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Articles 1 - 13 of 13
Full-Text Articles in Arts and Humanities
La Ricarda, Mestres Quadreny I L'Experimentalisme Musical Català Dels Anys Seixanta: De Com L’Arquitectura Va Esdevenir Música I La Música, Arquitectura, Antoni Pizà
Publications and Research
Eren uns temps magnífics per a la creació: els concerts semblaven obres de teatre i les obres de teatre, concerts. Els músics feien d’actors i aquests havien de fer de músics. I la distinció entre el públic i els intèrprets també es diluïa, si és que no s’eliminava del tot. Els semiòlegs —o són semiòtics?— havien explicat que en tot acte comunicatiu hi havia un emissor, un missatge i un receptor; i precisament d’això es tractava, d’eliminar aquestes distincions. Ah, i en molts casos, tampoc no hi havia escenari, ni sala de concerts.
The Aesthetic Legacy Of Evolution: The History Of The Arts As A Window Into Human Nature, Aaron Kozbelt
The Aesthetic Legacy Of Evolution: The History Of The Arts As A Window Into Human Nature, Aaron Kozbelt
Publications and Research
No abstract provided.
Ethnic Irony In Melvin B. Tolson's "Dark Symphony", Elizabeth Newton
Ethnic Irony In Melvin B. Tolson's "Dark Symphony", Elizabeth Newton
Publications and Research
This article historicizes musical symbolism in Melvin B. Tolson’s poem “Dark Symphony” (1941). In a time when Black writers and musicians alike were encouraged to aspire to European standards of greatness, Tolson’s Afro-modernist poem establishes an ambivalent critical stance toward the genre in its title. In pursuit of a richer understanding of the poet’s attitude, this article situates the poem within histories of Black music, racial uplift, and white supremacy, exploring the poem’s relation to other media from the Harlem Renaissance. It analyzes the changing language across the poem’s sections and, informed by Houston A. Baker Jr.’s study of “mastery …
Quan Barcelona Era ‘Absolument Moderne’, Antoni Pizà
Quan Barcelona Era ‘Absolument Moderne’, Antoni Pizà
Publications and Research
Talment com París i Berlín, la Barcelona d’entreguerres (c. 1920-1936) va ser un destacat centre internacional de creativitat musical. Arnold Schoenberg, installat en una bella casa modernista al barri de Vallcarca, hi va compondre part de la seva òpera Moses und Aron i l’opus 33b per a piano; Anton Webern, Igor Stravinski, Richard Strauss, Serguei Prokófiev i Béla Bartók hi van dirigir l’Orquestra Pau Casals; i s’hi van estrenar el Concert per a violí i orquestra així com fragments de l’òpera Wozzeck d’Alban Berg.
The Nature Of Comparison: Macunaima And Orlando, Václav Paris
The Nature Of Comparison: Macunaima And Orlando, Václav Paris
Publications and Research
Dominant modes for comparing modernist literatures do so by coordinating individual texts against a larger narrative of modernity conceived as economic or political globalization. This article proposes an alternative premise for comparison. Instead of focusing on development, it considers the ways in which different national modernisms registered a changing modernity in terms of nature and natural history. This switch is demanded by two texts that bear a number of thematic and conceptual similarities and were published months apart in 1928: Mário de Andrade’s Macunaíma and Virginia Woolf ’s Orlando. Both works rethink Darwinism’s import for national representation by adapting the …
Harlem And Abroad: Notes To An International 'Renaissance', Joshua I. Cohen
Harlem And Abroad: Notes To An International 'Renaissance', Joshua I. Cohen
Publications and Research
Like other intractable figures of the Harlem Renaissance, the movement’s visual artists sometimes exceeded their expected parameters, and thus their anticipated representativeness of a locality. Their images, in other words, did not automatically disclose Harlem-bound or even US-bound concerns. Now familiar through continual reproduction in exhibition catalogues, scholarly monographs and literary compendia, certain artworks from the period – such as Archibald J. Motley’s Blues (1929; Figure 1) and Aaron Douglas’s Congo (c. 1928; Figure 2) – subverted any definition of the Harlem Renaissance that would hinge on a narrowly delimited urban geography or national imaginary. Motley, who painted ‘Blues’ during …
Making It New And Keeping It Old: Recasting Frameworks And Contexts In Georgia O’Keeffe Studies, Linda M. Grasso
Making It New And Keeping It Old: Recasting Frameworks And Contexts In Georgia O’Keeffe Studies, Linda M. Grasso
Publications and Research
Three recent Georgia O’Keeffe exhibition catalogues devise new interpretative frameworks and situate O’Keeffe in new contexts that are especially relevant to American Studies scholars interested in visual culture, material culture, gender studies, reception studies, and modernism. One places O’Keeffe in the company of other white women making modernist art in the early decades of the twentieth century; another provides critical interpretations that acknowledge and reject previous views that were skewered by monolithic gender and sexual lenses; and a third moves O’Keeffe into popular culture domains such as fashion, consumerism, and interior design. Raising questions about how curators present and shape …
Fauve Masks: Rethinking Modern 'Primitivist' Uses Of African And Oceanic Art, 1905-8, Joshua I. Cohen
Fauve Masks: Rethinking Modern 'Primitivist' Uses Of African And Oceanic Art, 1905-8, Joshua I. Cohen
Publications and Research
Fauve painters “discovered” African and Oceanic sculpture beginning in 1905. From that time, Vlaminck first collected African art; Derain studied Oceanic works at the British Museum in spring 1906; and Matisse struggled to paint a Kongo-Vili statuette he purchased in fall 1906. Fauve interests in shallow-relief, relatively naturalistic, and surface-ornamented sculptural works suggest conformity with turn-of-the-century artistic and scientific ideas conflating heterogeneous strains of so-called “primitive” material culture. Nevertheless, the dominant conceptual framework of “primitivism” has tended to limit art-historical understandings of external formal influences on modernism, which can be gleaned here by investigating the particular objects the Fauves appropriated.
Modernism, History, And Censorship: The United States Vs. Two Books: Pay Day And Ulysses, 1930-1933, Václav Paris
Modernism, History, And Censorship: The United States Vs. Two Books: Pay Day And Ulysses, 1930-1933, Václav Paris
Publications and Research
No abstract provided.
T. E. Lawrence's Seven Pillars Of Wisdom And The Erotics Of Literary History: Straddling Epic., Václav Paris
T. E. Lawrence's Seven Pillars Of Wisdom And The Erotics Of Literary History: Straddling Epic., Václav Paris
Publications and Research
No abstract provided.
A Reader's Beheading: Nabokov's Invitation And Authorial Utopia, Aaron Botwick
A Reader's Beheading: Nabokov's Invitation And Authorial Utopia, Aaron Botwick
Publications and Research
“A Reader’s Beheading: Nabokov’s Invitation and Authorial Utopia” argues that Invitation to a Beheading polemically outlines Nabokov’s position on the relationship between reader and writer: in other words, that writing and reading are difficult, elite pursuits whose meanings should necessarily be available only to those willing to face and surmount the magician’s challenges. Narratively, it operates as a kind of roman à clef in which Cincinnatus C. follows a trajectory towards artistic freedom (or authorial utopia) where he is liberated from the constraints of poor readers—among them literalists and Freudians—while Nabokov, ever the unaccommodating creator, frustrates that progression with the …
Uncreative Influence: Louis Aragon’S Paysan De Paris And Walter Benjamin’S Passagen-Werk, Václav Paris
Uncreative Influence: Louis Aragon’S Paysan De Paris And Walter Benjamin’S Passagen-Werk, Václav Paris
Publications and Research
This paper looks at the role Louis Aragon’s 1926 novel Paris Peasant played in the composition of Walter Benjamin’s Arcades Project. How we might theorize the literary appeal of the Arcades Project, as evidenced in contemporary poetry and visual art; and, more broadly, what is the relation between the aesthetics and the philosophy or politics in Benjamin’s text? The model I propose is one of a Bloomian “anxiety of influence.” By looking at Benjamin’s earlier writings and his correspondence with Theodor Adorno and Gershom Scholem, we see not only that Benjamin’s work shared much with Aragon’s brand of Surrealism, but …
Breaking And Entering: An Italian American's Literary Odyssey, Fred L. Gardaphé
Breaking And Entering: An Italian American's Literary Odyssey, Fred L. Gardaphé
Publications and Research
In this personalized account, Gardaphe presents audiences with his own-first person story of the meaning of ethnic identity in America. Gardaphe relates his story of how his own adventures, on the streets of Chicago and in the libraries and school, shaped his views on becoming an intellectual and fashioned his career as a writer and professor of Italian American culture.