By Jean-Michael Rabaté

This cutting edge publication places modernist literature in its cultural, highbrow, and international context, in the framework of the yr 1913.Broadens the research of canonical texts and inventive occasions via displaying their cultural and international parallels Examines a couple of simultaneous creative, literary, and political endeavours together with these of Yeats, Pound, Joyce, Du Bois and Stravinsky Explores Pound's Personae subsequent to Apollinaire's Alcools and Rilke's Spanish Trilogy, Edith Wharton's The customized of the rustic subsequent to Proust's Swann's method

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Extra info for 1913: The Cradle of Modernism

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III. De Podophtalma, or Croquis et agaceries d’un gros bonhomme en bois. ”16 This irreverent spirit is a far cry from the “symphonic poems” that were also in vogue, with Scriabin’s Prometheus in Moscow and Elgar’s Falstaff in London. Scriabin and Elgar, closer in taste and style to Richard Strauss, had opted for a compromise between tradition and innovation – it was thus no surprise to see Sir Edward Elgar compose an official Coronation March for the British king in 1911. These ceremonial pieces contrast with the new trend that was coming from across the Atlantic Ocean: jazz music.

It means the Present, with the Past rigidly excluded . . futurism will never mean anything else, in painting, than the art practiced by the five or six Italian painters grouped beneath Marinetti’s influence. Gino Severini, the 36 the new in the arts foremost of them, has for subject matter the night resorts of Paris. This, as subject matter, is obviously not of the future. 34 The group with which he exhibited, his own group, consisted of Frederick Etchells, Cuthbert Hamilton, Edward Wadsworth, C.

Orage, the general editor of The New Age, did not mind some controversy, and was genuinely open to divergent views. The younger “Vorticists” who took over at the end of 1913 were contemptuous of the mixture of expressionism and neo-realism that they perceived in Sickert’s works. Besides, they felt that Sickert was too close to Fry, who was a personal friend, and that none of them could understand cubism. Still, in January 1914 one sees Sickert 35 the new in the arts defending Fry’s paintings against strictures by T.

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