Biographical Sketches of Key Pupils
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The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank You Very Much Nigel, That's a Very Generous Introduction
TRANSCRIPT Into the Vortex: The Leeds Arts Club and the New Age: Art and Ideas in a Time of War by Tom Steele Thank you very much Nigel, that's a very generous introduction. Thank you for inviting me back to the Leeds Art Gallery where I spent so many happy hours. As Nigel said, the book was actually published in 1990, but it was a process of about 5 or 6 year work, in fact it's turned into a PHD. I've not done a lot of other work on it since, I have to say some very very good work has been done on Tom Perry and other peoples in the meantime, and it's grievously in danger of being the new edition, which I might or might not get around to, but maybe somebody else will. Anyway, what I'm going to do is to read a text. I'm not very good at talking extensively, and it should take about 40 minutes, 45 minutes. This should leave us some time for a discussion afterwards, I hope. Right, I wish I'd thought about the title and raw text before I offered the loan up to the gallery, because it makes more sense, and you'll see why as we go along. I want to take the liberty of extending the idea of war to cover the entire decade 1910-1920, one of the most rebellious and innovative periods in the history of British art. By contrast, in cultural terms, we now live in a comparatively quiet period. -
The New Age Under Orage
THE NEW AGE UNDER ORAGE CHAPTERS IN ENGLISH CULTURAL HISTORY by WALLACE MARTIN MANCHESTER UNIVERSITY PRESS BARNES & NOBLE, INC., NEW YORK Frontispiece A. R. ORAGE © 1967 Wallace Martin All rights reserved MANCHESTER UNIVERSITY PRESS 316-324 Oxford Road, Manchester 13, England U.S.A. BARNES & NOBLE, INC. 105 Fifth Avenue, New York, N.Y. 10003 Printed in Great Britain by Butler & Tanner Ltd, Frome and London This digital edition has been produced by the Modernist Journals Project with the permission of Wallace T. Martin, granted on 28 July 1999. Users may download and reproduce any of these pages, provided that proper credit is given the author and the Project. FOR MY PARENTS CONTENTS PART ONE. ORIGINS Page I. Introduction: The New Age and its Contemporaries 1 II. The Purchase of The New Age 17 III. Orage’s Editorial Methods 32 PART TWO. ‘THE NEW AGE’, 1908-1910: LITERARY REALISM AND THE SOCIAL REVOLUTION IV. The ‘New Drama’ 61 V. The Realistic Novel 81 VI. The Rejection of Realism 108 PART THREE. 1911-1914: NEW DIRECTIONS VII. Contributors and Contents 120 VIII. The Cultural Awakening 128 IX. The Origins of Imagism 145 X. Other Movements 182 PART FOUR. 1915-1918: THE SEARCH FOR VALUES XI. Guild Socialism 193 XII. A Conservative Philosophy 212 XIII. Orage’s Literary Criticism 235 PART FIVE. 1919-1922: SOCIAL CREDIT AND MYSTICISM XIV. The Economic Crisis 266 XV. Orage’s Religious Quest 284 Appendix: Contributors to The New Age 295 Index 297 vii LIST OF ILLUSTRATIONS A. R. Orage Frontispiece 1 * Tom Titt: Mr G. Bernard Shaw 25 2 * Tom Titt: Mr G. -
Ann Ardis Chaper 5 from "Modernism and Cultural Conflict"
MODERNISM AND CULTURAL CONFLICT 1880-1922 ANN L. ARDIS CAMBRIDGE UNIVERSITY PRESS Published BY The PRESS Syndicate of The University OF Cambridge The Pitt Building Trumpington Street Cambridge C B 2 I RP United Kingdom Cambridge University Press The Edinburgh Building Cambridge C B2 2RU UK 40 West 20th Street, New York, AY 1001 1 -42 I I, USA 477 Willamstown Road, Port Melbourne VIC 3207, Australia Ruiz de Alarcon 13 28014 Madrid, Spain Dock House, The Waterfront Cape Town 8oo1, South Africa http: //wmw.cambridge.org © Ann L. Ardis 2002 This book is in copyright Subject to statutory exception arid to the provisions of relevant collective licensing agreements, no reproduction of any part may take place without the written permission of Cambridge University Press. First published in Printed in the United Kingdom at the University Press, Cambridge Typeface Baskerville Monotype I 1 /12.5 pt System LATEX 2E [ TB A catalogue record for this book is available from the British Library Library of Congress Cataloging in Publication data Ardis Ann L. 1957 Modernism arid cultural conflict 1880 1922 / Ann I,. Ardis. p. cm. Includes bibliographical references and index. ISBN o 52 I 81206 2 I. English literature 20th century History and criticism. 2. Modernism (Literature) Great Britain. 3. Culture conflict Great Britain. 4. Culture conflict in literature. I. Title PK478.MG A74 2002 820.9’1 12 dc2 I 2002067060 ISBN o 52 I 81206 2 hardback CHAPTER 5 “Life is not composed of watertight compartments”: the New Age ’s critique of modernist literary specialization BLAST GRAMMAR, BLESS CLICHE, BLAST SPELLING, BLESS BIG PRINT, BLAST REASON, BLESS BLOOD, BLAST SENSE, SO BLESS SELF, SO BLAST THE NEW AGE. -
Dissemination of the Work During Gurdjieff’S Lifetime
DISSEMINATION OF THE WORK DURING GURDJIEFF’S LIFETIME Throughout the course of his teaching Gurdjieff employed deputies or “helper- instructors” to assist with disseminating his ideas. During the Russian phase of the teaching, P.D. Ouspensky and other senior students would often give introductory lectures to newcomers as preparation for Gurdjieff’s presentation of more advanced material. A.R. Orage was responsible for introducing Work ideas to Gurdjieff’s New York groups in the 1920s. Under Gurdjieff’s direction Jeanne de Salzmann organized and led French groups during the 1930s and was largely responsible for teaching Gurdjieff’s sacred dances. Gurdjieff realized that if his teaching was to take root in the West he needed to train and teach students with a Western background who could assist him in making the teach- ing culturally appropriate. Gurdjieff’s efforts to train his assistants may also have come from a desire to develop them into independent teachers in their own right. During a period of physical incapacity following his serious automobile accident in July 1924, Gurdjieff’s Institute at the Prieuré in Fontainebleau virtually ground to a halt. It was then that Gurdjieff realized that none of his students possessed the degree of inner development or the leadership capacity to carry his work forward in his absence: He had to acknowledge what for him was a devastating realization: that the Institute for the Harmonious Development of Man had failed insofar as not a single pupil, nor even all of his students collectively, possessed the inner resources required even temporarily to sustain the momentum of life he had set into motion. -
Van Gogh Museum Journal 2002
Van Gogh Museum Journal 2002 bron Van Gogh Museum Journal 2002. Van Gogh Museum, Amsterdam 2002 Zie voor verantwoording: http://www.dbnl.org/tekst/_van012200201_01/colofon.php © 2012 dbnl / Rijksmuseum Vincent Van Gogh 7 Director's foreword In 2003 the Van Gogh Museum will have been in existence for 30 years. Our museum is thus still a relative newcomer on the international scene. Nonetheless, in this fairly short period, the Van Gogh Museum has established itself as one of the liveliest institutions of its kind, with a growing reputation for its collections, exhibitions and research programmes. The past year has been marked by particular success: the Van Gogh and Gauguin exhibition attracted record numbers of visitors to its Amsterdam venue. And in this Journal we publish our latest acquisitions, including Manet's The jetty at Boulogne-sur-mer, the first important work by this artist to enter any Dutch public collection. By a happy coincidence, our 30th anniversary coincides with the 150th of the birth of Vincent van Gogh. As we approach this milestone it seemed to us a good moment to reflect on the current state of Van Gogh studies. For this issue of the Journal we asked a number of experts to look back on the most significant developments in Van Gogh research since the last major anniversary in 1990, the centenary of the artist's death. Our authors were asked to filter a mass of published material in differing areas, from exhibition publications to writings about fakes and forgeries. To complement this, we also invited a number of specialists to write a short piece on one picture from our collection, an exercise that is intended to evoke the variety and resourcefulness of current writing on Van Gogh. -
Ed 400 399 Author Title Institution Report No Pub Date Available from Pub Type Edrs Price Descriptors Abstract Document Resume C
DOCUMENT RESUME ED 400 399 CE 072 717 AUTHOR Marriott, Stuart, Ed.; Hake, Barry J., Ed. TITLE Cultural and Intercultural Experiences in European Adult Education. Essays on Popular and Higher Education since 1890. Leeds Studies in Continuing Education. Cross-Cultural Studies in the Education of Adults, Number 3. INSTITUTION Leeds Univ. (England). Dept. of Adult and Continuing Education. REPORT NO ISBN-0-900960-67-1; ISSN-0965-0342 PUB DATE 94 NOTE 322p.; For a related document in the Cross-Cultural Studies series, see CE 072 716. AVAILABLE FROMLeeds Studies in Continuing Education/Museum of the History of Education, Rm. 14, Parkinson Court, University of Leeds, Leeds LS2 9JT, United Kingdom. PUB TYPE Reports Research/Technical (143) EDRS PRICE MFO1 /PC13 Plus Postage. DESCRIPTORS *Adult Education; Andragogy; Case Studies; Continuing Education; Cross Cultural Studies; *Cultural Context; Cultural Differences; *Cultural Exchange; Educational Change; Educational History; Educational. Objectives; Educational Policy; *Educational Practices; *Educational Trends; Extension Education; Foreign Countries; Higher Education; *Role of Education IDENTIFIERS *Europe; Folk High Schools; Popular Education ABSTRACT This book contains the following papers from a European research seminar examining the history and theory of cross-cultural communication in adult education: "Introduction" (Stuart Marriott, Barry J. Hake); "Formative Periods in the History of Adult Education: The Role of Social and Cultural Movements in Cross-Cultural Communication" (Barry J. -
Gurdjieff, Ouspensky, Orage
Black Sheep Philosophers by Gorham Munson On October 29, 1949, at the American Hospital in Paris died a Caucasian Greek named Georgy Ivanovitch Gurdjieff. A few nights later at Cooper Union, New York, a medal was presented to the revolutionary architect Frank Lloyd Wright. After his part in the ceremony was over, Wright asked the chairman's permission to make are announcement. "The greatest man in the world," he said, "has recently died. His name was Gurdjieff." Few, if any, in Wright's audience had ever heard the name before, which is quite understandable: Gurdjieff avoided reporters and managed most of the time to keep out of the media publicity. However, there was one kind of publicity that he always got in Europe and America, and that was the kind made by the wagging human tongue: gossip. In 1921 he showed up in Constantinople. "His coming to Constantinople," says the British scientist, J.G. Bennett, "was heralded by the usual gossip of the bazaars. Gurdjieff was said to be a great traveler and a linguist who knew all the Oriental languages, reputed by the Moslems to be a convert to Islam, and by the Christians to be a member of some obscure Nestorian sect." In those days Bennett, who is now an expert on coal utilization, was in charge of a British Intelligence section working in Constantinople. He met Gurdjieff and found him neither Moslem nor Christian. Bennett reported that "his linguistic attainments stopped short near the Caspian Sea, so that we could converse only with difficulty in a mixture of Azerbaidjan Tartar and Osmanli Turkish. -
Unpublished Letters of Ezra Pound to James, Nora, and Stanislaus Joyce Robert Spoo
University of Tulsa College of Law TU Law Digital Commons Articles, Chapters in Books and Other Contributions to Scholarly Works 1995 Unpublished Letters of Ezra Pound to James, Nora, and Stanislaus Joyce Robert Spoo Follow this and additional works at: http://digitalcommons.law.utulsa.edu/fac_pub Part of the Law Commons Recommended Citation 32 James Joyce Q. 533-81 (1995). This Article is brought to you for free and open access by TU Law Digital Commons. It has been accepted for inclusion in Articles, Chapters in Books and Other Contributions to Scholarly Works by an authorized administrator of TU Law Digital Commons. For more information, please contact [email protected]. Unpublished Letters of Ezra Pound to James, Nora, and Stanislaus Joyce Robert Spoo University of Tulsa According to my computation, 198 letters between Ezra so come Pound and James Joyce have far to light. Excluding or letters to by family members (as when Joyce had Nora write for him during his iUnesses), I count 103 letters by Joyce to Pound, 26 of which have been pubUshed, and 95 letters by Pound to Joyce, 75 of which have been published. These numbers should give some idea of the service that Forrest Read performed nearly thirty years ago in collecting and pubUshing the letters of Pound to Joyce,1 and make vividly clear also how poorly represented in print Joyce's side of the correspondence is. Given the present policy of the Estate of James Joyce, we cannot expect to see this imbalance rectified any time soon, but Iwould remind readers that the bulk of Joyce's un pubUshed letters to Pound may be examined at Yale University's Beinecke Library. -
Creativity and Political Identification in the Work
8 Jagodzinski Herbert Read 9 With this very same conviction, authors who have wri~en o!, Aesthetic Issues in the journals second section go about decentenng this CREATIVITY AND POLITICAL IDENTIFICATION "object" of institutional discourse by showing us that there is a wide range of aesthetics to be seen/ scene at the margins. Cherokee Culture, Native IN TIIE WORK OF HERBERT READ American Artifacts, and the 'neighborhood' view of art are examined. These political locations constitute periphery, marginalized spaces which mainstream art education seldom entertains in its stockjoumals. Rafferty's study of Vancouver graffiti artists is a paradigmatic case study of those dis DAVID THISTLEWOOD enfranchised artists outside the art world who legitimate themselves as artists in their revolt against arts institutionalization. In a postmodern world, the irony remains that there is no political space outside/ inside the The idea of a class conflict, in which a powerful minority subjugates art institution. These graffiti artists have become legitimated through their the majority among other ways by depriving it of any sense of self-~te~m very documentation. Schellin adds yet another important dimension to the deriving from worthwhile, origmal work - that is, by suppressmg Its artist as Outsider. He questions the representation of AIDS victims in his creativity - was something Herbert Read acquired through his youthful own poetic way, thereby heightening our consciousness as to the neglect involvement in the late stages of the Arts and Crafts Movement. It was a this sOcio-historical issue has for art educators. Historically there has premise he was never seriously to question, as was the corresponding idea always existed an iconography of disease - how the Other's Body as that to assert one's right to be creative was to engage in a political act. -
Luigi Pericle
LUIGI PERICLE Il volume celebra Luigi Pericle, pittore, ma anche The volume celebrates Luigi Pericle, painter, thinker, pensatore, letterato, studioso di teosofia writer, scholar of theosophy and esoteric doctrines. e di dottrine esoteriche, rivelando la sua storia It reveals his extraordinary history, made of profound straordinaria, fatta di ricerche profonde e grandi explorations and outstanding encounters. incontri. Dal noto collezionista Peter G. Staechelin From the acclaimed collector Peter G. Staechelin a Sir Herbert Read, trustee della Tate Gallery; to Sir Herbert Read, trustee of the Tate Gallery; dal museologo Hans Hess, curatore della York Art from museologist Hans Hess, curator of the York Art Gallery, al celebre artista e regista tedesco Gallery, to famous German artist and filmmaker Hans Richter. Tutti furono attratti dal suo carisma, Hans Richter. They were all attracted by his charisma, dalla sua personalità versatile, dalla sua arte his multifaceted personality, his ‘clairvoyant’ art. “chiaroveggente”. Con Luigi Pericle, la storia With Luigi Pericle, the history of Art Informel dell’arte informale del secondo Dopoguerra si in the years following World War II opens up apre inaspettatamente alla filosofia, alla spiritualità unexpectedly to philosophy, alternative spirituality, alternativa, ai misteri del cosmo, sullo sfondo the mysteries of the cosmos against the background dell’era spaziale. of the space age. LUIGI PERICLE BEYOND THE VISIBLE BEYOND THE VISIBLE € 39,00 www.silvanaeditoriale.it LUIGI PERICLE LUIGI PERICLE BEYOND THE VISIBLE a cura di/edited by CHIARA GATTI con la collaborazione di/with the collaboration of Luca Bochicchio, Marco Pasi, Michele Tavola Partner principali/ Main partners LUIGI PERICLE Dr. iur. -
O Confinamento De Imigrantes E Descendentes De
REDISCOVERING THE GUILD SYSTEM: THE NEW AGE CIRCLE AS A BRITISH LABORATORY OF CORPORATIST IDEAS (1906-1916) A REDESCOBERTA DO SISTEMA DAS GUILDAS: O NEW AGE CIRCLE COMO UM LABORATÓRIO INGLÊS DAS IDEIAS CORPORATIVISTAS (1906-1916) DOI: http//dx.doi.org/10.15448/2178-3748.2016.2.24578 Valerio Torreggiani Pesquisador da Universitá degli Studi della Tuscia [email protected] ABSTRACT: This article analyzes the role of the New Age circle as a laboratory of corporatist ideas in pre- World War One Britain. The New Age circle was an intellectual informal network composed by radical, anti- liberal individuals coming from the entire political spectrum. Arguing that Corporatism was not just a socio- economic product of fascist, authoritarian and nationalist ideologies, the essay highlights the corporatist tendencies existed within the network in exam between 1907 and 1916. In so doing, we try to show how the United Kingdom participated to a global corporatist reflection started before the advent of Fascism also by non- fascist groups. Therefore the paper firstly presents an overview of the most important intellectual landmarks of the New Age circle, such as William Morris and John Ruskin’s political and economic thought, Cardinal Manning’s social ideas and the concept of group juridical personality of Frederic W. Maitland and John N. Figgis. Secondly, the several and different forms of corporatist thought were presented, such as Penty’s medievalism, G.D.H. Cole’s Guild Socialism, De Maeztu’s right-wing, monarchic organicism and Belloc’s social Catholicism. KEYWORDS: Corporatism. The New Age. World War One. Guild Socialism. -
The Fear of Leisure
THE B.B.C. SPEECH ON SOCIAL CREDIT Broadcast in the ‘Poverty in Plenty’ series November 5th, 1934 THE FEAR OF LEISURE An Address to the Leisure Society BY A. R. ORAGE INTRODUCTION L. Denis Byrne Introduction It is indeed a privilege to have known Alfred Richard Orage and to write these few lines of introduction, for in a very real sense he was “the midwife” who brought to birth the world-wide Social Credit Movement. During the early part of the Century, Orage was a literary giant in an era of literary greats in England. Among his friends and associates were Bernard Shaw, G. K. Chesterton, H. G. Wells, Wyndham Lewis, Katherine Mansfield, and others of like stature. As editor of The New Age, despite its limited circulation, Orage’s influence extended throughout the English-speaking world. In 1918, when he first met Major C. H. Douglas, The New Age was the organ of the National Guilds Movement. Once he was convinced of the soundness of Douglas’s ideas, Orage used the columns of The New Age to convince the supporters of the ideal of National Guilds that Social Credit offered an even more fundamentally desirable alternative. Thus, through the influence of The New Age, within a relatively short period the foundation was laid for the world-wide Social Credit Movement in Britain, Canada, New Zealand and Australia. In 1922 Orage retired from active participation in the literary field and went abroad. However, The New Age continued under the editorship of Arthur Brenton to serve as the official organ of the Social Credit Movement.