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A provocative new study that identifies a deep structure -- that of the political body -- in Frost''s poetry.
The twentieth-century English novel encompasses a vast body of work, and one of the most important and most widely read genres of literature. Balancing close readings of particular novels with a comprehensive survey of the last century of published fiction, this Companion introduces readers to more than a hundred major and minor novelists. It demonstrates continuities in novel-writing that bridge the century's pre- and post-War halves and presents leading critical ideas about English fiction's themes and forms. The essays examine the endurance of modernist style throughout the century, the role of nationality and the contested role of the English language in all its forms, and the relationships between realism and other fictional modes: fantasy, romance, science fiction. Students, scholars and readers will find this Companion an indispensable guide to the history of the English novel.
More than just a book designed to prove a thesis, 'Forms in Modernism' provides an interesting visual journey through the styles of the first half of the last century.
Presents an account of a key period in American graphic design as it manifested itself in various media, covering major historical influences and significant works.
Presenting a paradigm-shifting view of early Latin American modernism, this book looks at how a transnational intellectual community of writers and critics forged an anticolonial aesthetic based in abstract artistic forms.
The era of silent film, long seen as black and white, has been revealed in recent scholarship as bursting with color. Yet the 1920s remain thought of as a transitional decade between early cinema and the rise of Technicolor—despite the fact that new color technologies used in film, advertising, fashion, and industry reshaped cinema and consumer culture. In Chromatic Modernity, Sarah Street and Joshua Yumibe provide a revelatory history of how the use of color in film during the 1920s played a key role in creating a chromatically vibrant culture. Focusing on the final decade of silent film, Street and Yumibe portray the 1920s as a pivotal and profoundly chromatic period of cosmopolitan exchange, collaboration, and experimentation in and around cinema. Chromatic Modernity explores contemporary debates over color’s artistic, scientific, philosophical, and educational significance. It examines a wide range of European and American films, including Opus 1 (1921), L’Inhumaine (1923), Die Nibelungen (1924), The Phantom of the Opera (1925), The Lodger (1927), Napoléon (1927), and Dracula (1932). A comprehensive, comparative study that situates film among developments in art, color science, and industry, Chromatic Modernity reveals the role of color cinema in forging new ways of looking at and experiencing the modern world.
Taking their name from the downtown street in Montreal where members shared a studio in the early 1920s, The Beaver Hall Group were early adopters of new modernistic approaches to painting and explored their potential within a variety of genres, including portrait, still life, landscape and prescient scenes of urbanity. As well as providing an artistic window into the modern lives of Canadians during this transformational period of history, as a collective The Beaver Hall Group are exceptional for their inclusion of female artists as core members. Initially comprising of both genders, the group would become an all-female collective that includes some of Canada's most celebrated modern painters. Through a series of comprehensive contextual essays The Beaver Hall Group: 1920s Modernism in Montreal interweaves the work of this pioneering artistic collective within a broader narrative of the arts in the first half of the twentieth century. Exploring the groups' greater role in the modernity of Canada--and more specifically the cultural context of Montreal--the book takes on core themes such as the rise of the metropolis, juxtapositions between economic progress and cultural development, and the impact of gender on critical approaches to both artists and their work. The Beaver Hall Group: 1920s Modernism in Montreal sits alongside a major exhibition and is published in partnership with the Montreal Museum of Fine Art.
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.
Tyrus Miller breaks new ground in this study of early twentieth-century literary and artistic culture. Whereas modernism studies have generally concentrated on the vital early phases of the modernist revolt, Miller focuses on the turbulent later years of the 1920s and 1930s, tracking the dissolution of modernism in the interwar years. In the post-World War I reconstruction and the worldwide crisis that followed, Miller argues, new technological media and the social forces of mass politics opened fault lines in individual and collective experience, undermining the cultural bases of the modernist movement. He shows how late modernists attempted to discover ways of occupying this new and often dangerous cultural space. In doing so they laid bare the ruin of the modernist aesthetic at the same time as they transcended its limits. In his wide-ranging theoretical and historical discussion, Miller relates developments in literary culture to tendencies in the visual arts, cultural and political criticism, mass culture, and social history. He excavates Wyndham Lewis's hidden borrowings from Al Jolson's The Jazz Singer; situates Djuna Barnes between the imagery of haute couture and the intellectualism of Duchamp; uncovers Beckett's affinities with Giacometti's surrealist sculptures and the Bolshevik clowns Bim-Bom; and considers Mina Loy as both visionary writer and designer of decorative lampshades. Miller's lively and engaging readings of culture in this turbulent period reveal its surprising anticipation of our own postmodernity.