter illustrates how the concert programming of the Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) embodied an extremely coherent and forceful canonization of ...
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This chapter illustrates how the concert programming of the Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) embodied an extremely coherent and forceful canonization of twentieth-century high-musical modernism. It explains that IRCAM's resources were channeled into three powerful and legitimizing displacements. These include the interpretation of the musical past, the development of technology and pure science around music, and the assertion of a realm of utopian and scientific thought and theory closely linked to composition.Less
This chapter illustrates how the concert programming of the Institut de Recherche et de Coordination Acoustique/Musique (IRCAM) embodied an extremely coherent and forceful canonization of twentieth-century high-musical modernism. It explains that IRCAM's resources were channeled into three powerful and legitimizing displacements. These include the interpretation of the musical past, the development of technology and pure science around music, and the assertion of a realm of utopian and scientific thought and theory closely linked to composition.
Lawrence R. Schehr
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780823231355
- eISBN:
- 9780823241095
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823231355.003.0004
- Subject:
- Literature, European Literature
This chapter stems from something of a paradigm shift, as it is devoted to the problematic representation of sexuality or the consequences of that representation in the works of the two most ...
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This chapter stems from something of a paradigm shift, as it is devoted to the problematic representation of sexuality or the consequences of that representation in the works of the two most important authors of French high modernism, Colette and Proust. Colette's gynocentric writing is shown here to undo the stability of the sign system so that representations and plot take on ambiguous meanings, especially where questions of gender and sexuality are concerned. The novel Chéri, is considered as gender-binding as it produces similar lines to Proust that need no introduction, but still the author manages to present an analysis of two other figures which rewrites fictional prose, wherein the analysis falls from two cases that involves the examination of ethical position and astonishment on the emotional level.Less
This chapter stems from something of a paradigm shift, as it is devoted to the problematic representation of sexuality or the consequences of that representation in the works of the two most important authors of French high modernism, Colette and Proust. Colette's gynocentric writing is shown here to undo the stability of the sign system so that representations and plot take on ambiguous meanings, especially where questions of gender and sexuality are concerned. The novel Chéri, is considered as gender-binding as it produces similar lines to Proust that need no introduction, but still the author manages to present an analysis of two other figures which rewrites fictional prose, wherein the analysis falls from two cases that involves the examination of ethical position and astonishment on the emotional level.
Sozita Goudouna
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474421645
- eISBN:
- 9781474444927
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474421645.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
Samuel Beckett, one of the most prominent playwrights of the twentieth century, wrote a thirty-second playlet for the stage that does not include actors, text, characters or drama but only stage ...
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Samuel Beckett, one of the most prominent playwrights of the twentieth century, wrote a thirty-second playlet for the stage that does not include actors, text, characters or drama but only stage directions. Breath (1969) is the focus and the only theatrical text examined in this study, which demonstrates how the piece became emblematic of the interdisciplinary exchanges that occur in Beckett's later writings, and of the cross-fertilisation of the theatre with the visual arts. The book attends to fifty breath-related artworks (including sculpture, painting, new media, sound art, performance art) and contextualises Beckett's Breath within the intermedial and high-modernist discourse thereby contributing to the expanding field of intermedial Beckett criticism.Less
Samuel Beckett, one of the most prominent playwrights of the twentieth century, wrote a thirty-second playlet for the stage that does not include actors, text, characters or drama but only stage directions. Breath (1969) is the focus and the only theatrical text examined in this study, which demonstrates how the piece became emblematic of the interdisciplinary exchanges that occur in Beckett's later writings, and of the cross-fertilisation of the theatre with the visual arts. The book attends to fifty breath-related artworks (including sculpture, painting, new media, sound art, performance art) and contextualises Beckett's Breath within the intermedial and high-modernist discourse thereby contributing to the expanding field of intermedial Beckett criticism.
Andrzej Piotrowski
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816673049
- eISBN:
- 9781452945835
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816673049.003.0005
- Subject:
- Architecture, Architectural Theory and Criticism
This chapter focuses on Le Corbusier (Charles-Édouard Jeanneret) and his contributions to High Modernism. His work is said to mark a turning point in the development of Western architecture, a ...
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This chapter focuses on Le Corbusier (Charles-Édouard Jeanneret) and his contributions to High Modernism. His work is said to mark a turning point in the development of Western architecture, a radical and self-conscious departure from the artistic legacy of the nineteenth century. Together with Amédée Ozenfant, Le Corbusier proposed purism, a new movement that dismissed the old notion of naturalism in favor of abstraction of objects in painting. Unlike Victorians, he saw no conflict between the work of an artist and an engineer and merged aesthetic and technical considerations. Moreover, while running L’Esprit Nouveau, he challenged the romantic notion of an artist and intellectual and positioned himself as a businessman, a manager in charge of the magazine’s commercial promotion.Less
This chapter focuses on Le Corbusier (Charles-Édouard Jeanneret) and his contributions to High Modernism. His work is said to mark a turning point in the development of Western architecture, a radical and self-conscious departure from the artistic legacy of the nineteenth century. Together with Amédée Ozenfant, Le Corbusier proposed purism, a new movement that dismissed the old notion of naturalism in favor of abstraction of objects in painting. Unlike Victorians, he saw no conflict between the work of an artist and an engineer and merged aesthetic and technical considerations. Moreover, while running L’Esprit Nouveau, he challenged the romantic notion of an artist and intellectual and positioned himself as a businessman, a manager in charge of the magazine’s commercial promotion.
Marijeta Božovicć
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780804784023
- eISBN:
- 9780804787345
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804784023.003.0009
- Subject:
- History, European Modern History
The interwar Zagreb journal Zenit (1921–1926) staged experiments with word and image, and included texts in two alphabets and in at least five languages. The small but ambitious group of artists and ...
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The interwar Zagreb journal Zenit (1921–1926) staged experiments with word and image, and included texts in two alphabets and in at least five languages. The small but ambitious group of artists and writers associated with the journal strove to evolve a radical, collective, and ephemeral new form of art. This early Balkan avant-garde sought to turn its double marginalization into an advantage. The essay argues that this deeply self-conscious avant-garde evolved radical notions of “marginal art,” anticipating debates in the Frankfurt school and ongoing today. The ideas of Zenit move beyond the historical avant-garde. This chapter raises broader questions about art practice and the cultural heritage of the twentieth century. The Balkan avant-garde offers an antithesis to the monuments of high modernism. Despite the evident differences, a profound continuity exists with other ongoing cultural debates about marginalization and competition with dominant cultures.Less
The interwar Zagreb journal Zenit (1921–1926) staged experiments with word and image, and included texts in two alphabets and in at least five languages. The small but ambitious group of artists and writers associated with the journal strove to evolve a radical, collective, and ephemeral new form of art. This early Balkan avant-garde sought to turn its double marginalization into an advantage. The essay argues that this deeply self-conscious avant-garde evolved radical notions of “marginal art,” anticipating debates in the Frankfurt school and ongoing today. The ideas of Zenit move beyond the historical avant-garde. This chapter raises broader questions about art practice and the cultural heritage of the twentieth century. The Balkan avant-garde offers an antithesis to the monuments of high modernism. Despite the evident differences, a profound continuity exists with other ongoing cultural debates about marginalization and competition with dominant cultures.
Rebecca Beasley
- Published in print:
- 2013
- Published Online:
- March 2015
- ISBN:
- 9780199654291
- eISBN:
- 9780191803635
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199654291.003.0028
- Subject:
- Literature, 20th-century Literature and Modernism
In the immediate aftermath of the Great War, modernist magazines largely relinquished the provocative experiments of early modernism for the consolidation of achievements referred to as high ...
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In the immediate aftermath of the Great War, modernist magazines largely relinquished the provocative experiments of early modernism for the consolidation of achievements referred to as high modernism, a consolidation that involved increased specialization within disciplines. This chapter examines the histories of Art and Letters and The Apple (of Beauty and Discord), both products of the transition between these two phases of modernism. Both retain something of early modernism's heterogeneity, yet are also distinctively post-war in their sense of cultural mission.Less
In the immediate aftermath of the Great War, modernist magazines largely relinquished the provocative experiments of early modernism for the consolidation of achievements referred to as high modernism, a consolidation that involved increased specialization within disciplines. This chapter examines the histories of Art and Letters and The Apple (of Beauty and Discord), both products of the transition between these two phases of modernism. Both retain something of early modernism's heterogeneity, yet are also distinctively post-war in their sense of cultural mission.
Wim Van Mierlo and Zack R. Bowen
- Published in print:
- 2015
- Published Online:
- September 2016
- ISBN:
- 9780989082693
- eISBN:
- 9781781382417
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780989082693.003.0004
- Subject:
- Literature, 20th-century and Contemporary Literature
This essay analyzes James Joyce's Chamber Music, which was at once renounced and embraced by Joyce, but has its own integrity and aesthetic aims. It considers Chamber Music's intrinsic and historical ...
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This essay analyzes James Joyce's Chamber Music, which was at once renounced and embraced by Joyce, but has its own integrity and aesthetic aims. It considers Chamber Music's intrinsic and historical meaning by focusing on its genesis as well as the context against which it appeared. The goal is to take Chamber Music out of the context of High Modernism and insert it more properly in the time the poetry came into being—the period roughly between 1901 and 1907—and the places that had an impact on its production: Dublin and London. Moving between digital methods and poetic analysis, the essay examines the traditions in which Joyce couches Chamber Music as well as W. B. Yeats's place in its history. It suggests that Joyce and Yeats share feelings about the relationships of art and politics as well as affinities of poetic form.Less
This essay analyzes James Joyce's Chamber Music, which was at once renounced and embraced by Joyce, but has its own integrity and aesthetic aims. It considers Chamber Music's intrinsic and historical meaning by focusing on its genesis as well as the context against which it appeared. The goal is to take Chamber Music out of the context of High Modernism and insert it more properly in the time the poetry came into being—the period roughly between 1901 and 1907—and the places that had an impact on its production: Dublin and London. Moving between digital methods and poetic analysis, the essay examines the traditions in which Joyce couches Chamber Music as well as W. B. Yeats's place in its history. It suggests that Joyce and Yeats share feelings about the relationships of art and politics as well as affinities of poetic form.
