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Charles Henri Ford's Blues: 查尔斯·亨利·福特的蓝调:
IF 0.3 Q3 Arts and Humanities Pub Date : 2015-04-23 DOI: 10.5325/JMODEPERISTUD.5.2.0160
HowardAlexander
This article focuses on the early editorial and literary career of Charles Henri Ford (1908–2002). Spanning much of the twentieth century, Ford's multiform aesthetic sensibility incorporated poetry, visual art, filmmaking, photography, and magazine editing. Despite the breath and depth of his interests and achievements, little critical attention has been paid to Ford. My article addresses this imbalance. It recovers an unfairly marginalized poet and editor whose little magazine sought to renovate modernism along decidedly queer lines. The first section contextualizes Ford and his second-generation modernist little magazine. The subsequent sections chart the magazine's trajectory.
本文主要研究查尔斯·亨利·福特(1908-2002)早期的编辑和文学生涯。在二十世纪的大部分时间里,福特的多种形式的审美感受融合了诗歌、视觉艺术、电影制作、摄影和杂志编辑。尽管他的兴趣和成就引人注目,但评论界对他的关注却很少。我的文章解决了这种不平衡。它恢复了一个被不公平地边缘化的诗人和编辑,他的小杂志试图沿着明确的奇怪路线革新现代主义。第一部分是福特和他的第二代现代主义小杂志的背景。接下来的章节描绘了杂志的发展轨迹。
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引用次数: 1
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IF 0.3 Q3 Arts and Humanities Pub Date : 2014-08-14 DOI: 10.5325/JMODEPERISTUD.5.1.0027
Murphy J. Stephen, G. Mark
Taking their cue from the recommendation systems of Amazon and Netflix, which use networks of like-minded customers to suggest new titles to users, the authors investigate how networks in little magazines a hundred years ago helped readers navigate an overloaded literary market by recommending to them a taste for modernism. Focusing on The Freewoman, The New Freewoman and The Egoist—and drawing on data generated by the Modernist Journals Project—this essay shows how authors in these magazines' review and co-appearance networks became increasingly well-connected, and appeared more frequently, as the magazines became more modernistic and exclusive over time.
亚马逊和Netflix的推荐系统利用志同道合的顾客网络向用户推荐新书,两位作者从亚马逊和Netflix的推荐系统中得到启发,研究了100年前小杂志中的网络如何通过向读者推荐现代主义的品味,帮助他们在超负荷的文学市场中导航。这篇文章以《自由女人》、《新自由女人》和《利己主义者》为重点,并利用现代主义期刊项目产生的数据,展示了这些杂志的评论和共同出现网络中的作者如何变得越来越紧密地联系在一起,并且随着时间的推移,这些杂志变得越来越现代和独家。
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引用次数: 84
A Dot on the Map: Some Remarks on the Magazine Nová Bratislava 地图上的一个点:对《新<e:1>布拉迪斯拉发》杂志的一些评论
IF 0.3 Q3 Arts and Humanities Pub Date : 2010-08-04 DOI: 10.1353/jmp.0.0003
Sonia de Puineuf
prohibitions against consulting the archives in the countries of the former communist block. Numerous research projects have allowed scholars to advance their knowledge of the active avant-garde circles in Central Europe in the 1920s and 1930s—a taboo subject during the postwar period. Some remarkable fi ndings have already brought to light a wealth of artistic creations. This impulse of rediscovery has offered new views of the theory of centers and peripheries: one removes Paris from its throne as the capital of arts, one pits the cosmopolitan Berlin against the infl uential Moscow, and between these east-west poles, one revalorizes Warsaw, Prague, Zagreb and Bucharest. However, within this revised historic-artistic geography, there are some areas of relative obscurity. There is considerable disparity between the amount of research into (and presentation of ) art and literature of the Czech Republic, Hungary, and Poland on the one hand compared to that of Bulgaria, Romania, and Slovakia on the other. 1
禁止查阅前共产主义集团国家的档案。大量的研究项目使学者们能够进一步了解20世纪20年代和30年代中欧活跃的先锋派圈子——这在战后时期是一个禁忌话题。一些引人注目的发现已经为我们带来了丰富的艺术创作。这种重新发现的冲动为中心和边缘理论提供了新的观点:有人把巴黎从艺术之都的宝座上拿下来,有人把国际化的柏林与有影响力的莫斯科对立起来,有人在东西两极之间重新振兴华沙、布拉格、萨格勒布和布加勒斯特。然而,在这个修订后的历史艺术地理中,有一些相对模糊的领域。与保加利亚、罗马尼亚和斯洛伐克相比,捷克共和国、匈牙利和波兰对艺术和文学的研究(和展示)数量存在相当大的差距。1
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引用次数: 3
A DOT ON THE MAP 地图上的一个点
IF 0.3 Q3 Arts and Humanities Pub Date : 2010-01-01 DOI: 10.5325/JMODEPERISTUD.1.1.0100
Sonia de Puineuf
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引用次数: 1
INVESTING IN “MODERNISM”: 投资“现代主义”:
IF 0.3 Q3 Arts and Humanities Pub Date : 2010-01-01 DOI: 10.5325/JMODEPERISTUD.1.1.0038
D. Tracy
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引用次数: 2
期刊
Journal of Modern Periodical Studies
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