This book examines over 125 American, English, Irish and Anglo-Indian plays by 70 dramatists which were published in 14 American general interest periodicals aimed at the middle-class reader and ...consumer.
With few visual precedents, Egon Schiele (1890-1918) was the first artist to systematically explore double self-portraiture’s potential to convey multiple meanings, by painting, drawing and ...collaboratively photographing thirteen works in the genre. In this dissertation, I argue that these works reflect Schiele’s interest in establishing a deep engagement with the viewer. I consider Schiele’s double self-portraiture in two distinct categories: as an original, intended group from 1910 and 1911 that, borrowing from two of the works’ titles, I call the Self-Seers, and as a sequence of unique, experimental works after 1913. While the Self-Seers paintings exhibit Schiele’s concern with the act of viewing, his subsequent works suggest double self-portraiture’s potential to be multivalent, engaging with the opposite qualities such as inner and outer, the spiritual and the mundane, and death and life in a highly experimental, yet strategic manner. To Schiele, the work of art is itself an animate being and art itself is eternal. His views on art’s eternal nature stand in stark contrast to the impermanence of selfhood that scholars agree was his deepest concern, as evinced by his serial self-portraits. While his double self-portraits evoke similar themes found in the Romantic Doppelgänger topos, Schiele’s interpretation of topics such as mirror images, shadows, and death are distinct from it because he does not depict his double as a threat. Instead, the doubles beseech the viewer to be understood differently, for their kinship with the metaphysical to be explored and even embraced. These singular works address Schiele’s creative concerns as well as the preoccupations of Viennese culture, and they display his capacity to create art that is thoughtful and thought provoking, presenting an unexamined facet of Expressionistic art.
Although once celebrated as a representative of "workers' poetry" (Arbeiterdichtung), the expressionist poet Gerrit Engelke (1890–1918) has, with the exception of a few canonical poems, largely been ...forgotten today. But Engelke's poetry merits a rereading on account of its early and sustained engagement with industrialization. More specifically, it offers an insightful case study into the cross-currents linking expressionist aesthetics and industrial science on account of the author's efforts to imagine urban modernity and—the role of poetry in the modern world—through the lens of rhythm. Exploring the connections between Engelke's lyric and modern discourses on rhythm (work science, vitalist philosophy, dance and film), I argue that Engelke saw poetic rhythm as a means of overcoming, via aesthetics, what Georg Simmel had identified as the growing chasm between subjective and objective culture in the industrial world.
Other cities, such as Lagos 1955-70 and Rio de Janeiro 1950-74, provide unexpected delights, particularly in the recorded music selected by the curators. It was an extraordinary period for Lagos, ...during which Nigeria gained independence from British colonial rule. Grainy, black-and-white newsreel footage of Princess Alexandra, awkwardly participating in the 1960 independence celebrations, contrasts with the vibrant Highlife music playing in the background at Tate Modem. An important manifestation of post-colonial self-confidence, Highlife music reinterpreted Cuban rumba and Latin music, which had originated in Africa, blending it with African diasporic music. Similarly, the laid-back cool of Rio in the 1950s is evoked by the "ambient music" of Antoni Carlos Jobim and Joao Gilberto. The key Brazilian concept in all the arts was "the new"; reflected in the simple forms and spatial construction of Neoconcrete artists, the Bossa Nova rhythms of its popular music, the views of urban life portrayed in Cinema Novo, and its state-funded modern architecture influenced by Le Corbusier.
An Austrian Expressionist known primarily for his portraits and self‐portraits, Egon Schiele was also a prolific landscape painter. Focusing on the Kantian notions of autonomy and disinterested ...pleasure, this article considers a series of treescapes painted between 1911 and 1913 in which Schiele systematically undermines the processes of framing which make possible not only the modern landscape but the work of art as an object of aesthetic contemplation. Challenging the frame's capacity to delineate neatly between work and world, these images refuse the retreat into aestheticization demanded of the independent landscape and insist instead on the fluidity of the relationship between painting and beholder. Conforming therefore to a Nietzschean notion of passionate spectatorship, the treescapes should also be considered in the context of Vienna's notorious Sprachkrisis, which posited the failure of language to express the unsayable. The essay proposes that Schiele's disintegration of the frame's integrity by calling attention to its usually invisible mechanisms may be seen as an attempt to establish an image‐based system of communication when language has become suspect as a viable means of interchange.
The HEAR Act overrides state laws that guarantees that the national statute of limitations to retrieve stolen art is six years, beginning when the heirs first obtain the location of the artwork and ...make a legal claim to ownership, rather than when the artwork was initially lost or stolen.According to Dowd, this will be the first time the HEAR Act is used in a court of law.
Isaac Rosenberg composed his last poems in response to the Balfour Declaration and Jabotinsky's creation of the Jewish Regiment. These thoroughly Hebrew poems are not allegories of the Great War, as ...critics have supposed, but a summary of his lifelong preoccupation with the House of David. Reworking Hebrew national elegy as derived from Jeremiah, he backdates the origins of the Babylonian Captivity to the time of Solomon, conflates ancient and modern epochs through a secularised Jewish typology, and enters Hebrew history by placing his speaker in analogous relation to the Davidic line. By comparison with other Jewish poems about Balfour and Jabotinsky, Rosenberg's sequence ends by confronting the reality of a 'national home', not a myth.
