This account of modernism and its place in public culture looks at where modernism was produced and how it was transmitted to particular audiences. The individual tales of figures like Joyce, Pound, Marinetti and Eliot provide perspectives on the larger story of modernism itself.
The explosive combination of nihilist leanings together with a craving for totalitarianism was an ideal of philosophers, cultural critics, political theorists, engineers, architects and aesthetes long before it materialised in flesh and blood, not only in technology, but also in fascism, Nazism, bolshevism and radical European political movements. "The Nihilist Order", originally published in three hardcover volumes and now published in a consolidated paperback edition with an encompassing new Introduction, inspired excellent review endorsements, both amongst the academic and public spheres -- and has been heralded as a great achievement in European intellectual and cultural history.
For more than twenty years David Brion Davis has been recognized as a leading authority on the moral and ideological responses to slavery in the Western world. From Homicide to Slavery, Davis's first book of collected essays, brings together selections reflecting his wide-ranging interests in colonial history, Afro-American history, the social sciences, and American literature. The essays are interconnected by Davis's central concern with violence, irrationality, and the definition of moral limits during a period when Americans believed they were breaking free from historical constraints and acquiring new powers of self-perfection. Topics range from a socially revealing murder trial in 1843 to debates over capital punishment, movements of counter-subverison, the iconography of race, the cowboy as an American hero, the portrayal of violence in American literature, the historiography of slavery, and the British and American antislavery movements.
The Avant-Garde in Interwar England addresses modernism's ties to tradition, commerce, nationalism, and spirituality through an analysis of the assimilation of visual modernism in England between 1910 and 1939. During this period, a debate raged across the nation concerning the purpose of art in society. On one side were the aesthetic formalists, led by members of London's Bloomsbury Group, who thought art was autonomous from everyday life. On the other were England's so-called medieval modernists, many of them from the provincial North, who maintained that art had direct social functions and moral consequences. As Michael T. Saler demonstrates in this fascinating volume, the heated exchange between these two camps would ultimately set the terms for how modern art was perceived by the British public. Histories of English modernism have usually emphasized the seminal role played by the Bloomsbury Group in introducing, celebrating, and defining modernism, but Saler's study instead argues that, during the watershed years between the World Wars, modern art was most often understood in the terms laid out by the medieval modernists. As the name implies, these artists and intellectuals closely associated modernism with the art of the Middle Ages, building on the ideas of John Ruskin, William Morris, and other nineteenth-century romantic medievalists. In their view, modernism was a spiritual, national, and economic movement, a new and different artistic sensibility that was destined to revitalize England's culture as well as its commercial exports when applied to advertising and industrial design. This book, then, concerns the busy intersection of art, trade, and national identity in the early decades of twentieth-century England. Specifically, it explores the life and work of Frank Pick, managing director of the London Underground, whose famous patronage of modern artists, architects, and designers was guided by a desire to unite nineteenth-century arts and crafts with twentieth-century industry and mass culture. As one of the foremost adherents of medieval modernism, Pick converted London's primary public transportation system into the culminating project of the arts and crafts movement. But how should today's readers regard Pick's achievement? What can we say of the legacy of this visionary patron who sought to transform the whole of sprawling London into a post-impressionist work of art? And was medieval modernism itself a movement of pioneers or dreamers? In its bold engagement with such questions, The Avant-Garde in Interwar England will surely appeal to students of modernism, twentieth-century art, the cultural history of England, and urban history.
Algernon Charles Swinburne (1837-1909) is, with Browning and Tennyson, one of the touchstone Victorian poets. He was a major critic and an important fiction writer as well. Emerging out of the Pre-Raphaelite circle, his bold and innovative work made him both a celebrated and controversial writer at home and a figure of international importance. Hugo, Baudelaire, and Mallarm� were among his great admirers. Jerome McGann and Charles L. Sligh now present a generous sampling of Swinburne’s poetry and prose. This wide-ranging collection satisfies a long need for a comprehensive selection of Swinburne’s work. It is accompanied by learned and critically incisive commentaries and notes.
Examining the authorial and cross-media practices of the English novelist Elinor Glyn (1864-1943), Vincent L. Barnett and Alexis Weedon trace Glyn’s work as a novelist in the United Kingdom, her success in Hollywood as an adaptor, her relationships with important figures in the Hollywood studio system and her reworking of her stories as plays and movies. Informed by extensive archival work, their book will appeal to historians of film, culture, publishing and business.
This is a first-rate contribution to the history of science and--in view of the central importance of physics for modern civilization--to the history of the twentieth century in general."--Spencer R. Weart, Center for History of Physics at the American Institute of Physics
Evangelicals, once at the periphery of American life, now wield power in the White House and on Wall Street, at Harvard and in Hollywood. How have they reached the pinnacles of power in such a short time? And what does this mean for evangelicals--and for America? Drawing on personal interviews with an astonishing array of prominent Americans--including two former Presidents, dozens of political and government leaders, more than 100 top business executives, plus Hollywood moguls, intellectuals, athletes, and other powerful figures--D. Michael Lindsay shows first-hand how they are bringing their vision of moral leadership into the public square. This riveting volume tells us who the real evangelical power brokers are, how they rose to prominence, and what they're doing with their clout. Lindsay reveals that evangelicals are now at home in the executive suite and on the studio lot, and from those lofty perches they have used their influence, money, and ideas to build up the evangelical movement and introduce it to the wider American society. They are leaders of powerful institutions and their goals are ambitious--to bring Christian principles to bear on virtually every aspect of American life. Along the way, the book is packed with fascinating stories and striking insights. Lindsay shows how evangelicals became a force in American foreign policy, how Fortune 500 companies are becoming faith-friendly, and how the new generation of the faithful is led by cosmopolitan evangelicals. These are well-educated men and women who read both The New York Times and Christianity Today, and who are wary of the evangelical masses' penchant for polarizing rhetoric, apocalyptic pot-boilers, and bad Christian rock. Perhaps most startling is the importance of personal relationships between leaders--a quiet conversation after Bible study can have more impact than thousands of people marching in the streets. Faith in the Halls of Power takes us inside the rarified world of the evangelical elite--beyond the hysterical panic and chest-thumping pride--to give us the real story behind the evangelical ascendancy in America.
This up-to-date, highly selective bibliography is designed to acquaint students and ministers with major works, significant publishers and prominent scholars in biblical studies. It is the perfect guide for beginning a research project or building a ministerial library. References are included based on the following considerations: (1) usefulness for the theological interpretation of the Bible within the context of the faith of the church; (2) significance in the history of interpretation; and (3) representation of evangelical and especially evangelical Wesleyan scholarship.
The uncertain position of the Persian Period in Jewish memory is nothing new -- in fact, it can be traced back to nearly two thousand years. Yet it can lead contemporary scholars to exercise too much caution when dating, analyzing, and discussing ancient scribal texts. Utilizing recent tools to examine scribal methods, Mark Leuchter takes a definitive approach. An Empire Far and Wide focuses on a careful selection of literary test cases to better understand how Jewish scribes in Persian Yehud interacted with a feature of Persian imperialism that has not received adequate attention: the dynastic mythology of the Achaemenid rulers and the way it shaped emerging Jewish identity in the Persian period.
When we think of "heaven," we generally conjure up positive, blissful images. Heaven is, after all, where God is and where good people go after death to receive their reward. But how and why did Western cultures come to imagine the heavenly realm in such terms? Why is heaven usually thought to be "up there," far beyond the visible sky? And what is the source of the idea that the post mortem abode of the righteous is in this heavenly realm with God? Seeking to discover the roots of these familiar notions, this volume traces the backgrounds, origin, and development of early Jewish and Christian speculation about the heavenly realm -- where it is, what it looks like, and who its inhabitants are. Wright begins his study with an examination of the beliefs of ancient Israel's neighbors Egypt and Mesopotamia, reconstructing the intellectual context in which the earliest biblical images of heaven arose. A detailed analysis of the Hebrew biblical texts themselves then reveals that the Israelites were deeply influenced by images drawn from the surrounding cultures. Wright goes on to examine Persian and Greco-Roman beliefs, thus setting the stage for his consideration of early Jewish and Christian images, which he shows to have been formed in the struggle to integrate traditional biblical imagery with the newer Hellenistic ideas about the cosmos. In a final chapter Wright offers a brief survey of how later Jewish, Christian, and Islamic traditions envisioned the heavenly realms. Accessible to a wide range of readers, this provocative book will interest anyone who is curious about the origins of this extraordinarily pervasive and influential idea.
What does the tradition of marriage mean for people who have historically been deprived of its legal status? Generally thought of as a convention of the white middle class, the marriage plot has received little attention from critics of African-American literature. In this study, Ann duCille uses texts such as Nella Larsen's Quicksand (1928) and Zora Neale Hurston's Their Eyes Were Watching God (1937) to demonstrate that the African-American novel, like its European and Anglo-American counterparts, has developed around the marriage plot--what she calls "the coupling convention." Exploring the relationship between racial ideology and literary and social conventions, duCille uses the coupling convention to trace the historical development of the African-American women's novel. She demonstrates the ways in which black women appropriated this novelistic device as a means of expressing and reclaiming their own identity. More than just a study of the marriage tradition in black women's fiction, however, The Coupling Convention takes up and takes on many different meanings of tradition. It challenges the notion of a single black literary tradition, or of a single black feminist literary canon grounded in specifically black female language and experience, as it explores the ways in which white and black, male and female, mainstream and marginalized "traditions" and canons have influenced and cross-fertilized each other. Much more than a period study, The Coupling Convention spans the period from 1853 to 1948, addressing the vital questions of gender, subjectivity, race, and the canon that inform literary study today. In this original work, duCille offers a new paradigm for reading black women's fiction.
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