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Author:
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ISBN:
Category : Bibliography
Languages : en
Pages : 218
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ISBN:
Category :
Languages : en
Pages : 366
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ISBN:
Category : Out-of-print books
Languages : en
Pages : 316
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Author: Vincent Sherry
Publisher: Cambridge University Press
ISBN: 1316720535
Category : Literary Criticism
Languages : en
Pages : 1579
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This Cambridge History of Modernism is the first comprehensive history of modernism in the distinguished Cambridge Histories series. It identifies a distinctive temperament of 'modernism' within the 'modern' period, establishing the circumstances of modernized life as the ground and warrant for an art that becomes 'modernist' by virtue of its demonstrably self-conscious involvement in this modern condition. Following this sensibility from the end of the nineteenth century to the middle of the twentieth, tracking its manifestations across pan-European and transatlantic locations, the forty-three chapters offer a remarkable combination of breadth and focus. Prominent scholars of modernism provide analytical narratives of its literature, music, visual arts, architecture, philosophy, and science, offering circumstantial accounts of its diverse personnel in their many settings. These historically informed readings offer definitive accounts of the major work of twentieth-century cultural history and provide a new cornerstone for the study of modernism in the current century.
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Category : Bibliography
Languages : en
Pages : 218
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Author: Fisk University. Library
Publisher:
ISBN:
Category : Africa
Languages : en
Pages : 474
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Author: Susan Rather
Publisher: University of Texas Press
ISBN: 0292760353
Category : Art
Languages : en
Pages : 285
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Archaism, an international artistic phenomenon from early in the twentieth century through the 1930s, receives its first sustained analysis in this book. The distinctive formal and technical conventions of archaic art, especially Greek art, particularly affected sculptors - some frankly modernist, others staunchly conservative, and a few who, like American Paul Manship, negotiated the distance between tradition and modernity. Professor Susan Rather considers the theory, practice, and criticism of early twentieth-century sculpture in order to reveal the changing meaning and significance of the archaic in the modern world. To this end - and against the background of Manship's career - she explores such topics as the archaeological resources for archaism, the classification of the non-Western art of India as archaic, the interest of sculptors in modern dance (Isadora Duncan and Ruth St. Denis), and the changing critical perception of archaism. Rather rejects the prevailing conception of archaism as a sterile and superficial academic style to argue its initial importance as a modernist mode of expression. The early practitioners of archaism - including Aristide Maillol, Andre Derain, and Constantin Brancusi - renounced the rhetorical excess, overrefined naturalism, and indirect techniques of late nineteenth-century sculpture in favor of nonnarrative, stylized and directly carved works, for which archaic Greek art offered an important example. Their position found implicit support in the contemporaneous theoretical writings of Emmanuel Lowy, Wilhelm Worringer, and Adolf von Hildebrand. The perceived relationship between archaic art and tradition ultimately compromised the modernist authorityof archaism and made possible its absorption by academic and reactionary forces during the 1910s. By the 1920s, Paul Manship was identified with archaism, which had become an important element in the aesthetic of public sculpture of both democratic and totalitarian societies. Sculptors often employed archaizing stylizations as ends in themselves and with the intent of evoking the foundations of a classical art diminished in potency by its ubiquity and obsolescence. Such stylistic archaism was not an empty formal exercise but an urgent affirmation of traditional values under siege. Concurrently, archaism entered the mainstream of fashionable modernity as an ingredient in the popular and commercial style known as Art Deco. Both developments fueled the condemnation of archaism - and of Manship, its most visible exemplar - by the avant-garde. Rather's exploration of the critical debate over archaism, finally, illuminates the uncertain relationship to modernism on the part of many critics and highlights the problematic positions of sculpture in the modernist discourse. The first book-length study of archaism and the first critical study of Paul Manship, this work will be important reading in several fields, including American studies and twentieth-century art history. Numerous black-and-white illustrations complement the text.
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Category : Stamp collecting
Languages : en
Pages : 1074
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ISBN:
Category : Stamp collecting
Languages : en
Pages : 556
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Author: Maria Tatar
Publisher: W. W. Norton & Company
ISBN: 0393289788
Category : Literary Criticism
Languages : en
Pages : 256
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“I have used this textbook for four courses on children’s literature with enrollments of over ninety students. It is without doubt the most well organized selection of literary fairy tales and critical commentaries currently available. Students love it.” —Lita Barrie, California State University, Los Angeles This Norton Critical Edition includes: · Seven different tale types: “Little Red Riding Hood,” “Beauty and the Beast,” “Snow White,” “Sleeping Beauty,” “Cinderella,” “Bluebeard,” and “Tricksters.” These groupings include multicultural versions, literary rescriptings, and introductions and annotations by Maria Tatar. · Tales by Hans Christian Andersen and Oscar Wilde. · More than fifteen critical essays exploring the various aspects of fairy tales. New to the Second Edition are interpretations by Ernst Bloch, Walter Benjamin, Max Lüthi, Lewis Hyde, Jessica Tiffin, and Hans-Jörg Uther. · A revised and updated Selected Bibliography.
Author: Joan DeJean
Publisher: University of Chicago Press
ISBN: 0226141365
Category : Literary Criticism
Languages : en
Pages : 402
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Considering Sappho as a creature of translation and interpretation, a figment whose features have changed with social mores and aesthetics, Joan DeJean constructs a fascinating history of the sexual politics of literary reception. The association of Sappho with female homosexuality has made her a particularly compelling and yet problematic subject of literary speculation; and in the responses of different cultures to the challenge the poet presents, DeJean finds evidence of the standards imposed on female sexuality through the ages. She focuses largely though not exclusively on the French tradition, where the Sapphic presence is especially pervasive. Tracing re-creations of Sappho through translation and fiction from the mid-sixteenth century to the period just prior to World War II, DeJean shows how these renderings reflect the fantasies and anxieties of each writer as well as the mentalité of his or her day.
