Make It New

2020 ◽  
pp. 163-200
Author(s):  
Jed Rasula
Keyword(s):  
New World ◽  
Modern Art ◽  
New Order ◽  
World War ◽  
Form Of Life ◽  
The First World War ◽  
New Form ◽  
The Aesthetic ◽  
First World ◽  
The New Deal

Ezra Pound’s oft-cited 1934 slogan “Make It New” has long served as an unofficial mantra of modernism. But exhortations to artistic renovation had provided a steady background to modern art and literature for several decades by then. For many it meant starting from scratch, an initiative notably prominent after the First World War as many envisioned a new world, a new order displacing nationalist predation with cosmopolitan internationalism. Paeans to the new accelerated after the war, tautological, euphoric, feeding on a momentary energy reflecting not only new forms but a new form of life. After 1929 that optimism was countered by rival applications, booster slogans like the New Deal and the New Germany, as the aesthetic avowal of the new came under assault from reactionary political tendencies.

Iterative Modernism

Transfers ◽  
2011 ◽  
Vol 1 (1) ◽  
pp. 97-126 ◽  
Author(s):  
Greet De Block ◽  
Bruno De Meulder
Keyword(s):  
The United States ◽  
First World War ◽  
Transport Systems ◽  
New Order ◽  
World War ◽  
Urbanized Territory ◽  
Access Road ◽  
The First World War ◽  
First World ◽  
New Infrastructure

This article traces the implicit spatial project of Belgian engineers during the interwar period. By analyzing infrastructure planning and its inscribed spatial ideas as well as examining the hybrid modernity advocated by engineers and politicians, this article contributes to both urban and transport history.Unlike colleagues in countries such as Germany, Italy and the United States, Belgian engineers were not convinced that highways offered a salutary new order to a nation traumatized by the First World War. On the contrary, the Ponts et Chaussées asserted that this new limited access road would tear apart the densely populated areas and the diverse regional identities in Belgium. In their opinion, only an integration of existing and new infrastructure could harmonize the historically fragmented and urbanized territory. Tirelessly, engineers produced infrastructure plans, strategically interweaving different transport systems, which had to result in an overall transformation of the territory to facilitate modern production and export logics.

Introduction

2018 ◽  
pp. 1-13
Author(s):  
Samantha Caslin
Keyword(s):  
New World ◽  
First World War ◽  
World War ◽  
The First World War ◽  
First World

The title of this book is taken from a statement made by a Liverpool-based women’s refuge, the House of Help, in 1918. Having offered its services to women for two decades, the House of Help looked towards the end of the First World War with the hope that their organization could be part of the ‘building’ of a ‘new world by helping to save the womanhood of our country’....

The Cosmopolitanism of Commerce and the Allure of Difference

1998 ◽  
Vol 1 (2) ◽  
pp. 163-196 ◽  
Author(s):  
Mica Nava
Keyword(s):  
Sexual Difference ◽  
The Body ◽  
National Identities ◽  
World War ◽  
Women Consumers ◽  
Arabian Nights ◽  
The First World War ◽  
History Of ◽  
The Aesthetic ◽  
First World

This article engages with postcolonial theorizations of orientalism and challenges assumptions about the pervasiveness of imperial ideologies in Britain at the beginning of the century by exploring the adherence of Selfridges department store to the principle of ‘cosmopolitanism’. The aesthetic and libidinal economy of this popular modernist commercial formation, and the distinctive positioning of women consumers within it, is investigated in relation to two key cultural events promoted by Selfridges in the years before the First World War: the Russian Ballet performance of Scheherazade — based on a story from the Arabian Nights in which the women of the Shah's harem seduce the black slaves of the household — and the tango, which is also associated with a new less constrained sexuality for women and in turn is linked — via Valentino — to the emerging popular form of desert romance. How do these configurations, and the fashionable ancillary merchandise spawned by them, modify our understanding of racialized and national identities? Does the gendered consumption of these exotic narratives and products and their relocation to the intimate territories of the domestic and the body, demand a shift in the way in which commerce is thought of? What are the consequences for conceptualizations of sexual difference? This article, by focusing on the purchase by Selfridges' women customers of culturally other objects of desire, aims to make a contribution both to theorizations of consumption and to the largely unresearched history of the western fascination with difference.

The Athenaeum: ‘Wanted, a New Word’ (World)

2019 ◽  
pp. 181-242
Author(s):  
Chris Mourant
Keyword(s):  
New World ◽  
First World War ◽  
Literary Critic ◽  
World War ◽  
The First World War ◽  
Spiritual Crisis ◽  
Literary Journal ◽  
John Middleton Murry ◽  
Critical Writings ◽  
First World

Between April 1919 and December 1920, Mansfield found her voice as a literary critic, publishing over a hundred reviews under the initials ‘K.M.’ in the literary journal The Athenaeum, edited by John Middleton Murry. In her reviews, Mansfield linked the ‘new word’ of modernist formal experimentation with the spatial imaginary of an ‘undiscovered country’ or ‘new world’, a critical vocabulary formulated in response to the disintegration and ‘spiritual crisis’ of the First World War. The chapter positions Mansfield’s work in relation to writings by D. H. Lawrence and Murry, before tracing a dialogue between her reviews and Virginia Woolf’s critical writings in the years 1919–20. The chapter highlights the ways in which both Mansfield and Woolf privileged deep ‘emotion’ as the basis for a modernist ‘new word’.

Dazzling Technologies: Avant-Gardes and Sensory Augmentation in the First World War

2020 ◽  
pp. 28-67
Author(s):  
Eric B. White
Keyword(s):  
First World War ◽  
Wyndham Lewis ◽  
World War ◽  
Sensory Augmentation ◽  
Machine Age ◽  
The First World War ◽  
New Form ◽  
The Military ◽  
Sensory Overload ◽  
First World

This Chapter identifies a new form of technicity that emerged in the First World War, in which enhancement and distortion effects generated by sensory augmentation technologies could be manipulated for strategic purposes by a variety of cultural agents. It argues that ‘dazzle camouflage’, a technology developed by the British Admiralty in 1917 to delay and confuse attacking U-boats, exemplifies this mediation of everyday life both on and off the battle fronts. Focusing on the Florentine journal Lacerba and the Vorticist magazine Blast, the first part of the chapter shows how the Futurists F. T. Marinetti, Armando Mazza, Alberto Viviani, Ardengo Soffici and Carlo Carrà, and the Vorticists Wyndham Lewis, Jessica Dismorr and Helen Saunders, developed their ‘dazzle poetics’ to analyse, critique and exploit the sensory overload of the Machine Age. The second part of the chapter explores ‘dazzle technologies’ produced by avant-gardes and the military. It identifies convergences between Luigi Russolo’s intonarumori noise machines and Alvin Langdon Coburn’s and Ezra Pound’s ‘Vortoscope’ camera apparatuses, offering new perspectives on their prescient manipulation of sensory augmentation ensembles. The chapter concludes with an analysis of Edward Wadsworth’s role in the development of dazzle technicity and the production of dazzle camouflage.

The Great War 1914–1918 and Manipulation of Humans’ Consciousness in the Circumstances of the New World-System Birth: the Experience for XXI century. Consciousness in the Circumstances of the New World-System Birth: the Experience for XXI century

2020 ◽  
pp. 91-100
Author(s):  
S. Troyan ◽  
N. Nechaieva-Yuriichuk ◽  
L. Alexiyevets
Keyword(s):  
New World ◽  
World System ◽  
First World War ◽  
Great War ◽  
Human Consciousness ◽  
World War ◽  
Front Line ◽  
The First World War ◽  
The Great War ◽  
First World

The Great War of 1914-1918 went down in history as the first armed clash of two warring coalitions of States on a global scale. The centenary of the end of the First World War of 1914-1918 became a significant information occasion for a new unbiased view in the context of a retrospective analysis of the problems of war and peace, war and politics, war and diplomacy, war and society, war and culture and the like. During the Great War at the beginning of the XX century the governments of countries – participants of the war used different ways for manipulation of human consciousness like fiction, poetry, postcards etc. The main aim of that was the achievement of people mobilization for war. The reaction of people of European states for the war was ambiguous, but a high percentage of population was in favor of the war. Even a famous French writer A. France (who was 70 years old) tried to become a volunteer to the war. So, what is possible to tell about younger men? But the reality of the First World War changed the vision of people toward it. They saw that the war is not a festival. It needs patience, first of all. New strategies, new armament demonstrated that the individual person had a small influence on result. The enemy was often invisible. All that affected the identification of soldiers and contributed the development of front-line brotherhood. Disappointment became the special feature of those who went through the war. They returned to the unstable world where it was difficult to find appropriate place for former soldiers. And again it was used by radical elements like A. Hitler in Germany. The author’s points out that it is necessary to understand the processes that took place at the beginning of the XX century to not repeat them at the beginning of the XXI century. Understanding the events of the world war 1914-1918, their impact on the human mind and psyche are a necessary component for understanding the processes that are currently taking place in our country. The state and government circles should take into account the experience of the past and develop an adequate strategy to overcome the destructive effects of war on the human consciousness, the integration of front-line soldiers into peaceful life and the protection of democratic ideals and freedoms.

scholarly journals The First World War and the ascension of the phonographic industry in the New World

New Sound ◽  
2014 ◽  
pp. 53-67
Author(s):  
de Nogueira
Keyword(s):  
New World ◽  
Classical Music ◽  
First World War ◽  
Important Change ◽  
World War ◽  
Music Production ◽  
The First World War ◽  
History Of ◽  
The Great War ◽  
First World

The First World War years witnessed a radical and important change in the history of both music and the phonographic industry, gradually putting popular rather than classical music under the spotlight and moving the axis of entertainment music production across the Atlantic into the New World. It is no coincidence that the first jazz, the first samba and also the first tango-canciôn were all recorded and released in the same year, 1917 - in the twilight of the Great War. This article intends to shed light on this process, discussing the cultural and socioeconomic factors that determined it.

‘The verticals of Adam’: Dylan Thomas and Apocalyptic Modernism

2019 ◽  
pp. 179-196
Author(s):  
James Keery
Keyword(s):  
First World War ◽  
World War ◽  
The First World War ◽  
History Of ◽  
Dylan Thomas ◽  
The Aesthetic ◽  
First World ◽  
Insight Into ◽  
Wilfred Owen

The argument of this chapter concerns Thomas’s place within the modernist tradition, and in the strand of Apocalyptic poetics in particular. To review Thomas’s place as such entails a reconsideration of the tradition itself. Having provided a history of the term ‘Apocalyptic’, the chapter turns to Thomas’s particular and formative purchase on Apocalyptic thinking, principally by focussing on his response to two poets who saw the modernist apocalypse coming: Wilfred Owen and D. H. Lawrence. To settle on these poets is to clarify a strand of Apocalyptic prophecy from Shakespeare to Shelley, which reached a peak much later in the aesthetic elaborations of the First World War. The approach, here, to triangulating these influences has to do with settling on Thomas’s first two collections, 18 Poems and Twenty-Five Poems, which bear the most palpable – and hitherto unnoticed – traces of Owen and Lawrence. In offering an insight into Thomas’s place among these budding Apocalyptics, the chapter attends to a number of the lyrics that made Thomas’s name, including ‘The force that through the green fuse drives the flower’ and ‘Altarwise by owl-light’.

Guerrillas and the ‘Sultan’s Mule’

2020 ◽  
pp. 59-85
Author(s):  
Nicholas J. Saunders
Keyword(s):  
Far East ◽  
Suez Canal ◽  
Guerrilla Warfare ◽  
British India ◽  
World War ◽  
Cultural Effects ◽  
Turkish Government ◽  
The First World War ◽  
New Form ◽  
First World

This chapter addresses how the First World War revitalised the Hejaz Railway, but not always as the new Turkish government, their German allies, or the British could have foreseen. No one could have predicted the role the faithful railroad would play in the coming conflict, its momentous consequences, or its galvanizing role in creating modern guerrilla warfare. And nobody, let alone the recently volunteered intelligence officer 2nd Lieutenant T. E. Lawrence, could have recognized that Abdulhamid II’s dream railway would be a catalyst for the modern legend of Lawrence of Arabia. The railroad had been a strategic artery since its inception. Despite Ottoman emphasis on its religious role, and its economic and cultural effects along its route, there had always been a geopolitical dimension, as it bypassed the Suez Canal and threatened British India and the Far East. Yet there was nothing inevitable about a war fought along its length. The railroad was to be an unexpected proving ground for a new form of conflict with global reach based on a modern adaptation of traditional Bedouin raiding, itself honed by centuries of attacking Hajj caravans.

Creating Wine

2011 ◽  
Author(s):  
James Simpson
Keyword(s):  
New World ◽  
Business Models ◽  
New Technologies ◽  
The United States ◽  
Wine Industry ◽  
World War ◽  
Small Family ◽  
The First World War ◽  
Major Shift ◽  
First World

Today's wine industry is characterized by regional differences not only in the wines themselves but also in the business models by which these wines are produced, marketed, and distributed. In Old World countries such as France, Spain, and Italy, small family vineyards and cooperative wineries abound. In New World regions like the United States and Australia, the industry is dominated by a handful of very large producers. This is the first book to trace the economic and historical forces that gave rise to very distinctive regional approaches to creating wine. The book shows how the wine industry was transformed in the decades leading up to the First World War. Population growth, rising wages, and the railways all contributed to soaring European consumption even as many vineyards were decimated by the vine disease phylloxera. At the same time, new technologies led to a major shift in production away from Europe's traditional winemaking regions. Small family producers in Europe developed institutions such as regional appellations and cooperatives to protect their commercial interests as large integrated companies built new markets in America and elsewhere. The book examines how Old and New World producers employed diverging strategies to adapt to the changing global wine industry. The book includes chapters on Europe's cheap commodity wine industry; the markets for sherry, port, claret, and champagne; and the new wine industries in California, Australia, and Argentina.

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