Literary and Review Journalism

2020 ◽  
pp. 172-188
Author(s):  
Sarah Lonsdale
Keyword(s):  
Twentieth Century ◽  
The Arts ◽  
Form Part ◽  
Film Reviews ◽  
Mainstream Press ◽  
Cultural Conversation

Cultural commentary has always been an important part of a newspaper’s offering to its readers. Book, theatre and film reviews provide an essential reader service, and form part of a nation’s cultural conversation about itself and its values. Arts criticism in the mainstream press has until recently been dominated by a privileged, often Oxbridge-educated and male elite of ‘amateur’ journalists from the arts world, many having been novelists themselves. More recently, arts pages are more likely to be edited by professional journalists. Newspaper books pages contain fewer reviews of ‘difficult’ or academic books than they did in the mid-twentieth century; instead contain more reviews of celebrity memoir and ‘pop’ histories. This is partly because the number of books reviewed in mainstream newspapers and arts journals has decreased significantly since the mid-1980s; reviews having been replaced with features such as books ‘hit parades’ and interviews with celebrity novelists and directors.

Multisensory Modalities and Modernist Translation

CounterText ◽  
2016 ◽  
Vol 2 (3) ◽  
pp. 283-306
Author(s):  
Tamara Brzostowska-Tereszkiewicz
Keyword(s):  
Twentieth Century ◽  
Reader Response ◽  
Sensory Integration ◽  
Cultural Anthropology ◽  
Sensory Perception ◽  
Cross Cultural ◽  
Avant Garde ◽  
Artistic Production ◽  
High Modernism ◽  
The Arts

Multisensory and cross-modal perception have been recognised as crucial for shaping modernist epistemology, aesthetics, and art. Illustrative examples of how it might be possible to test equivalences (or mutual translatability) between different sensual modalities can be found in theoretical pronouncements on the arts and in artistic production of both the avant-garde and high modernism. While encouraging multisensory, cross-modal, and multimodal artistic experiments, twentieth-century artists set forth a new language of sensory integration. This article addresses the problem of the literary representation of multisensory and cross-modal experience as a particular challenge for translation, which is not only a linguistic and cross-cultural operation but also cross-sensual, involving the gap between different culture-specific perceptual realities. The problem of sensory perception remains a vast underexplored terrain of modernist translation history and theory, and yet it is one with potentially far-reaching ramifications for both a cultural anthropology of translation and modernism's sensory anthropology. The framework of this study is informed by Douglas Robinson's somatics of translation and Clive Scott's perceptive phenomenology of translation, which help to put forth the notion of sensory equivalence as a pragmatic correspondence between the source and target texts, appealing to a range of somato-sensory (audial, visual, haptic, gestural, articulatory kinaesthetic, proprioceptive) modalities of reader response.

Conclusion

2017 ◽  
Author(s):  
Andrea Harris
Keyword(s):  
New York ◽  
Twentieth Century ◽  
New York City ◽  
Driving Force ◽  
George Balanchine ◽  
Current State ◽  
The Arts ◽  
History Of ◽  
Lincoln Center

The Conclusion briefly examines the current state of the New York City Ballet under the auspices of industrial billionaire David H. Koch at Lincoln Center. In so doing, it to introduces a series of questions, warranting still more exploration, about the rapid and profound evolution of the structure, funding, and role of the arts in America through the course of the twentieth century. It revisits the historiographical problem that drives Making Ballet American: the narrative that George Balanchine was the sole creative genius who finally created an “American” ballet. In contrast to that hagiography, the Conclusion reiterates the book’s major contribution: illuminating the historical construction of our received idea of American neoclassical ballet within a specific set of social, political, and cultural circumstances. The Conclusion stresses that the history of American neoclassicism must be seen as a complex narrative involving several authors and discourses and crossing national and disciplinary borders: a history in which Balanchine was not the driving force, but rather the outcome.

scholarly journals Now: A Post-Romantic Countertextuality of the Contemporary

CounterText ◽  
2015 ◽  
Vol 1 (2) ◽  
pp. 186-206 ◽  
Author(s):  
James Corby
Keyword(s):  
Twentieth Century ◽  
Jacques Derrida ◽  
Final Part ◽  
Ethical Position ◽  
Conceptual Apparatus ◽  
The Arts ◽  
The Future ◽  
Contemporary Situation ◽  
To Come ◽  
Ethical Stance

In this essay James Corby questions the dominant future-oriented nature of the ethical turn of theory and philosophy in the final decades of the twentieth century and its aesthetic influence. Focusing in particular upon the ethical position of Jacques Derrida, Corby argues that the desire to avoid the closure of the contemporary and to preserve the possibility of difference by cultivating a radical attentiveness to that which is ‘to come’ often risks a too complete disengagement from the present, leading to an empty and ineffectual ethical stance that actually preserves the contemporary situation that it seeks to open up. Corby makes a case for this theoretical investment in the possibility of a non-contemporary (typically futural) rupture as being understood as forming part of a far-reaching romantic tradition. In opposition to this tradition he sketches a post-romantic alternative that would understand difference as an immanent, rather than imminent, matter. He argues that this should be considered congruent with a countertextual impulse oriented not towards a revelatory futurity, but, rather, towards the possible displacements, dislocations, and transformations already inherent in the contemporary. The final part of the essay develops this idea, positioning countertextuality as the articulation of alternative contemporaries. In this regard, the literature of the future is not ‘to come’, it is already here. The challenge is to recognise it as such, and this means being prepared to modify and change the conceptual apparatus that guides us in our thinking of literature and the arts.

Carmelo Bene e la decostruzione delle arti del secondo Novecento

2018 ◽  
Vol 4 (1) ◽  
Author(s):  
Cosetta Saba
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Interdisciplinary Practice ◽  
The Arts ◽  
The Sixties ◽  
First Results ◽  
Extended Field ◽  
The Subject

This essay collects the first results of a reflection launched in the context of the Conference "The Arts of the 1900s and Carmelo Bene" curated by Edoardo Fadini and based in Turin, at the Gallery of Modern Art, between 24 and 26 October 2002. The intent is to focus on how in the first phase of the interdisciplinary practice of Carmelo Bene, between the Sixties and the Seventies, an aesthetic reflection and a deconstructive attitude emerge that involve questions (such as the subject, subjectivity and singular / plural dimension of art) that were being defined in the philosophical field and in the extended field of art during the second half of the twentieth century.

Insane Acquaintances

2020 ◽  
Author(s):  
Daniel Moore
Keyword(s):  
Twentieth Century ◽  
Case Studies ◽  
Cultural Impact ◽  
Art And Design ◽  
The Arts ◽  
The Social ◽  
Festival Of Britain ◽  
Post War

Insane Acquaintances charts the varied encounters between artistic modernism and the British public in the years between ‘Manet and the Post-Impressionists’ (1910) and the Festival of Britain (1951). Through a range of case studies which explore the work of the ‘mediators’ of modernism in Britain – those individuals, groups and organisations which facilitated the introduction of modernist art and design to public audiences during the first part of the twentieth century – Insane Acquaintances explores the social, political and cultural impact of visual modernism over the course of four decades. Focusing on the efforts to legitimise, explain and make authentic the abstract (and often continental) modernist aesthetics that shaped British artistic culture during the years 1910-1951, this study charts the changing taste of the nation, through chapters on Postimpressionist art and crafts, modernist art in schools, the home design and decoration, Surrealism and revolution and the post-War institutionalisation and funding of the arts.

Introduction

2019 ◽  
pp. 1-14
Author(s):  
Jenny Tone-Pah-Hote
Keyword(s):  
Twentieth Century ◽  
Progressive Era ◽  
Cultural Production ◽  
Expressive Culture ◽  
Men And Women ◽  
Cultural Negotiation ◽  
The Arts ◽  
Interdisciplinary Study

This is an interdisciplinary study of how Kiowa men and women made, wore, displayed and discussed expressive culture. Kiowa men and women used the arts to represent new ways of understanding and representing Kiowa identity that resonated with their changed circumstances during the Progressive Era and twentieth century. Kiowas represented themselves individually and collectively through cultural production that emphasized the significance of change and cultural negotiation, gender, the ties and tensions over tribally specific and intertribal identities.

Primitivism

2018 ◽  
Author(s):  
Priyanka Basu
Keyword(s):  
Twentieth Century ◽  
Modern Art ◽  
Small Scale ◽  
The Arts ◽  
Artistic Styles ◽  
Modes Of Thought ◽  
Cultural Features ◽  
Hybrid Forms

Primitivism in modern art designates a range of practices and accompanying modes of thought that span the period from the mid-nineteenth to the mid-twentieth century and cut across manifold artistic styles and groups. This entry presents instances of Primitivism from this period that are representative of its features. Modern artistic Primitivism refers, above all, to the ways in which Western artists valorized and drew upon aspects of so-called ‘primitive’ art and cultures in their works, ideas and lifestyles. They employed selective formal and thematic elements that they believed were characteristic of the arts and cultures of not only small-scale, native, non-Western peoples, but also of larger-scale, more highly organized non-Western societies, Western pre-Renaissance and non-classical styles and European vernacular means of expression. Even more frequently, these artists freely intermixed such elements and invented others that suited their conceptions of the ‘primitive’, generating hybrid forms and cultural features.

Coda

2021 ◽  
pp. 224-236
Author(s):  
Benjamin Kohlmann
Keyword(s):  
Twentieth Century ◽  
Great Britain ◽  
Upper Class ◽  
Short Survey ◽  
The Arts ◽  
Artistic Vision ◽  
The Aesthetic

The Coda offers a short survey of the decline and eclipse of the speculative (literary) reformist mode around the mid-twentieth century. In doing so, it highlights one last reformist moment, namely the establishment of the Arts Council of Great Britain in 1946. The reformist vision associated with the Arts Council involved a self-reflexive artistic turn as writing itself came to be seen as the embodiment of a democratic Lebensform and the aesthetic image of a state-mediated classless future. This reformist vision is speculative insofar as it involved the successive democratization of an experimental (‘modernist’) artistic vision that had originated among the Bloomsbury modernists Williams had criticized as ‘a fraction of the upper class’.

Mutual aid for the arts in nineteenth- and twentieth-century Milan: The ‘Pio Istituto Teatrale’

2019 ◽  
Vol 25 (4) ◽  
pp. 602-624
Author(s):  
Mariarita Pierotti ◽  
Alessandro Capocchi ◽  
Paola Orlandini
Keyword(s):  
Twentieth Century ◽  
Social Role ◽  
Accounting System ◽  
Mutual Aid ◽  
Dual Nature ◽  
Theatre Arts ◽  
The Arts ◽  
The Social ◽  
The World

In the nineteenth century, when the theatre arts were at their peak, Milan was considered the intellectual and artistic capital of Italy. This article explores the objectives and the functioning of an important mutual aid company based in Milan – the Pio Istituto Teatrale – through its accounting system. These accounting documents clearly convey the dual nature of this organization, which was dedicated to protecting both social welfare and the arts. This study confirms the social role of accounting and its implications. In recent years, the attention paid to accounting in artistic institutions has been increasing. However, while many studies have explored Italian mutual aid societies in general, few have considered those in the artistic field specifically. This article attempts to rectify this oversight by examining a mutual aid society functioning in the world of theatre via its accounting records.

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