{"title":"Intermediality, Artillery, and the Politics of the Postwar Settlement in Picabia and Clair's Entr'acte (1924)","authors":"Chris Townsend","doi":"10.1353/mod.2021.0056","DOIUrl":"https://doi.org/10.1353/mod.2021.0056","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"28 1","pages":"687 - 705"},"PeriodicalIF":0.2,"publicationDate":"2022-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47363222","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
799 Avant-garde photography, too, gained from its encounter with the era’s aestheticist and decadent sensibilities, as so-called pictorialist photographers rejected a drab realism for a sumptuous artificiality that strove for “painterly” effects in which beauty of subject matter, composition, and tonality held sway over documentary verisimilitude. (See the 1993 museum catalogue Pictorialism into Modernism for a fine account of this crucial episode in the history of photography.) The decadent/modernist dyad in literature examined in this collection prompts one to wonder, too, how decadence informed the music of modernist composers. The musicologist Richard Taruskin has noted of the “decadent” work of Richard Strauss and Arnold Schoenberg, the unusual use of “semitonal adjacencies” that allowed for once “exotic or recondite harmonies and tonal relations” to seem acceptable.2 To be sure, there are some shrewd observations on Wilde’s “Salome” as it morphed into Strauss’s opera in Ellen Crowell’s essay in this volume. Crowell points to the tension in the opera between the gruesome head of John the Baptist and the symbolist fantasy that eschewed ugly naturalistic elements. There is a telling anecdote, shared with me by the musicologist Charles Rosen, that recounts how Strauss stopped the rehearsal of the first production of “Salome” in Dresden when the soprano playing Salome swung the head of the Baptist too ostentatiously. “Please, please, my dear,” the composer supposedly wailed. “The music is disgusting enough.” Disgust, so prevalent in decadent writing and art, is yet another feature that decadent fin de siècle aesthetics bequeathed to modernist artistry. With an introduction that manages to be both succinct and encyclopedic, Decadence in the Age of Modernism is an illuminating and ground-breaking consideration of an under-examined subject, one that ably demonstrates that the fin not only outlived the siècle, it thrived in a new century.
{"title":"Same Old: Queer Theory, Literature and the Politics of Sameness by Ben Nichols (review)","authors":"Chris Coffman","doi":"10.1353/mod.2021.0062","DOIUrl":"https://doi.org/10.1353/mod.2021.0062","url":null,"abstract":"799 Avant-garde photography, too, gained from its encounter with the era’s aestheticist and decadent sensibilities, as so-called pictorialist photographers rejected a drab realism for a sumptuous artificiality that strove for “painterly” effects in which beauty of subject matter, composition, and tonality held sway over documentary verisimilitude. (See the 1993 museum catalogue Pictorialism into Modernism for a fine account of this crucial episode in the history of photography.) The decadent/modernist dyad in literature examined in this collection prompts one to wonder, too, how decadence informed the music of modernist composers. The musicologist Richard Taruskin has noted of the “decadent” work of Richard Strauss and Arnold Schoenberg, the unusual use of “semitonal adjacencies” that allowed for once “exotic or recondite harmonies and tonal relations” to seem acceptable.2 To be sure, there are some shrewd observations on Wilde’s “Salome” as it morphed into Strauss’s opera in Ellen Crowell’s essay in this volume. Crowell points to the tension in the opera between the gruesome head of John the Baptist and the symbolist fantasy that eschewed ugly naturalistic elements. There is a telling anecdote, shared with me by the musicologist Charles Rosen, that recounts how Strauss stopped the rehearsal of the first production of “Salome” in Dresden when the soprano playing Salome swung the head of the Baptist too ostentatiously. “Please, please, my dear,” the composer supposedly wailed. “The music is disgusting enough.” Disgust, so prevalent in decadent writing and art, is yet another feature that decadent fin de siècle aesthetics bequeathed to modernist artistry. With an introduction that manages to be both succinct and encyclopedic, Decadence in the Age of Modernism is an illuminating and ground-breaking consideration of an under-examined subject, one that ably demonstrates that the fin not only outlived the siècle, it thrived in a new century.","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"28 1","pages":"799 - 801"},"PeriodicalIF":0.2,"publicationDate":"2022-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47896944","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Postcolonial Modernism and the Camera Eye: Eliot Elisofon's Photographs of African Art","authors":"E. Hyde","doi":"10.1353/mod.2021.0053","DOIUrl":"https://doi.org/10.1353/mod.2021.0053","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"28 1","pages":"607 - 635"},"PeriodicalIF":0.2,"publicationDate":"2022-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48591467","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Going for the Bronze: Modernism vs. the Old Guard at the Olympic Art Competitions","authors":"Miles Osgood","doi":"10.1353/mod.2021.0059","DOIUrl":"https://doi.org/10.1353/mod.2021.0059","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"28 1","pages":"761 - 789"},"PeriodicalIF":0.2,"publicationDate":"2022-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43540856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Decadence in the Age of Modernism ed. by Kate Hext and Alex Murray (review)","authors":"Richard A. Kaye","doi":"10.1353/mod.2021.0061","DOIUrl":"https://doi.org/10.1353/mod.2021.0061","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"28 1","pages":"797 - 799"},"PeriodicalIF":0.2,"publicationDate":"2022-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41990946","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A History of 1930s British Literature ed. by Benjamin Kohlmann and Matthew Taunton (review)","authors":"M. McCluskey","doi":"10.1353/mod.2021.0063","DOIUrl":"https://doi.org/10.1353/mod.2021.0063","url":null,"abstract":"","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"28 1","pages":"802 - 804"},"PeriodicalIF":0.2,"publicationDate":"2022-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47360499","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
804 Rather, chapters embed the reader in a particular “entanglement” and consider how literary (and film) form intersects with ideology, political action, publishing, religion, and science—among others (105). What energizes the collection is the “special urgency” Kohlmann and Taunton assign the period (2) as well as the “political urgencies” (58), “uncompromising urgency” (80), “revolutionary urgency” (81), “focused urgency” (159), “urgency of talk” (191), and “urgency of the postcolonial condition” (380) that individual contributors point out. This collective urgency calls to mind the “Tense Future” that Paul Saint-Amour sees in the 1920s and ’30s, but it also speaks to the urgency that A History of 1930s British Literature imparts to researchers today to think beyond conventional periodizations and theoretical turns and offer their own twist on their topic.2 Kohlmann and Taunton have assembled a thrilling collection of essays that provide diverse and distinct entry points into the long, wide, and urgent 1930s.
{"title":"Radio Empire: The BBC's Eastern Service and the Emergence of the Global Anglophone Novel by Daniel Morse (review)","authors":"J. Cyzewski","doi":"10.1353/mod.2021.0064","DOIUrl":"https://doi.org/10.1353/mod.2021.0064","url":null,"abstract":"804 Rather, chapters embed the reader in a particular “entanglement” and consider how literary (and film) form intersects with ideology, political action, publishing, religion, and science—among others (105). What energizes the collection is the “special urgency” Kohlmann and Taunton assign the period (2) as well as the “political urgencies” (58), “uncompromising urgency” (80), “revolutionary urgency” (81), “focused urgency” (159), “urgency of talk” (191), and “urgency of the postcolonial condition” (380) that individual contributors point out. This collective urgency calls to mind the “Tense Future” that Paul Saint-Amour sees in the 1920s and ’30s, but it also speaks to the urgency that A History of 1930s British Literature imparts to researchers today to think beyond conventional periodizations and theoretical turns and offer their own twist on their topic.2 Kohlmann and Taunton have assembled a thrilling collection of essays that provide diverse and distinct entry points into the long, wide, and urgent 1930s.","PeriodicalId":18699,"journal":{"name":"Modernism/modernity","volume":"28 1","pages":"804 - 806"},"PeriodicalIF":0.2,"publicationDate":"2022-02-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42280709","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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