Art for Art's Sake & Literary Life: How Politics and Markets Helped Shape the Ideology & Culture of Aestheticism, 1790-1990

By Gene H. Bell-Villada | Go to book overview

CHAPTER 5
The Modernist Internationale and the Market

"Modernism" is the encompassing term whereby Anglophone critics now denote a long list of "-isms," as well as a constellation of original geniuses, who, from Dublin to Petersburg, Oslo to Rome, burgeoned across Europe from approximately 1860 to 1930. In its strictly aesthetic acceptation, however, "Modernism" began achieving common currency only sometime in the 1950s. Previously, "Modernism" had been a theological term, designating certain nineteenth-century efforts to reinterpret Church faith and dogma in the light of the new social, behavioral, and historical sciences; the movement was condemned by the Vatican in 1907.

While the chief American dictionaries today include the artistic one as their most recent of definitions for our "M" word, the major encyclopedias -- the Americana, the Britannica, and most notably the first two editions of the Princeton Encyclopedia of Poetry and Poetics -- do not even provide a separate entry for "Modernism." Such reticence suggests that, among generalists and critics both, consensus may be lacking as to what "Modernism" is and is not. Alternately, it may be that the word simply presents a semantic field too vast to be adequately summed up within the column inches of a reference book.

At any rate, until not too long ago cultural commentators routinely alluded to the authors, painters, and composers of that era under the general rubric of "avant-garde" or "vanguard" or, less frequently, "experimental." Meanwhile literary critics were characterizing novelists as disparate as Joyce, Proust, and Kafka as symbolist writers. Not accidentally, American undergraduates in literature courses in the 1930s picked up an analytical vocabulary of "symbolism," and many a scholarly volume with origins in those years bears some variant of the word "symbol" in its title. Later, during the 1950s, informal popular speech -- especially speech by young practitioners

-125-

Notes for this page

Add a new note
If you are trying to select text to create highlights or citations, remember that you must now click or tap on the first word, and then click or tap on the last word.
One moment ...
Default project is now your active project.
Project items

Items saved from this book

This book has been saved
Highlights (0)
Some of your highlights are legacy items.

Highlights saved before July 30, 2012 will not be displayed on their respective source pages.

You can easily re-create the highlights by opening the book page or article, selecting the text, and clicking “Highlight.”

Citations (0)
Some of your citations are legacy items.

Any citation created before July 30, 2012 will labeled as a “Cited page.” New citations will be saved as cited passages, pages or articles.

We also added the ability to view new citations from your projects or the book or article where you created them.

Notes (0)
Bookmarks (0)

You have no saved items from this book

Project items include:
  • Saved book/article
  • Highlights
  • Quotes/citations
  • Notes
  • Bookmarks
Notes
Cite this page

Cited page

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

(Einhorn, 1992, p. 25)

(Einhorn 25)

1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited page

Bookmark this page
Art for Art's Sake & Literary Life: How Politics and Markets Helped Shape the Ideology & Culture of Aestheticism, 1790-1990
Table of contents

Table of contents

Settings

Settings

Typeface
Text size Smaller Larger Reset View mode
Search within

Search within this book

Look up

Look up a word

  • Dictionary
  • Thesaurus
Please submit a word or phrase above.
Print this page

Print this page

Why can't I print more than one page at a time?

Full screen
/ 348

matching results for page

Cited passage

Style
Citations are available only to our active members.
Sign up now to cite pages or passages in MLA, APA and Chicago citation styles.

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn, 1992, p. 25).

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences." (Einhorn 25)

"Portraying himself as an honest, ordinary person helped Lincoln identify with his audiences."1

1. Lois J. Einhorn, Abraham Lincoln, the Orator: Penetrating the Lincoln Legend (Westport, CT: Greenwood Press, 1992), 25, http://www.questia.com/read/27419298.

Cited passage

Welcome to the new Questia Reader

The Questia Reader has been updated to provide you with an even better online reading experience.  It is now 100% Responsive, which means you can read our books and articles on any sized device you wish.  All of your favorite tools like notes, highlights, and citations are still here, but the way you select text has been updated to be easier to use, especially on touchscreen devices.  Here's how:

1. Click or tap the first word you want to select.
2. Click or tap the last word you want to select.

OK, got it!

Thanks for trying Questia!

Please continue trying out our research tools, but please note, full functionality is available only to our active members.

Your work will be lost once you leave this Web page.

For full access in an ad-free environment, sign up now for a FREE, 1-day trial.

Already a member? Log in now.