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This article explores the relationship between decolonization and the Cold War in the context of modernist studies. It discusses the connections between decolonization, global civil rights movements, and the Cold War superpowers, as well as the role of cultural diplomacy in the global south during the Cold War and its impact on literary production. The article reviews several books that offer new perspectives on African and Chinese literature, emphasizing the importance of considering non-imperial networks in global literary history. These books challenge traditional aesthetic categories in modernist studies and provide a more nuanced understanding of the interactions between Western and Eastern Bloc forms of imperialism and Afro-Asian solidarity movements. [Extracted from the article]

The very intimacy between Marsh and Brooke, which facilitated Marsh and James's affective kinship, drawing them closer after Brooke's death, becomes a point of rivalry and contestation between Marsh and Brooke's mother, driving them further apart after Brooke's death. After this review, Marsh had a hand in virtually all of Brooke's publications, and by the autumn of 1912 Marsh encouraged Brooke to make Marsh's flat at Gray's Inn his London I pied-à-terre i , as Marsh had done for other writers and artists, including E. M. Forster and Elliott Seabrooke. Coming from James, this explanation helped to put Marsh "in sympathy" with Mrs. Brooke's perspective, acknowledging, "she can't I'm sure forgive me for having drawn a Rupert who is not hers."[68] Decades later, Marsh echoes this proprietary language in his autobiographical account of Mrs. Brooke's objections to his memoir: "Rupert was hers, not mine, and it was outrageous that a single one among his friends, especially one of comparatively recent standing, should take on himself to determine the manner in which he should be presented to the world" ( I A Number of People i , 307). These letters not only celebrate Brooke as a poet, but also celebrate Marsh's proud affection for Brooke, which, in turn, inspires I in James i an identificatory affection for Marsh - Rupert is "splendid" not just as a poet, but in being the worthy object of Marsh's generous emotion. [Extracted from the article]

Both Whitney and Gellen focus their readings of "The Burrow" explicitly on this sonic invasion of the home. While Gellen and Whitney's choices of modernist texts are for the most part divergent from each other - except for their unique readings of Kafka's "The Burrow", which exposes I in nuce i each of their approaches - their methodology seems to overlap in at least one significant way. It is this tension, not only between different media, or between literary and nonliterary sources, but also between the concept of sound and its relation to the apparently silent medium of the printed word, to which both Gellen and Whitney dedicate their respective studies. [Extracted from the article]

Williams is one of the poets Altieri identifies with "a Modernist Constructivist aesthetics sharply opposed to the idealized immediacy that impressionism shared with imagism" (115). Modernist Poetry and the Limitations of Materialist Theory: The Importance of Constructivist Values. [Extracted from the article]

The article focuses on authors James Joyce and Marcel Duchamp with high modernism and the historical avant-garde. It mentions Joyce and Duchamp can help us to appreciate the shape taken by genius during the first half of the twentieth century and excremental processes that modern artists had to court but over which they lacked full control. It also mentions aesthetic revolutions of the eighteenth century, came to enjoy in the twentieth century a subterranean afterlife.

The article focuses on the book "Emergency in Favor of Twice" by Marcel Duchamp which urges to revisit the circumstances of that invention. It mentions volatile moment in the story of modernism with abstraction having precipitated an epistemic shift, something of a crisis for age-old pictorial conventions. It also mentions crucial role of language in Duchamp's artistic project with linguistic fixation and conceptual mobility, repetition and contingency.

The article focuses on catalyst for the examination of All-In wrestling as a germane aspect of British modernist culture in an internationalist context. It mentions co-edited collection "Incredible Modernism: Literature, Trust and Deception" and claims cultural modernism is characterized by a concern with the question of trust. It also mentions how trust, like ‘human character,' might be said to have changed, and even to have entered a period of crisis.

The article focuses on personality, impersonality and the personified detachment of Wyndham Lewis and austerity of scientific objectivity and discursive life outside of art in transatlantic print culture. It mentions pervasive hazard for personhood, emotion, and intimate connection to an interpersonal or scientific ideal and ideological workings of the interwar status quo of British and American culture. It also mentions modernism's relationship to cultural dynamics.

The article focuses on the condition of modern art in late colonial Korea. It states that the colonization of Korea by Japan from 1910 to 1945 fundamentally altered the perspective through which artistic production was viewed, and mentions that after the Second Sino-Japanese War began in 1937, ideological pressures compromised the links between personal subjectivity and material expression. It notes the rise of cultural politics of genre and medium in Korea.

The article focuses on interrelations between proletarian performance practice and film in the Weimar Republic. It states that the interrelation demonstrates that Kuhle Wampe's politics of form are based on an intermedial hybridization of aesthetic forms emerging in the media of film and performance. It highlights the politics implied in the aesthetic image of the urban proletariat constructed by Kuhle Wampe, and discusses the hybrid aesthetics to reconsider the film's modernism.

The article examines the avant-garde drama societies and their impact on the performance repertoire in London, England from 1890 to 1959. Topics include the extent to which the societies introduced a dramatic repertoire to commercial theatre, the relationship between theatrical ephemera and performance databases in the modern era, and modernism's relationship with the stage. Also discussed are the factors that contribute to box-office successes and the history of the term "repertoire."

The article explores the exhibition dubbed the "Red Show" at Charles Egan Gallery in New York City in December 1954. The exhibition showed the works of painter Robert Rauschenberg, and a group of friends including musician John Cage, choreographer Merce Cunningham, and dancer Carolyn Brown. It notes the argument of Michael Fried in his essay "Art and Objecthood" on the dangerous influence of the theater upon modernist art, claiming it constituted an abrogation of medium specificity.

The article explores the spectacles, speculations, and the language of flow in the novel "Ulysses" by James Joyce. It argues that Joyce represents speculative practices and adopts a speculative narrative logic to expose as an illusory discursive practice. The author also argues that Joyce's speculation is an interest in the bonfire financial capitalization of artistic value in the modern period. It cites Franco Moretti's argument on the cultural and social relationships in "Ulysses."

The article talks about avant-garde art of modernism. Topics discussed include the figures of autonomy, reflection and individuality that composed the nineteenth century European ideology, the crisis of liberalism, accelerating technological development focusing on the field of communication, and the most obvious and recurrent locus for modernism's in-humanism being the machine.

The author analyzes art and modernism and proposes a parallel account of visual modernism. Topics discussed include modernism as an expression of social modernity and modernity as an enduring social state, intensification of mobility in light modernity, and functions of the providential faith of heavy-modern life.

The article deals with the convergence of architecture, performance art, jazz, photography, cinematic presentation and entertainment function in the light-generating kinetic device called Light Prop for an Electric Stage by film director László Moholy-Nagy. Topics discussed include the device as a symbol of modernism, the concept of 'Spielraun,' and appreciation of the device as an exhibition object. Moholy-Nagy's version of expanded cinema is also discussed.

The article looks at writer and critic T. E. Hulme, with a particular focus on his reviews of abstract art. Details on contemporary parodies of Hulme's reviews are presented. According to the author, later critics and scholars of modernism have attributed greater coherence and completion to Hulme's body of work than actually existed. Other topics include institutions, amateurism, and Hulme's book "Cinders".

The article reviews the art exhibit "Sydney Moderns: Art for a New World," on view at the Art Gallery of New South Wales in Sydney, New South Wales, from July 6 to October 7, 2013 and the accompanying book of the same title, edited by Deboral Edwards and Denise Mimmocchi.

The article discusses what is termed the gas mask aesthetic in Japanese modern art during the 20th century. It references the photograph "Gas Mask Parade, Tokyo" and other images by photographer Horino Masao, discusses the gas mask as a symbol of anonymous Japanese citizens and weapons technology, and examines the Japanese civil air defense policy of the 1930s.

An essay is presented that discusses artwork and poetry in the six-volume work "My Book House," edited by Olive Beaupré Miller. It is said that the work is influenced by the modernist book design principles of publisher William Morris due to the cultural network of modernists in Chicago, Illinois during the 1920s. Morris's 1893 lecture "The Ideal Book" is noted. The relation of Miller's typefaces to common Victorian typeface is addressed.

The article presents an examination into the Modernist artistic community of Taxco, Mexico in 1931. Introductory details are given highlighting a photograph featuring the Russian film maker Sergei Eisenstein, the American silversmith William Spratling, the Mexican film maker Chano Ureta, and the Mexican artist David Alfaro Siqueiros together. Details are given describing the artistic and political conditions of Taxco in the 1930s which led to the artists' social network in the region. Analysis is also provided regarding the ideological "community" of artists associated with the group.

The author offers opinions on the art history and cultural studies concepts of modernity and modernism. It is noted that modernity represents differing ideas and very different historical periods in the traditions of different countries and regions. The concepts of modernity and modernism are said to be linked but not identical. It is argued that prevailing definitions of modernism are inaccurate due to their Eurocentrism and focus on Western cultural traditions and history. Aesthetic innovation is seen as the province of any culture, with the African diaspora and postcolonial art and literature among the examples cited.

The article presents a lesson plan for secondary education which teaches concepts of modernism teaching which combine modernism and the Harlem Renaissance.

The article presents a lesson plan for secondary education which teaches concepts about modernist writing education.

The article reports on the popularity of textual editing as well as electronic editions and digital archiving, particularly in the case of the work by Virginia Woolf. Merry Pawlowski, Vara Neverow and Julia Briggs are the first to bring Virginia Woolf's work into electronic form with an electronic edition of "Three Guineas" and an electronic edition of the section "Time Passes" from "To the Lighthouse." In 1992 there was a temporary suspension of copyright on Woolf's work which enabled electronic editions to be created which were based from the first British editions and presented in a modernist method.

The article describes an activity program for secondary education which asks students to explore the history of modernism and define it.

The article discusses the attribution of Byzantine art on the masterpieces of French artist Henri Matisse. According to the author, Byzantine art is recognized by modernism artists as a broad movement and concept source of modern panting and sculpture because it represents formality and spiritual wholeness. In addition, the author notes that Matisse's approach on Byzantine art and style was regarded by scholars as exceptional since he was able to present a shared formalist and spiritual interests in a fulfilled artistic maturity. It also cites several Byzantine artworks of Matisse along with its relevance and meaning on art.

The article focuses on the effect of Cultural Cold War on modernism projects in the U.S. The project played a key role in redefining modernism as being characterized primarily by style, in directing modernism away from collectivist/Utopian origins and toward bourgeois individualism, and in constructing a coalition of elites. According to Intercultural Publication Inc. (IP) and its journal "Perspectives USA," headed by James Laughlin, the Cultural Cold War has significance in the domestication of literary and artistics modernism in the country.

The article offers information on the effects of authenticity-searching on modern art, more specifically, to Charles Baudelaire's "La Corde," a prose poem about the suicide of a young sitter. The author believes that an artwork should never coincide with its subject matter. If not, it would be rational to conclude that any attempt to search for its authenticity as its adequacy's function to its subject will not succeed. Moreover, the inquiry regarding the issue of authenticity should somehow be addressed on different grounds.

The article explores the integration of the literary's historical accounts and visual arts through the paintings of Salvador Dali. The author proposed that amidst the existence of multiple modernisms within the field of visual arts, there also exists a hegemonic mainstream of modernist production which cannot be decentered by any historical revision without having the occurred events essentially misrepresented. And this hegemonic mainstream brings out a centripetal force on the contemporaneous practices' plurality, suggesting that, through having a direct or oblique link to the mainstream, alternative modernisms can be best understood.

The article provides information on the African American modernism and its rebirth, the Harlem Renaissance. Coming up with an assumption that these term is related to black writers and artist is different from the perception of everyone at the time. However, it does not suggests that race has nothing to do with the definition on how "the authentic" is defined and deployed. In fact, it plays a huge role, specially for African Americans, where the functions of authenticity serve as the measure of success. Moreover, its rebirth, the Harlem Renaissance, on the other hand, fits squarely in a very American tradition which paves way to the definition of the authentic first as the authentically "American."

This article discusses the concept of abstract montage as it relates to a piece entitled "Merz" by the Dada artist Kurt Schwitters in Germany. The author states that critics have acknowledged Schwitters's exploration of collage and assemblage. She asserts that critics misread his artistic intent as a nostalgic quest for order and beauty, pointing to the frequent transgression of boundaries and use of different media in his collages. Through the artist's writings, the author intends to show that Schwitters' practice of abstract montage embodied an understanding of a universe made up of malleable signs out of which he fashioned art which played with traditional ideas of ordinary signification. She says his art contains the parody of object, in which there is the repetition of object with critical distance that marks their difference rather than their similarity.

This article focuses on the love-letter of a nobleman Prince Conti to a woman that shows the characteristics of the jewels. Prince Conti sent a diamond to a woman with a letter that expresses the preciousness of the jewel and the texts. However, Prince Conti lost his desire to the jewel and ordered to crush it when the woman return the jewel to him. Like the jewel in the letter, in which Prince Conti lost his interest, marketed jewels also lost its appeal to the customers. The disappearance of jewelry in the late-nineteenth century marks its lost in modern style.

This article discusses the paradoxical status of the Jews in regard to literary primitivism as well as examines the writings of and the myths surrounding Russian and Yiddish writer, Shloyme-Zanvl Rappoport. Rappoport was the author of the play "The Dybbuk", which was believed to be the foundation of the modern Hebrew and Yiddish theatrical repertoires. The article attempts to shift the geographic focus from art of Western Europe to the Russian empire, where both the Jews and modernism developed along distinct paths.

This article discusses the vision of Hebrew or Jewish modernism through a constellation of texts and images drawn from the period of high modernism. The author focuses on the poetic work of David Fogel as she finds a Fogelian passage in his literary modernism. In addition, the passage accords with Cézanne's artistic practice of manipulating surface/depth relations but also opens many of the same Bergsonian questions of memory, temporality, and subjectivity explored by the likes of Rainer Marie Rilke, Osip Mandelstam, Chaim Nahman Bialik and Virginia Woolf.

This article discusses the meaning of Jewish writing as well as the counter-historical argument on the implications of Jews for Modernism. The author's cautionary advice is pertinent to the idea that Jewish modernism cannot be adequately cleared up by creating and analyzing a corpus of literature and art produced by people who happened to be Jews. Jewish modernism is a complex field of self-contradictory tensions and inversions and its story can be captured by representing a constellation of moments in its elastic life.

This article focuses on Oskar Kokoschka, a doll painter and modernist artist. When Alma Mahler, Kokoschka's lover married another man, in response, he commissioned the creation of a life-size doll to match Mahler's exact proportions. Kokoschka provoked rumor and scandal as he escorted his doll to the opera, held parties in its honor, and hired a maid to dress and service it. The doll met its unnatural demise when one of Kokoschka's parties got out of hand. Police questioned Kokoschka in the morning about a murder; a beheaded and bloody body was reportedly seen outside his home. Evidently it was the naked, wine-splattered doll, which had somehow lost its head during the revelries of the previous evening. This was the story that Kokoschka and his critics, both then and now, loved to tell. Indeed, much less discussed than the doll episode are the three portraits Kokoschka painted of the doll, and their connection to it. The first, Woman in Blue, 1919, is still considered Kokoschka's masterpiece of this period, though it is seldom analyzed in detail; and the two latter, Painter with Doll, 1920-2 1, and At the Easel, 1922, are among Kokoschka's numerous self-portraits, and rarely noted by critics.

This article focuses on the influence of American-born modern dancer, Isadora Duncan, on modernist performance. In her 1927 autobiography, Duncan declares that she must place a motor in her soul before every performance and she consistently positions her choreography at the juncture of motorized movement and soulful expression. Her efforts to reimagine spirit through machine processes are shared by many key figures of modernism, including the Russian director Constantin Stanislavski, but her influence on modernist performance has not been recognized. Her theories are dismissed, primarily due to her use of terms associated with Victorianism (soul, inner self, and human spirit). Duncan's conjuncture of metaphysical and materialist thought is actually a dominant feature of twentieth-century art, shared by such diverse movements as Italian futurism, the Moscow Art Theatre's innovations in drama, Greenwich Village Radicalism, and U.S. feminism. Duncan repeatedly figures her fundamental movement principles through the symbol of the motor. First, the motor's ability to move several objects suggests the possibility of representing a multiplied body, an interest she shared with several futurists. The constant, tireless motion of the motorized machine also offers the ideal of continuous dance movements that appear to be executed effortlessly, without the intervention of the will, a concept she derives from Friedrich Nietzsche.

The article probes the relation between modernism and the gadgže construction of the gypsy. It argues that modernism, and it particular several threads of British modernism, take for a covert model of communality and subjectivity the peripatetic, ahistorical gypsy whose actual historical counterparts filled contemporary newspapers in stories of forced mass evictions and county council Acts. There has been a marked early nineteenth century shift in representation of the gypsy from a figure of alternative archaism to an emblem of both the traditional and the colonial unconscious of an industrializing, imperialist Europe. During the course of the nineteenth century, the gypsy increasingly becomes a textual device that on the one hand disrupts cultural memory and temporality, and on the other hand acts as a marker of the shifting uses of literary genres. It could be argued that gypsy figure persists, and even proliferates, both as an operative element in many works of modernist literature and as a popular model for the modern lifestyle.

In this article, the author presents his views on modernism, geopolitics, and globalization. Globalization, although frequently hailed as a recent phenomenon, has been a long historical process. Political scientist David Held traces the development of globalization from the Roman and Mongol empires; sociologist Roland Robertson begins his schematization in the fifteenth century. To pursue a cultural discourse of globalization, however, we need first to distinguish between "globalization" and "geopolitics." Today geopolitics can be used broadly to refer to any locational approach to political issues, but historically the term was introduced with the specific connotation of location as territorially framed. Geopolitik was coined in 1899 by the Swedish political scientist Rudolf Kjellén, for whom it signified a Darwinian model of state power dependent on territorial growth: stronger organisms survive by displacing the weaker. Kjellén's theories were a major influence in the developing ideology of Nazi Germany, but the geopolitical model is generally taken to be the dominant paradigm in the West until the end of the Cold War.

An essay is presented which examines the techniques used in aerial reconnaissance photography during World War I. The author discusses how these techniques and methods, originally designed for wartime use, were incorporated into commercial contexts and avant-garde artistic interpretations. He argues that aerial reconnaissance created a new kind of observer and suggests it impacted the observer intended for cubism and modernist art.

The article discusses the aesthetic and cultural relationship between the modernist movement and documentaries, particularly noting the treatment of the subject in the book "The Meaning of Contemporary Realism," by György Lukacs. It addresses the complementary nature of modernist literature's treatment of literary conventions and documentary's inspiration from the everyday. Other topics explored include the social and aesthetic function of Soviet films, the Mass Observation movement, and the work of poet Humphrey Jennings.

An essay is presented on the modernist aesthetics of English artist Walter Sickert, in which the author critiques Sickert's music hall paintings after 1880 in terms of his social and cultural situation in Great Britain. Artists such as James Whistler and Edgar Degas are mentioned, and French versus English art, bourgeois morality in popular culture, and symbolism versus realism in art are discussed.

An essay is presented on the relationship between modernist art and the sciences. He states that framing art and literature in terms of science can to thematic analogies become forced interpretations of the artwork and therefore create an unnecessary reliance on science. The author discusses a method for interpreting art that draws influence from philosopher Georg Wilhelm Friedrich Hegel's work on the concept of force, which focuses on physical dimensions of affective life and humanist ideals.

A bibliography of several books related to artistic and literary modernism is presented, including "Reading Modern Drama," edited by Alan Ackerman, "100 Years of Fashion Illustration," by Cally Blackman, and "Critical Lives: Charles Bukowski," by David Stephen Calonne.

An introduction is presented that discusses issue articles on artistic and literary modernism on topics such as the evolution of print culture, the use of collage effects in published materials, and political aspects of the press for feminist black internationalism.