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Modernism (Literature) --- Russian literature --- Crepuscolarismo --- Literary movements --- History and criticism

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Literature --- anno 1900-1999 --- Modernisme (littérature) --- Modernisme (art) --- Modernisme (esthétique) --- Modernisme (musique) --- Literature, Modern --- Modernism (Literature) --- Histoire et critique --- History and criticism. --- 82.015 --- Literaire stromingen --- 82.015 Literaire stromingen --- Crepuscolarismo --- Literary movements --- Postmodernism (Literature) --- History and criticism --- Histoire et critique. --- Modernisme (littérature) --- Modernisme (esthétique)

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French literature --- anno 1930-1939 --- anno 1920-1929 --- Literature, Experimental --- Literature, Modern --- Littérature expérimentale --- Littérature moderne --- History and criticism --- Congresses --- Histoire et critique --- Congrès --- Littérature expérimentale --- Littérature moderne --- Congrès --- Congresses. --- Avant-garde (Aesthetics) --- European literature --- Aesthetics --- Modernism (Art) --- Avant-garde literature --- Experimental literature --- Modernism (Literature) --- Literary style

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How do you rationally connect the diverse literature, music, and painting of an age? Throughout the modernist era-which began roughly in 1872 with the Franco-Prussian War, climaxed with the Great War, and ended with a third catastrophe, the Great Depression-there was a special belligerence to this question. It was a cultural period that envisioned many different models of itself: to the Cubists, it looked like a vast jigsaw puzzle; to the Expressionists, it resembled a convulsive body; to the Dadaists, it brought to mind a heap of junk following an explosion. In Putting Modernism Together, Daniel Albright searches for the center of the modernist movement by assessing these various artistic models, exploring how they generated a stunning range of creative work that was nonetheless wound together aesthetically, and sorting out the cultural assumptions that made each philosophical system attractive. Emerging from Albright's lectures for a popular Harvard University course of the same name, the book investigates different methodologies for comparing the evolution and congruence of artistic movements by studying simultaneous developments that occurred during particularly key modernist years. What does it mean, Albright asks, that Joseph Conrad's Heart of Darkness, published in 1899, appeared at the same time as Claude Debussy's Nocturnes-beyond the fact that the word "Impressionist" has been used to describe each work? Why, in 1912, did the composer Arnold Schoenberg and the painter Vassily Kandinsky feel such striking artistic kinship? And how can we make sense of a movement, fragmented by isms, that looked for value in all sorts of under- or ill-valued places, including evil (Baudelaire), dung heaps (Chekhov), noise (Russolo), obscenity (Lawrence), and triviality (Satie)?Throughout Putting Modernism Together, Albright argues that human culture can best be understood as a growth-pattern or ramifying of artistic, intellectual, and political action. Going beyond merely explaining how the artists in these genres achieved their peculiar effects, he presents challenging new analyses of telling craft details which help students and scholars come to know more fully this bold age of aesthetic extremism.

Modernism (Literature) --- Modernism (Music) --- Modernism (Art) --- Music and literature --- Art and music --- Music and art --- Music --- Literature and music --- Literature --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Modernism in music --- Modernist music --- Musical modernism --- Style, Musical --- Crepuscolarismo --- Literary movements --- Music and literature. --- Art and music. --- Art styles --- Painting --- music [performing arts genre] --- painting [image-making] --- literary studies --- Modernist --- anno 1800-1999

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By demonstrating that many of the concepts and styles associated with modernism were actually derived directly from cultures such as Japan, China, Korea, India, Egypt, Assyria, West Africa, and the Pacific Islands, this book provides an entirely new way of looking at the evolution of modernist art and literature in the West.

Art styles --- Museology --- anno 1900-1999 --- Africa --- Pacific Islands --- Asia --- London --- modernisme --- avant-garde --- musea --- British Museum (Londen) --- Tate Gallery (Londen) --- Epstein, Jacob --- Pound, Ezra --- Thomas, James Harvard --- Holden, Charles --- Gill, Eric --- Gaudier-Brzeska, Henri --- Binyon, Laurence --- Aldington, Richard --- Ford, Ford Madox --- Fletcher, John Gould --- Lowell, Amy --- Hulme, T.E. --- 20ste eeuw --- Londen --- Azië --- Afrika --- Europa --- Stille Oceaan --- Modernism (Art) --- Modernism (Literature) --- Art, Asian --- Art, Pacific Island --- Museums --- African influences. --- Influence. --- Hueffer, Ford Madox --- Musea (Parijs) --- modernisme. --- avant-garde. --- Musea (algemeen). --- museumcollecties. --- British Museum (Londen). --- Tate Gallery (Londen). --- Epstein, Jacob. --- Pound, Ezra. --- Thomas, James Harvard. --- Holden, Charles. --- Gill, Eric. --- Gaudier-Brzeska, Henri. --- Binyon, Laurence. --- Aldington, Richard. --- Hueffer, Ford Madox. --- Fletcher, John Gould. --- Lowell, Amy. --- 20ste eeuw. --- Londen. --- Azië. --- Afrika. --- Europa. --- Stille Oceaan. --- Modernisme (art) --- Musées --- Grande-Bretagne --- Influence africaine --- Influence asiatique --- Londres (GB) --- Vie intellectuelle --- 1900-1945 --- Musea (algemeen) --- museumcollecties