DOCSLIB.ORG

This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. A Re-examination of the Work of T. E. Hulme Christos Hadjiyiannis Doctor of Philosophy The University of Edinburgh February 2011 Τοσ κὐ κλοσ ηα γσρἰ ζμαηα, ποσ ανεβοκαηεβαἰ νοσ και ηοσ ηροτοὐ ποσ ὠρες υηλἀ κι ὠρες ζηα βἀ θη πηαἰ νοσ, και ηοσ καιροὐ η᾽ αλλἀ μαηα ποσ αναπαημὀ δεν ἐ τοσ, μα ζηο καλὀ κ᾽ εις ηο κακὀ περιπαηοὐ ν και ηρἐ τοσ και ηφν αρμἀ ηφ οι ηαρατἐ ς, ἐ τθρηηες και ηα βἀ ρη, ηοσ Ἐ ρφηα η εμπὀ ρεζη και ηης θιλἰ ας η τάρη... Contents Acknowledgements v Abstract vii Introduction Re-examining Hulme’s Work 1 Chapter 1 “Cinders” and “Notes on Language and Style”: Early Philosophical Concerns 1. Introduction 12 2. Reality as “cinders” 14 3. Language as “gossamer web” 22 4. Poetry as “visual” language 32 5. Conclusion 40 Chapter 2 “A Lecture on Modern Poetry”: Towards a Theory for Modern Poetry 1. Introduction 42 2. The “modern spirit” 45 3. Impressionism and free verse 57 4. The “new visual art” 68 5. Conclusion 78 Chapter 3 Writings on Bergson: An Interpretation of Bergson’s Metaphysics 1. Introduction 80 2. Bergson‟s crossing of the Channel 83 3. A philosophy against “artificial gymnastics” 87 4. The “real importance” of Bergson 95 5. Bergson‟s “conclusions” and the rising popularity of Bergson 101 6. “Bergson‟s Theory of Art” 113 7. Conclusion 124 Chapter 4 Essays on Politics: Classicism as Conservatism 1. Introduction 125 2. The Conservative Party “crisis” and the Commentator 127 3. “Anti-intellectualism” as theory of propaganda 132 4. “Diremption” 139 5. The creation of a Conservative ideology 145 6. Two kinds of classicism: the Commentator and the Action Française 155 7. “Conservative” poetry 167 8. Conclusion 174 Chapter 5 Essays on art: Abstraction and Anti-humanism 1. Introduction 176 2. Against the Renaissance: experimentation with “primitive” forms 179 3. “Humanism” and “anti-humanism” 192 4. The politics of anti-humanist art 199 5. Conclusion 213 Chapter 6 War Writings: War, Anti-pacifism and Objective Ethics 1. Introduction 215 2. Trench warfare: desperation and perseverance 216 3. The argument for war 227 4. Anti-pacifism and democracy 235 5. The ethics of anti-pacifist democracy 246 6. Conclusion 261 Epilogue “Fire away”: Re-interpreting Hulme’s work 262 Bibliography 269 v Acknowledgements I have benefited from numerous conversations with many members of staff and fellow students at The University of Edinburgh; they are too many to mention here, but special thanks to Dr. Olga Taxidou and Dr. Simon Malpas for their generous advice, support and constant encouragement, as well as Mark Bolsover for reminding me of the importance of Nietzsche in reading the modernists and for repeatedly urging me to revise my readings of Hulme. I am grateful to Prof. Claire Colebrook for her guidance in the early stages of this project and to Prof. Laura Marcus for her insightful comments and continuous support throughout the process of writing this thesis. More than anyone else, I would like to thank my supervisor Dr. Alex Thomson for his patience, generosity and help from day one. His sharp and intelligent comments helped shape this project and I have learned more than I could have ever wished for from his critical feedback. I have also benefited from the kindness and expertise of many Hulme scholars. Helen Burton at the University of Keele Library Archives helped me decipher Hulme‟s impossible handwriting and provided me copies of Hulme‟s manuscripts on various occasions; Susumu Kanetake has been extremely kind in sending me his out-of-print edition of Hulme‟s Notes on Language and Style; and Robert Ferguson, Prof. Ronald Schuchard and Dr. Michael Whitworth all generously shared their knowledge of Hulme‟s life and work with me. I am also grateful to the helpful librarians at the National Library of Scotland and University of Edinburgh Library, as well as to the staff at the British Library, the British Newspaper Library at Colindale, the Harry Ransom Center at Austin, Texas, the McMaster University vi Library in Hamilton, Ontario, the Hull University Archives, and the Tate Library and Archive. Glyn Salton-Cox read drafts of this thesis and urged me during many visits to the pub, in Cambridge and abroad, to re-think my argument, while Marina Fieros kindly volunteered to verify my translations from French. Karin, Mark, Silvia, Andrew, Sarah, Lila and Corey made Edinburgh a happy place during the past four years. My dear friends from back home – Elina, Mike, Nikolis and Costas – and from Cambridge – Danilo, Florian and Christoforos – have been there for me when I asked for their help and, more importantly, when I didn‟t. I could not have done this without the love and support of my brother and sister, Yangos and Demetra, and my girlfriend Hana, who has had to endure – more times than I wish to know – my stress and anxieties during these years, remaining always extremely loving and wonderfully supportive. This is in loving memory of my grandmother and for my parents, Theo and Georgia, in infinite gratitude. Εσταριζηώ. vii Abstract This project challenges a series of common interpretations of Hulme‟s work: that his arguments are contradictory; that his career can be separated into distinct “phases”; that he endorsed other thinkers‟ ideas uncritically; and that he promulgated authoritarian politics. Chapter 1 examines the entries in Hulme‟s notebooks that relate his views on the nature of reality and language. Read through ideas in the works of Bergson, Nietzsche and Ribot, these rudimentary notes present a coherent “anti-intellectualist” philosophical position, consistent with claims made in his later writings. Chapter 2 focuses on “A Lecture on Modern Poetry.” Hulme‟s rejection of nineteenth-century verse was part of a broader campaign by poets in London to find new ways of expression, yet his ideas stand independently of claims made by Flint, Storer and Pound. Hulme‟s greatest contribution to Imagism is the emphasis he put on the use of images in poetry, a method that follows from the distinction he drew in the notebooks between “direct” and “indirect” language. Chapter 3, which examines Hulme‟s essays and lectures on Bergson, demonstrates that, although he embraced Bergson‟s philosophical method, Hulme remained critical of many of Bergson‟s theories. This discredits the claim that he was simply reiterating Bergson‟s ideas. Ultimately, Bergson‟s “intuition” enabled Hulme to develop his earlier description of “modern” poetry and to recast it as “classic” poetry. Chapter 4 investigates Hulme‟s political essays. Together with Storer, Hulme participated in a debate in the Commentator concerning the parliamentary crisis of 1910. It was as part of an attempt to create an efficient propaganda strategy for the Conservative party that Hulme postulated his famous antithesis between Romanticism and Classicism. Hulme‟s analysis of the process of political conversion shows that in 1910-12 he had not abandoned elements in his thought from Bergson‟s philosophy. Moreover, far from viii sharing the authoritarian political views of the Action Française, he can be more accurately described as a “moderate Conservative.” Chapter 5 demonstrates that claims Hulme made in his art criticism are consonant with the general reaction in 1913-14 against representational art. While drawing heavily on Worringer‟s anti-materialist conception of art history, he was using it to defend his contemporaries‟ experimentation with geometric forms, in a way similar to Fry and Bell. Although, like Worringer and Ludovici, Hulme campaigned for anti- humanism and mixed aesthetics with politics, the model of art he proposed did not carry the authoritarian implications of those of Worringer and Ludovici. Finally, Chapter 6 explores Hulme‟s war writings. Hulme was not a militarist; rather, he supported Britain‟s involvement in the war on the grounds that war against Germany would protect the British political institutions. He stayed true to his Conservative principles, using ideas from Sorel and Proudhon to dissociate the “democratic” from the “pacifist” ideology. There is also evidence that, despite his explicit rejection of vitalism in “A Notebook,” Hulme continued to value Bergson‟s method of “intuition” right up to his death in 1917. This project, therefore, argues for a re-interpretation of Hulme‟s work and shows the value of scrutinising the intellectual and political context in which he was writing in understanding the precise nature of his thought. 1 Introduction Re-Examining Hulme’s Work The name of T. E. Hulme reverberates widely across early twentieth-century literary studies. It is now a commonplace that in his short but prolific career, spanning from about 1908 until his death in 1917, Hulme exerted considerable influence on intellectual thought in the early modernist period; in the words of T. S. Eliot, Hulme is “the forerunner of a new attitude of mind” (“A Commentary” 231), a verdict which has been repeated by numerous other modernist figures throughout the years.
Load more

Recommended publications
  • Ezra Pound and the Rhetoric of Science, 1901–1922
    EZRA POUND AND THE RHETORIC OF SCIENCE, 1901–1922 Kimberly Kyle Howey University College London Thesis submitted in partial fulfillment of the requirements for the degree of doctor of philosophy in European Studies, University College London, January 2009. 1 I, Kimberly Kyle Howey, confirm that the work presented in this thesis is my own. Where information has been derived from other sources, I confirm that this has been indicated in the thesis. 2 ABSTRACT This thesis identifies science as Ezra Pound’s first extended extra-poetic interest. This reference to science in Pound’s poetic theory and poetry is portrayed as rhetoric, with its emphasis on the linguistic signifier or word rather than the actual concepts and data of science. The material covers over two decades between 1901, when Pound entered university, and 1922, after he left London. Beginning with Pound’s exposure to philology, the thesis establishes a correlation between his educational background and his use of scientific rhetoric in his prose. As he attempted to establish a professional status for the poet, he used metaphors linking literature to the natural sciences and comparisons between the poet and the scientist. Additionally, Pound attempted to organize poetic movements that resembled the professional scientific organizations that were beginning to form in America. In his writings promoting these movements, Pound developed a hygienic theory of poetry— itself an extensive rhetorical project—which produced a clean, bare poem and further linked Pound’s poetic output with the sciences. Beyond his rhetorical use of science, Pound attempted to study the sciences and even adopted a doctor persona for his friends with illnesses—both diagnosing and prescribing cures.
    [Show full text]
  • Society in the First World War
    Caroline E. Playne Society in the First World War The Pre-War Mind in Britain Society at War 1914-1916 Britain Holds On 1917, 1918 The Neuroses of the Nations GogLiB ebooks ISBN: 9788897527428 First edition: March 2018 (A) Copyright © GogLiB , March 2018 www.goglib.com All rights reserved. 1 Contents FOREWORD: CAROLINE PLAYNE, PACIFIST AND SOCIAL ANTHROPOLOGIST A Tetralogy on the First World War The Vision of the Problem of War Some Implicit Postulates Sources on Caroline Playne Note to the 2018 electronic edition PW - THE PRE-WAR MIND IN BRITAIN PW - Original title page PW - PREFACE PW - INTRODUCTION PW - CHAPTER I - A GENERATION IN A HURRY PW - CHAPTER II - PANICS AND THE PRESS PW - CHAPTER III - THE TEACHING OF MILITARISM PW - CHAPTER IV - THE EARLIER IMPERIALISM PW - CHAPTER V - THE LATER IMPERIALISM PW - CHAPTER VI - IMPERIALIST MOODS PW - CHAPTER VII - ANGLO-GERMAN ANTAGONISM PW - CHAPTER VIII - THE DAYS BEFORE THE FLOOD PW - CHAPTER IX - IN FULLNESS OF TIME PW - CHAPTER X - THE BREAKDOWN PW - CHAPTER XI - THE FATEFUL PLUNGE PW - CHAPTER XII - A SUMMARY AND REACTIONS IN OTHER LANDS PW - CONCLUSION PW - INDEX SW - SOCIETY AT WAR 1914—1916 SW - Original title page SW - PREFACE 2 SW - INTRODUCTION SW - CHAPTER I - “FALLING IN” SW 1.1. War Had Come SW 1.2. Why We Are Fighting SW 1.3. An Appeal Without Precedent SW - CHAPTER II - THE DAY OF IDEALISM SW 2.1. The Idealism of Those Who Went SW 2.2. The Ideal They Pursued SW 2.3. Reactions at Home SW - CHAPTER III - THE CITIZENS’ WAR SW 3.1.
    [Show full text]
  • Edwardian Invasion Literature 1899-1914
    External Threats Mask Internal Fears: Edwardian Invasion Literature 1899-1914 Harry Joseph Wood Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy School of Histories, Languages and Cultures, University of Liverpool May 2014 © Harry Joseph Wood 1 External Threats Mask Internal Fears: Edwardian Invasion Literature 1899-1914 Contents Acknowledgements 3 Illustrations 4 Introduction 5 Chapter 1 Invasion and the Edwardian Age 1.1 Introduction 16 1.2 Crisis or Golden Age? Trends in Edwardian Historiography 17 1.3 British Invasion and Future-War Literature 1871-1914 31 1.4 Approach and Methodology 54 1.5 Conclusion 77 Chapter 2 Limitless Britishness: The Nature of National Identity in Edwardian Invasion Literature 2.1 Introduction 79 2.2 Imagined Britishness 80 2.3 The State of the Nation 84 2.4 The Threats to the Nation 112 2.5 Conclusion: The Breadth of Britishness 137 Chapter 3 Dreams of ‘A Nations in Arms’: Representations of Compulsory Military Service in Edwardian Invasion Literature 3.1 Introduction 139 3.2 Case Study: A J Dawson’s The Message (1907) 140 3.3 The Case for Conscription 147 3.4 The Need for Conscription: Britain’s Social Perils 153 3.5 Visions of Military Reform 179 3.6 Conclusion: A Multi-Faceted Campaign 200 2 Chapter 4 The Edwardian Crisis and Contemporary Invasion Narratives 4.1 Introduction 202 4.2 Perfidious Liberals 203 4.3 The Persistent Sisterhood 217 4.4 The Irish Question 229 4.5 The Red Hand of Ruin 249 4.6 Conclusion: An Edwardian Crisis? 268 Conclusion 270 Bibliography 276 3 Acknowledgements During the course of writing this thesis I have been able to rely on a large number of generous, caring, and supportive people.
    [Show full text]
  • Alan Munton Replies to a Review in Art History I Don't Like Having My
    Alan Munton replies to a review in Art History I don’t like having my words altered by a reviewer, which is why I am replying to Dr Sarah Victoria Turner’s review of an essay by me. The essay was on Pat Barker’s Life Class, a novel published in 2007. My discussion was in London, Modernism, and 1914, an essay collection edited by Michael Walsh. Barker’s novel, I argued, was a travesty of life at the Slade in 1914, bringing forward the reactionary teaching of Henry Tonks as if it had influenced positively a number of modernist or near-modernist artists: C. R. W. Nevinson, Dora Carrington, Mark Gertler, Paul Nash – all are lightly fictionalised in Life Class. My argument was that Barker’s would-be feminist novel privileges these artists when there were actual women artists who were genuinely active in 1914, notably Helen Saunders and Jessica Dismorr. They were associated with Wyndham Lewis’s Blast, the magazine which was the seismic event of 1914 for young artists, but which Barker somehow forgets to mention at all. I also made the case for Kate Lechmere, who financed Lewis’s Rebel Art Centre and was a cubist artist herself. Faced with this argument, Sarah Victoria Turner decided to have a little feminist fun at my eXpense. Her review appeared in Art History in 2012. Setting aside what I actually said, she pretends to believe that my strategy was “to challenge feminist readings of vorticism and its journal, Blast, which, he argues have been ‘so reprehensible from a feminist point of view’”.
    [Show full text]
  • 'Blotting-Book Mind': Stratigraphic Approaches to Interdisciplinary Reading And
    ‘The Scholar’s Copy Book’ and the ‘Blotting-Book Mind’: Stratigraphic Approaches to Interdisciplinary Reading and Writing in the Work of Vernon Lee By Sally Blackburn-Daniels Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor in Philosophy August 2018 ‘The Scholar’s Copy Book’ or the ‘Blotting-Book Mind’: Stratigraphic Approaches to Interdisciplinary Reading and Writing in the Work of Vernon Lee By Sally Blackburn-Daniels Abstract: This project examines Vernon Lee’s (1856-1935) assimilation of contemporary models of scientific theory into her own textual output. It does so by bringing attention to Lee’s writing practice as a development of her own understanding of the scientific theory of the mneme, and furthermore, the way in which this understanding then became a framework for her investigation of the mechanisms of textual allusion. The Vernon Lee archive at the British Institute of Florence holds over four- hundred and twenty works previously owned and read by Lee, many of which carry her annotations. These holdings are predominantly scientific works, and provide a bibliographic key to unlocking the references within Lee’s essays, novels, novellas and short stories. This thesis utilizes these texts, and Lee’s marginalia therein, to consider a) the ways in which Lee embraces and embeds scientific discourse within her work, b) her recognition of the evolution of scientific fields and the continuing presence of superseded theories, and c) the ways in which scientific discourse and praxis becomes stratified within Lee’s reading. I argue that Lee’s approach to scientific progression echoes her textual practice: one that charts the succession and development of a discipline in temporal layers within her own works, or in the construction of a hybrid theorem from a multiplicity of theories within a single or across disciplinary boundaries.
    [Show full text]
  • A WAR of INDIVIDUALS Bloomsbury a FINDIVIDUALS of WAR a Losuyattdst H Ra War Great the to Attitudes Bloomsbury Attitudes to the Great War
    ATKIN.COV 18/11/04 3:05 pm Page 1 A WAR OF INDIVIDUALS Bloomsbury A WAR OF INDIVIDUALS Bloomsbury attitudes to the Great War attitudes to the Great War Atkin Jonathan Atkin A WAR OF INDIVIDUALS prelims.p65 1 03/07/02, 12:20 prelims.p65 2 03/07/02, 12:20 A WAR OF INDIVIDUALS Bloomsbury attitudes to the Great War JONATHAN ATKIN Manchester University Press Manchester and New York distributed exclusively in the USA by Palgrave prelims.p65 3 03/07/02, 12:20 Copyright © Jonathan Atkin 2002 The right of Jonathan Atkin to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. Published by Manchester University Press Oxford Road, Manchester M13 9NR, UK and Room 400, 175 Fifth Avenue, New York, NY 10010, USA www.manchesteruniversitypress.co.uk Distributed exclusively in the USA by Palgrave, 175 Fifth Avenue, New York, NY 10010, USA Distributed exclusively in Canada by UBC Press, University of British Columbia, 2029 West Mall, Vancouver, BC, Canada V6T 1Z2 British Library Cataloguing-in-Publication Data A catalogue record for this book is available from the British Library Library of Congress Cataloging-in-Publication Data applied for ISBN 0 7190 6070 2 hardback ISBN 0 7190 6071 1 paperback First published 2002 10 09 08 07 06 05 04 03 02 10 9 8 7 6 5 4 3 2 1 Typeset by Freelance Publishing Services, Brinscall, Lancs. www.freelancepublishingservices.co.uk Printed in Great Britain by Bookcraft (Bath) Ltd, Midsomer Norton prelims.p65 4 03/07/02, 12:20 Contents Acknowledgements
    [Show full text]
  • Winifred Holtby
    The 'Gospel of Detachment': Remembrance, Exile, and Engagement in Women's Lives and Writing in England Between the Wars. Daragh D. Catherine Russell Submitted in partial fulfillment of the requirements for the degree of Master of Arts Daihousie University Halifax, Nova Scotia, Canada 1998 O Copyright by Daragh D. Catherine Russell, 1998 National Library Bibiioaièque nationale du Canada Acquisitions and Aaquisitions et 51biiiraphicSeMces senrices bibliographiques 395 welbgton Street 395, Ne we)nngtm OttawaON K1AW OttawaON K1AW Canada Canada The author has granted a non- L'auteur a accordé une Licence non exclusive licence dowing the exciusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distriiute or sell reproduire, prêter, distri'buer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de micdche/nlm, de reproduction sur papier ou sur format élecironique. The author retams ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts f?om it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. Canada This thesis is dedicated to Florence Olden Haggarty (1914--), and to the memory of Blanche Gosse Russell (191 7-1 986). Table of Contents Abstract Acknowledgments 1 Introduction: Noncombatants and Survivors. 2 Testaments of a Generation? Women's War Memoirs and the Problem of Authority. 3 'Detached Cornmitment': Ferninism, Tirne And Tide, and Winifred Holtby.
    [Show full text]
  • History Not Yet Written: Writing the First World War in Britain 1914-1935
    History Not Yet Written: Writing the First World War in Britain 1914-1935 Master’s Thesis Presented to The Faculty of the Graduate School of Arts and Sciences Brandeis University Department of History Paul Jankowski, Advisor In Partial Fulfillment of the Requirements for Master of Arts in Comparative History by Stephen Silver May 2010 Copyright by Stephen Silver 2010 ABSTRACT History Not Yet Written: Writing the First World War in Britain 1914-1935 A thesis presented to the History Department Graduate School of Arts and Sciences Brandeis University Waltham, Massachusetts By Stephen Silver Despite the level of interest in the First World War, little writing exits about the early histories of the war published in Britain during the inter-war period. The historians who do discuss this literature propose either a divide between the histories of the 1920s and 1930s, representing a shift to a tragic narrative influenced by fiction about the war, or lump together all of the inter-war histories as sharing similar characteristics. This study expands on the debate by exploring twenty-eight general, non-fiction historical texts about the war aimed at popular consumption published in Britain between 1914 and 1935, and analyzes four elements of their depictions of the war: the origins, casualties, outcome, and any over-arching meaning that they present. It argues that there are three distinct inter-war periods of writing on the war: 1914 to 1920, 1922 to 1927, and 1928 to 1935, with each period characterized by changes in these four elements. The most profound change is between the First Period (1914 to 1920) and the Second Period (1920 to 1927) during which we see a dramatic rise to prominence of impersonal, structural causes for the war, over-arching meanings of the war as a tragedy, and a heightened iii emphasis on the horrors of the war.
    [Show full text]
  • 'To Suffragettes. a Word of Advice…'. Blast, Gender and 'Art Under Attack'
    ‘To Suffragettes. A Word of Advice…’. Blast, Gender and ‘Art under Attack’ Ana Gabriela Macedo Universidade do Minho Abstract: “Art under Attack” is the title of an exhibition that took place at Tate Britain in London (Oct. 2013- Jan. 2014). In this paper I will concentrate on an exemplary case of such an iconoclastic attack, which was indexed in this exhibition as political – I am referring to the attack of the suffragette Mary Richardson to Velázquez’s Rokeby Venus, in March 1914. My argument is that militant Suffragettes were in fact the first Guerilla Girls of the 20th century, largely anticipating the latter performative and anti-establishment gesture in the Museum and denouncing the institutional space of art as deeply gendered and discriminatory, and, moreover, reclaiming it as a public space of political citizenship, democratic intervention and anti-iconoclastic debate. This will be discussed in the context of and in a dialogue with the Vorticist aesthetics and the outbreak of World War I. In fact Blast 1, the shocking bright pink Vorticist magazine was published on the 20th June 1914, exactly three months after the Rokeby Venus’ attack, and roughly a month (exactly 33 days), before the first World War was declared through the invasion of Serbia (28 July 2014). Key-words: Suffragette; Gender; Avantgarde; Art; Guerilla Girls Resumo: “Art under Attack” é o título de uma exposição que teve lugar na Tate Britain em Londres (Out. 2013-Jan. 2014). O foco e ponto de partida do presente artigo é a análise de um caso exemplar de ataque iconoclasta, o qual foi identificado nesta exposição como sendo de índole política – trata-se concretamente do famoso ataque da sufragista Mary Richardson à não menos famosa pintura de Diego Velázquez, A Vénus ao espelho.
    [Show full text]
  • Beneath Wyndham Lewis's Praxitella – the Rediscovery of a Lost Vorticist
    Beneath Wyndham Lewis’s Praxitella – The Rediscovery of a lost Vorticist work by Helen Saunders Painting Pairs Project 2020 By Rebecca Chipkin and Helen Kohn Beneath Wyndham Lewis’s Praxitella Rebecca Chipkin and Helen Kohn Introduction The Painting Pairs project enables postgraduate conservation students and art history students at the Courtauld Institute of Art to conduct a technical and art historical analysis of an artwork together. The following paper presents the research findings for the painting Praxitella, c. 1921 by Wyndham Lewis from Leeds Art Gallery. The research was undertaken by Rebecca Chipkin and Helen Kohn from November 2019 until May 2020. Acknowledgements First of all, we would like to thank Leeds Art Gallery for giving us the opportunity to study one of the masterpieces of their collection. In particular, we thank Nigel Walsh. This project would not have been possible without the help of our tutors, scholars, and friends, who gave us new insights, helped us to ask the right questions and see things from new angles. We thank: Silvia Amato, Pippa Balch, Dr Leon Betsworth, Prof Aviva Burnstock, Paul Edwards, Dr Pia Gottschaller, Dr Paul O’Keeffe, Brigid Peppin, Prof David Peters Corbett, Clare Richardson, Dr Karen Serres, and Dr Barnaby Wright. 1 Beneath Wyndham Lewis’s Praxitella Rebecca Chipkin and Helen Kohn Table of Contents A glance at the surface: Praxitella by Wyndham Lewis ........................................................... 3 A look beneath Praxitella: Atlantic City by Helen Saunders ...................................................
    [Show full text]
  • Elisabeth Mulder Y Ana María Martínez Sagi Fran Garcerá 9
    Diciembre de 2020 Nº23 ISSN: 1885-3625 Editorial Universidad de Sevilla Revista Internacional Relacionadas Autoras, contextos y vínculos REVISTA INTERNACIONAL DE CULTURAS Y LITERATURAS (RICL) Número XXIII, diciembre de 2020 http://dx.doi.org/10.12795/RICL.2020.i23 Proyecto de edición del Grupo de investigación Escritoras y Escrituras (HUM753) www.escritorasyescrituras.com DIRECTORAS Dra. Mercedes Arriaga Flórez, Universidad de Sevilla, España Dra. Eva María Moreno Lago, Universidad de Sevilla, España CONSEJO EDITORIAL Dra. Mercedes González de Sande, Universidad de Oviedo, España Dr. Daniele Cerrato, Universidad de Sevilla, España Dra. Milica Lilic, Universidad de Sevilla, España Dra. Milagro Martín Clavijo, Universidad de Salamanca, España Dra. Estela González de Sande, Universidad de Oviedo, España ©RICL Queda rigurosamente prohibida, sin la autorización escrita de los titulares del “Copyright”, bajo las ISSN 1885-362 sanciones establecidas por las leyes, la reproducción DOI: http://dx.doi.org/10.12795/RICL parcial o total de esta obra por cualquier medio o procedimiento, comprendidos la reprografía y el EDITA tratamiento informático, y la distribución de ejemplares Editorial de la Universidad de Sevilla mediante alquiler o préstamo. https://editorial.us.es/es/revista-interna- cional-de-culturas-y-literaturas Las opiniones y los criterios vertidos por los autores en los artículos firmados son responsabilidad exclusiva de https://ojs.publius.us.es/ojs/index.php/ los mismos. CulturasyLiteraturas DISEÑO E IMAGEN DE PORTADA Eva María Moreno Lago MAQUETACIÓN Milica Lilic Comité científico internacional externo Dra. Ada Boubara, Universidad de Tesalónica, Grecia Dra. Alejandra Luz Salinas Guillén, Universidad Nacional Autónoma de México Dra. Angela Giallongo, Universidad de Urbino, Italia Dr.
    [Show full text]
  • U DHU Papers of Thomas Ernest Hulme 1907-1974
    Hull History Centre: Papers of Thomas Ernest Hulme U DHU Papers of Thomas Ernest Hulme 1907-1974 Biographical background: 'Oh, God, make small The old star-eaten blanket of the sky That I may fold it round me and in comfort lie' The Embankment, T E Hulme, 1909 T E Hulme was born in Staffordshire in 1883. He attended Newcastle School for boys, and read Mathematics at St John's College, Cambridge. He was unable to work in any disciplined manner and he failed to take a degree. He had the unusual distinction of being sent-down twice from Cambridge, after going-up again in 1914 to read Psychology and Mathematics He travelled in Canada between 1906 and 1907 and began writing philosophical and critical pieces which were posthumously published by Herbert Read as 'Speculations: essays on humanism and the philosophy of art' published in 1924. Hulme went on to become one of the first English critics to write about modern art (Csengeri, The collected writings of T E Hulme, Introduction). In 1907 Hulme taught English for a year in Belgium, but quickly gave up such prosaic activity. In 1909 he was a member of the Poets' Club that met at the Cafe Tour d'Eiffel in Fitzrovia where he met Ezra Pound. He was instrumental in introducing Pound to English literary society. Hulme regularly published in A R Orage's journal the New Age. Tom Steele, refering to Hulme's reputation as a pugilist, writes that 'his pronouncements on art and poetry were like so many hard jabs in an ageing culture's kidneys'.
    [Show full text]