Author: American Art Association, Anderson Galleries (Firm)Publisher:
ISBN:
Category : Art
Languages : en
Pages : 908
Book Description
Catalogues- American Art Association, Anderson Galleries, Inc
Author: American Art Association, Anderson Galleries (Firm)Publisher:
ISBN:
Category : Art
Languages : en
Pages : 908
Book Description
Dramatic Bibliography
Author: Publisher: 清华大学出版社有限公司
ISBN:
Category : Bibliographical literature
Languages : en
Pages : 344
Book Description
Bulletin (1901-195 )
Author: Brooklyn Public LibraryPublisher:
ISBN:
Category :
Languages : en
Pages : 468
Book Description
Resources in Education
Author: Book Bulletin
Author: Chicago Public LibraryPublisher:
ISBN:
Category :
Languages : en
Pages : 362
Book Description
The Development of the Theatre
Author: Allardyce NicollPublisher:
ISBN:
Category : Drama
Languages : en
Pages : 258
Book Description
Antemurale
Author: Aesthetics
Author: Modernism, Magazines, and the British avant-garde
Author: Faith BinckesPublisher: OUP Oxford
ISBN: 0191613711
Category : Literary Criticism
Languages : en
Pages : 273
Book Description
This book is a re-examination of the fertile years of early modernism immediately preceding the First World War. During this period, how, where, and under whose terms the avant-garde in Britain would be constructed and consumed were very much to play for. It is the first study to look in detail at two little magazines marginalised from many accounts of this competitive process: Rhythm and the Blue Review. By thoroughly examining not only the content but the interrelated networks that defined and surrounded these publications, Faith Binckes aims to provide a fresh and challenging perspective to the on-going reappraisal of modernism. Founded in 1911, and edited by John Middleton Murry with assistance from Michael Sadleir and subsequently from Katherine Mansfield, Rhythm and The Blue Review featured a series of pivotal moments. Rhythm was the arena for a challenge to Roger Fry's vision of Post-Impressionism, for the introduction of Picasso to a British audience, for early short stories and reviews by Lawrence, and for Mansfield's discovery of a voice in which to frame her breakthrough writing on New Zealand. A further context for many of these experiments was the extended and acrimonious debate Rhythm conducted with A.R. Orage's New Age, in which issues of the proper gender, generation, and formulation of modernity were debated month by month. However, reading magazines as vehicles for avant-garde development can only provide half the story. The book also pays close attention to their dialogic, reproductive, and periodical nature, and explores the strategies at work within the terminology of the new. Crucially, it argues that they offer compelling material evidence for the consistently mobile and multiple boundaries of the modern, and puts forward a compelling case for focusing upon the specificity of magazines as a medium for literary and artistic innovation.
The Total Work of Art in European Modernism
Author: David RobertsPublisher: Cornell University Press and Cornell University Library
ISBN: 0801460972
Category : Art
Languages : en
Pages : 305
Book Description
In this groundbreaking book David Roberts sets out to demonstrate the centrality of the total work of art to European modernism since the French Revolution. The total work of art is usually understood as the intention to reunite the arts into the one integrated whole, but it is also tied from the beginning to the desire to recover and renew the public function of art. The synthesis of the arts in the service of social and cultural regeneration was a particularly German dream, which made Wagner and Nietzsche the other center of aesthetic modernism alongside Baudelaire and Mallarmé. The history and theory of the total work of art pose a whole series of questions not only to aesthetic modernism and its utopias but also to the whole epoch from the French Revolution to the totalitarian revolutions of the twentieth century. The total work of art indicates the need to revisit key assumptions of modernism, such as the foregrounding of the autonomy and separation of the arts at the expense of the countertendencies to the reunion of the arts, and cuts across the neat equation of avant-gardism with progress and deconstructs the familiar left-right divide between revolution and reaction, the modern and the antimodern. Situated at the interface between art, religion, and politics, the total work of art invites us to rethink the relationship between art and religion and art and politics in European modernism. In a major departure from the existing literature David Roberts argues for twin lineages of the total work, a French revolutionary and a German aesthetic, which interrelate across the whole epoch of European modernism, culminating in the aesthetic and political radicalism of the avant-garde movements in response to the crisis of autonomous art and the accelerating political crisis of European societies from the 1890s forward.