O dynamice i opozycjach XIX-wiecznej kultury

Sabina Brzozowska’s monograph consists of a coherent collection of comparative and historical and literary studies of various artistic and ideological aspects found in selected works of Polish and European modernism. The author focuses on the dramas by Stanisław Wyspiański, Stanisław Przybyszewski, Tadeusz Rittner, Tadeusz Miciński and on the prose by Wacław Berent, Miciński and Thomas Mann. The interpretations of the works included in the monograph show a common area of European nineteenth-century culture, especially of the modernist period. Brzozowska’s reading experience focused on uncovering the intertextual and comparative relationships between, for instance, Wyspiański’s Wesele (The Wedding) and Mann’s Buddenbrooks, Berent’s Ozimina (Snow Crop) and Czarodziejska Góra (The Magic Mountain), Rittner and Ibsen. High art literature of the modernist period found its counterpoint in popular culture, including the new media. The author reconstructed this development dynamic of modernist culture in multiple versions.

Sunny Stalter-Pace. Imitation Artist: Gertrude Hoffmann’s Life in Vaudeville and Dance

Imitation Artist is a well-researched biography of a path-breaking performer, choreographer, and producer who elevated imitation to an art form. Stalter-Pace draws valuable connections between Hoffman’s career and popular American theatre and dance from the 1890s to the 1930s, with emphasis on the popularization of European modernism for American vaudeville audiences.

IRVING JOHN GILL: THE BIRTH OF AMERICAN MODERNISM

The story of the life and the fi rst stages of the work of the American architect Irving John Gill, which led to the emergence of modernist architecture “on the very edge of America,” in Southern California, is presented. The author describes in detail the infl uences that the architect experienced in his work and which, in their totality, led him to the creation of the principles of new architecture and new style. The infl uence on their formation of the Chicago school is emphasized, in particular his work in the workshop with Adler and Sullivan, and the theoretical ideas of Louis Sullivan. The principles of Gill’s architecture are compared with the principles of the architecture of European modernism that appeared ten years later, as set forth by Walter Gropius.

Paisajes interiores en "Galería de rara antigüedad" de Jaime Siles. La obra “desde dentro”

Este escrito ejecuta una revisión de los aspectos poéticos de la obra del escritor valenciano Jaime Siles a partir de su poemario Galería de rara antigüedad, que fue merecedor del XXVIII Premio de poesía Jaime Gil de Biedma en 2018. En el curso del texto, asimismo, se comentará la cuestión relativa a la la práctica del monólogo interior con su concepción autorial de la poesía íntima, en particular, así como de sus imbricaciones en la literatura griega antigua o la tradición europea moderna, en general, de la que Jaime Gil de Biedma fue un epígono esencial en el panorama de la creación literaria española en el siglo XX. This writing carries out a review of the poetic aspects of the work of the Valencian writer Jaime Siles from his collection of poems Galería de rara antigüedad, which deserved the XXVIII Jaime Gil de Biedma Poetry Prize in 2018. Over the course of this work the discussed issue will also consider the the inner monologues practice in its relation to Sile's authorial conception of intimate poetry, in particular, and its entanglements in Ancient Greek literature or European modernism tradition, in general, of which Jaime Gil de Biedma was an essential epigone in the Spanish literary scene in the 20th Century.

Rivals in Symbolism

The article examines the reception of Western European modernism in Russia in the late 19 th — early 20th centuries, with the emphasis on the phenomenon of the “crooked mirror” of a different nation perception, which not only endows the work of a foreign author with new functions, but sometimes also gives it a new scale (as with Byron, Zola, some of whose novels were published in Russian translation earlier than in the original in France, the Parnassian poet Jose Maria de Heredia, who received real fame in Russia, in contrast to the very short recognition in his homeland). The subject of the analysis is the texts that are maximally indicative and convincing for the stated topic, above all the translations from Paul Verlaine by Fyodor Sologub, who, along with Bryusov, opened the French poet to the Russian reader, and his original poems, created in the course of and largely as a result of work on translations. The systematization of observations on specific texts makes it possible to conclude that Russian Symbolists, adhering to sometimes opposite views on art, relying on the authority of Baudelaire and Verlaine who are perceived in France more as predecessors of Symbolism than its representatives, walked alongside them, never meeting along the way, but recognizing the “other” as “equal”.

Comparing the Cologne Sonderbund of 1912 and the Second Post-Impressionist Exhibition in London

The article examines the agendas of the International Art Exhibition of the West German Sonderbund held in Cologne in 1912 and the Second Post-Impressionist Exhibition organised in London the same year, by contrasting their historical contexts and comparing their theoretical backgrounds. While the shows varied slightly in approach, both sought to give a systematic overview of the latest trends in art, which was then marketed mainly by private dealers. They addressed similar issues, such as defining the inherited tradition and topical dilemmas about the autonomy of painting and its decorative potential. The paper will discuss the emphasis on the progressive timeline and international outlook on modern art they formulated. It will also revisit the role of these exhibitions in light of the currently expanding discussion of the mechanisms that shaped the canon of European modernism.