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In this exciting new book, David Michael Hertz demonstrates how three major artists - Frank Lloyd Wright, Wallace Stevens, and Charles Ives - were influenced by Emerson's nineteenth-century transcendentalism. By focusing on the relative statements of the artists themselves, Hertz shows that ...

In this exciting new book, David Michael Hertz demonstrates how three major artists - Frank Lloyd Wright, Wallace Stevens, and Charles Ives - were influenced by Emerson's nineteenth-century transcendentalism. By focusing on the relative statements of the artists themselves, Hertz shows that Emerson's belief that all things are in flux, including matter and spirit, had direct bearing on the form and content of their works. Hertz writes the book as a meditation on the condition of the artist in America, including biographical and historical information as well as his own interpretations of the three artists' works. In Part 1 he examines the emerging creative mind of the architect, poet, and composer, citing Emerson as the central figure who, through his essays, influenced each of them. By tracing their development as powerful and original thinkers, Hertz examines the processes that enabled them to become unique. In Part 2 he connects Emerson, Wright, Stevens, and Ives through a shared ideology, evident both in their critical statements and in their creative work. He shows how all three artists had specific documented knowledge of Emerson's major works. Their pragmatism, their preoccupation with the primacy of the senses, their predilection for analogy and loose metaphor, their dedication to individuality and self-reliance, and their eclecticism and conception of originality were shared traits and beliefs gleaned from Emerson. Hertz is the first writer to bring these four major American figures together in a single work. He makes it clear that Emersonianism reaches far into twentieth-century American culture and into the realms of art and music as well as literature. This book willinterest not only Emerson, Wright, Stevens, and Ives scholars but other individuals involved in the arts, the humanities, and interdisciplinary studies as well.

In this book Robert Crunden puts the "jazz" back in the Jazz Age. Jazz was America's greatest contribution to the Modernist movement, yet it is much overlooked. When we hear the term "Jazz Age", we conjure the ghosts of Fitzgerald, Hemingway, and Eliot, not Jelly Roll Morton, Louis Armstrong, Ethel ...

In this book Robert Crunden puts the "jazz" back in the Jazz Age. Jazz was America's greatest contribution to the Modernist movement, yet it is much overlooked. When we hear the term "Jazz Age", we conjure the ghosts of Fitzgerald, Hemingway, and Eliot, not Jelly Roll Morton, Louis Armstrong, Ethel Waters, George Gershwin, and Duke Ellington. In order to correct this imbalance, Crunden re-introduces us to these musical luminaries who gave the era its name as he traces the early history of jazz from New Orleans to Chicago to New York.

While Crunden emphasizes music over literature and the visual arts, he never fails to map the complex cross-currents of literature that passed between jazz musicians and their "Lost Generation" peers, a veritable pageant of the glittering personalities of the day -- James Joyce, Alfred Stieglitz, Georgia O'Keeffe, Paul Strand, John Dos Passos, Langston Hughes, Gertrude Stein.

"The 10 essays here explore the images of blacks in historical contemporary American culture. Negative and stereotypical images of blacks have been deeply embedded in our art, music, literature, film, theater, and other forms of expression. On the other hand, as the preface states, black artists and ...

"The 10 essays here explore the images of blacks in historical contemporary American culture. Negative and stereotypical images of blacks have been deeply embedded in our art, music, literature, film, theater, and other forms of expression. On the other hand, as the preface states, black artists and others have also celebrated images of strength, beauty, and achievement.' Reflecting the complexity of the relationship between the races, these two elements are often intertwined. This reference work explores these images, both positive and negative, and their historical development and impact on both black and American culture. . . . Its unique qualities are the discussions and sources for studying and understanding those artifacts as well as the provision of a historical perspective on the images." Reference Books Bulletin

In recent decades, historians and social theorists have given much thought to the concept of "culture, " its origins in Western thought, and its usefulness for social analysis. In this book, Susan Hegeman focuses on the term's history in the United States in the first half of the twentieth century ...

In recent decades, historians and social theorists have given much thought to the concept of "culture, " its origins in Western thought, and its usefulness for social analysis. In this book, Susan Hegeman focuses on the term's history in the United States in the first half of the twentieth century, She shows how, during this period, the term "culture" changed from being a technical term associated primarily with anthropology into a term of popular usage. She shows the connections between this movement of "culture" into the mainstream and the emergence of a distinctive "American culture, " with its own patterns, values, and beliefs.