THE A. R. ORAGE and HOLBROOK JACKSON the OUTLOOK
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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. -
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 Social Modernism of Orage and the New Age
JOHN WOOD ‘The Modernist Atlantic’. De Montfort University, Leicester. 12th – 14th July 2007. BACKGROUND PAPER. THE SOCIAL MODERNISM OF ORAGE AND THE NEW AGE. NOTE: Citations of the New Age are given in the format adopted by the Modernist Journals Project. Thus, volume 1, number 6, page 254 will appear as ‘NA 1.6:254’. To assist a chronological review the date of the relevant number has also been included. © John Wood 2007. 1 THE SOCIAL MODERNISM OF ORAGE AND THE NEW AGE I. The New Age The journal entitled the New Age had started in 1894. It was acquired in 1907 by Orage and Holbrook Jackson, following their move from Leeds to London, with financial backing from the Fabian Socialist, Bernard Shaw, and a theosophist, Lewis Wallace. Holbrook Jackson left the journal at the end of 1907, leaving Orage as sole editor. Orage kept the existing title but began a ‘New Series’ of the journal with a revised sub-title and fresh masthead designed by his friend, Eric Gill, the sculptor. The initial price of the journal was one penny (1d). Orage wanted to attract a readership from all spectrums of society. Matthew Arnold had famously suggested that the classes could be divided into three – Barbarians (broadly ‘our aristocratic class’); Philistines (broadly the emerging ‘middle class’); and the Populace (the ‘vast residuum’)1 and had suggested that there could be extrapolated from these classes a fourth class comprised of ‘aliens’ from the other classes, being persons who had overcome their class prejudices, and were driven by ‘a general humane spirit’ and ‘by the love of human perfection’.2 It 1 Matthew Arnold, ‘Culture and Anarchy’, from Culture and Anarchy; and other writings, ed. -
The Eighteen Nineties; A
The Eighteen-Nineties ^*is-t^* UNIVERSITY OF MASSACHUSETTS BOSTON LIBRARY PR 461 J3 1922 UMASS/BOSTON LIBRARIES 1003398052 PR461 J3 1922 1 GC The eighteen nineties; a Date Due PR461. 03,1*^22 COPY 1 THE EIGHTEEN NINETIES 00A21875 (Wf rnmrto m U.«^, THE EIGHTEEN NINETIES Books by HOLBROOK JACKSON Romance and Reality All Manner of Folk Platitudes in the Making Great English Novelists Monograph Bernard Shaw : A William Morris Southward Ho ! Aubrey Bearusley From the Photograph by Frederick H. Evans THE EIGHTEEN NINETIES A REVIEW OF ART AND IDEAS AT THE CLOSE OF THE NINETEENTH CENTURY BY HOLBROOK JACKSON Al'THOR OK "RO.MAN'fE ANT) RKAI.ITT,' KTC. LONDON GRANT RICHARDS LTD. MDCGGGXXII First EdUion . 1913 Reprinted. 1S23 Riverside Press Limtted Printeo in Great Britain by the Edinbukcu TO MAX BEERBOHM CONTENTS INTRODUCTION . 13 CHAITKK I. FIN DE SI^CLE—1890-1900 IT II. PERSONALITIES AND TENDENCIES 33 III. THE DECADENCE 55 IV. OSCAR WILDE : THE LA8T PHASE 72 V, AUBREY BEARDSLEY 91 VI. THE NEW DANDYISM . 105 VII. THE INCOMPARABLE MAX 117 VIII. SHOCKING AS A FINE ART 126 IX. PURPLE PATCHES AND FINE PHRASES 135 X. THE DISCOVERY OF THE CELT . ur XI. THE MINOR POET 157 XII. FRANCIS THOMPSON 166 XIII. JOHN DAVIDSON 177 XIV. ENTER—G.B.S. 193 XV. THE HIGHER DRAMA 205 XVI. THE NEW FICTION 216 XVII. RUDYARD KIPLING 231 XVIII. ART AND LIFE . 244 XIX. THE REVIVAL OF PRINTING 255 XX. BRITISH IMPRESSIONISTS 267 XXI. IN BLACK AND WHITE 279 INDEX . -. 293 Reproduced hy kind permission oftht proprietors 0/ " Punch' Britannia a la Beardsley By our " Yellow " Decadent (E. -
Ramiro De Maeztu En La Redacción De the New
Ramiro de Maeztu en The New Age El impacto de la I Guerra Mundial sobre una generación de intelectuales Andrea Rinaldi Universidad de Bergen (Noruega) Introducción. The New Age fue publicada por primera vez en Londres en 1894, y era el principal medio de comunicación de la Sociedad Fabiana, un movimiento de opinión democrático y socialista, vinculado al Partido Laborista, que tuvo bastante éxito de consensos entre los intelectuales británicos, por lo menos durante la dos primeras décadas del siglo pasado; en particular destacaban es sus filas George Bernard Shaw, Virginia Woolf y Bertrand Russel, aunque este último dejó pronto el movimiento. En 1907 la revista, bajo la dirección de Joseph Clayton, adquirió un tinte bastante radical que no coincidía con el reformismo de los fabianos, y tuvo que sufrir una fuerte caída de las ventas. En mayo del mismo año, dos intelectuales hasta entonces no muy conocidos, Alfred Richard Orage y George Holbrook Jackson, relevaron la revista; los dos consiguieron entrar en la dirección del periódico gracias a la ayuda económica de Shaw, que decidió cederles de los derechos de autor de la exitosa comedia The Doctor’s Dilema, y también gracias a la contribución del financiero Lewis Wallace.1 Orage, un ex profesor de instituto de Leeds, y Jackson anteriormente se habían ocupado con su amigo y colaborador y Arthur Joseph Penty, del Leeds Art Club, un círculo cultural muy activo en la preparación de conferencias de temas varios (política, filosofía, religión, ocultismo, arte etc.) en las que participaban intelectuales del rango de Yeats o el mismo Shaw. -
BERNARD SHAW and the Aesthetes
BERNARD SHAW and the Aesthetes by Elsie B. Adams OHIO .STATE UNIVERSITY PRESS BERNARD SHAW AND THE AESTHETES By Elsie B. Adams Though a genius of his stature defies any easy categorization, George Bernard Shaw was enough a man of his age not to have escaped the undeniably pervasive influence of the Eng lish aesthetic movement. The movement was at its height when he began writing and pub lishing in the 1870s and remained an active force in British artistic and literary circles dur ing a substantial part of his long career. The movement had two distinct branches, and Shaw found himself sympathetic to at least some of the tenets of both. Like the Pre- Raphaelites, he based his art on observed phe nomena; and, with Ruskin and William Morris, he saw art as the product of a healthy milieu and a genuine religious impulse. With the fin-de-siecle aesthetes, who often tended to languish in a haughty and fashion able despair that he rejected, the ever vigorous Shaw held in common the conviction that art does not uphold conventional morality and that art must be free from censorship. It is the artist's business, he maintained, to create with out restriction a meaningful form, appropriate and faithful to his inner vision — to depict a reshaped, motivated, and articulated reality that, as Oscar Wilde put it, serves as a model for life. Though Shaw was often at pains to dissoci ate himself from the art-for-art's-sake faction of the aesthetic movement, he was closer to it than he was ready to admit or realize. -
Summer 2019 the FIRST FORTY-FIVE
From: Vol. 1, No. 1—Fall | Winter 1974 To: Vol. 45, Nos. 1 & 2—Spring | Summer 2019 THE FIRST FORTY-FIVE YEARS 1 2 1974, Vol. I, No. 1 – Fall / Winter Articles: * A Note on G. K.C. (Reginald Jebb) * An Everlasting Man (Maurice B. Reckitt) * Chesterton and the Man in the Forest (Leo A. Hetzler) * Chesterton on the Centenary of His Birth (Elena Guseva) * Chesterton as an Edwardian Novelist (John Batchelor) * To Gilbert K. Chesterton, a poem (Lewis Filewood) News & Comments: * Letter from Secretary of the Chesterton Society (1. Reviewing centenary year; 2. Announcing meeting of Chesterton Society) * Letter from Secretary of the H.G. Wells Society (Wants to exchange journals with the Chesterton Society) * Note about books: G.K. Chesterton: A Centenary Appraisal by John Sullivan; G. K. Chesterton by Lawrence J. Clipper; G. K. Chesterton: Critical Judgments by D.J. Conlon, and The Medievalism of Chesterton by P.J. Mroczkowski * Spode House Review announcement: publishing of the Chesterton Centenary Conference proceedings * Notes on Articles: “Some Notes on Chesterton” (CSL: The Bulletin of the New York C.S. Lewis Society, May 1974); “Chesterton on Dickens: The Legend and the Reality,” (Dickens Study Newsletter, June 1974); “Chesterton’s Colour Imagery in The Man Who Was Thursday” (Columbia University Pastel Essays Series, September 1974); “Chesterton, Viejo Amigo” (Incunable No. 297, September 1974-spanish); “Gilbert Keith Chesterton: A Fond Tribute” (Thought, XXVI, July 1974, Delhi, India) * Note on: Chesterton Centenary Conference at Notre Dame College of Education in Glasgow, by the Scottish Catholic Historical Association, September 1974 * Note on: Chesterton Conference at Gonzaga University, Spokane, WA, October 1974 * Letter from: John Fenlon Donnely, President of Donnely Mirrors on the Conference at Notre Dame College, Glasgow * Note on Adrian Cunningham (U. -
Ruth Cribb: Phd Abstract
Workshop practices and the making of sculpture: authorship and collaboration in the work of Eric Gill, 1909 to 1940 Ruth cribb A thesis submitted in partial fulfilment of the requirements of the University of Brighton for the degree of Doctor of Philosophy (PhD) December 2013 ABSTRACT Workshop practices and the making of sculpture: authorship and collaboration in the work of Eric Gill, 1909 to 1940. This thesis examines the making of sculpture and the identity of Eric Gill in the first half of the twentieth century. A period of complex practical and theoretical innovation in Britain, histories have tended to be simplified, focussing on the idea of direct carving as an autonomous and isolated process. Gill was a key figure in this period and his persona as an isolated craftsman and art-world exile has precluded balanced accounts of the collaborative nature of his work. The study maps the complexities of sculptural practice lying behind the ideologies of modernist production, interrogating ideas of sole authorship that have developed around the notion of direct carving. It advances understanding of Gill’s workshop practice and his collaborative work with his patrons, assistants and the art market. Extensive archival research has enabled a detailed mapping of Gill’s workshop practices and professional relationships to create a study which explores all aspects of the collaborative nature of making sculpture. The thesis covers the following research questions: how has authorship been presented in discussions about early twentieth century sculpture -
The Literary Reception of Nietzschean Ideas in Relation to Selected
The Literary Reception of Nietzschean Ideas in Relation to Selected Works of Modernist Literature Alexandra Emmanuel University of Leeds School of English December 2010 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgment. Acknowledgements I would like to thank my supervisor, Dr. Richard Brown, for introducing me to the intriguing field of 'little magazines' and for helping me find my own direction in my interest in Nietzsche and Modernism. My parents and my brother Philip for their understanding and patience all these years I have been away. Michael Papadopoulos, Pavel Goudochnikov, Chris Bartle, James Hudson, Alan Ramon Ward, Sam Francis, Reshma Jagernath, Dominic Williams, Milena Marinkova for helping out and offering advice in the early as well as the final stages of the PhD. Chezi for making these last months 'homely', and Konstantinos for his unfailing love and support through this experience. 11 Abstract The purpose of this study is to provide the beginnings of a' clear account of the correspondences between the initial reception of Nietzschean ideas and selected works of modernist writing by the Anglophone intelligentsia. In particular, the aim of this study is to provide a framework for exploring the Nietzschean undercurrents in the work of such figures as George Bernard Shaw, Dora Marsden, Wyndham Lewis, and James Joyce. Departing from traditional studies of influence and their method, the present account will examine the correspondences between the original reception of Nietzsche's ideas and their later absorption and development in the work of these writers and intellectuals with a special emphasis on the little-magazine culture of the period. -
Katherine Mansfield and Edwin Muir in the New Age
Chapter 5 We Moderns: Katherine Mansfield and Edwin Muir in the New Age Chris Mourant In 1911, Holbrook Jackson privately printed a book of aphorisms titled Plati- tudes in the Making, which he circulated amongst his close friends. In the copy given to G.K. Chesterton are a series of jottings made in green ink under each of Jackson’s aphorisms, a response either endorsing or emphatically rejecting each maxim with an alternative. Under ‘He who reasons is lost’, for instance, Chesterton wrote: ‘He who never reasons is not worth finding’ (Jackson and Chesterton 19). Beneath ‘Don’t think – do’, he declared: ‘Do think! Do!’ (19). In this text, the Christian apologist challenges the enthusiast of Nietzsche’s Dio- nysian philosophy. For these writers, aphorisms not only enabled the display of individual linguistic wit, but also provided a common ground for debate: the form is inherently dialogic, inviting either identification, or the articulation of a radically alternate point of view. And it is not coincidental that both Jackson and Chesterton were regular contributors to the New Age at this time, a peri- odical that invited such dialogic exchanges and positioned the aphorism as a form synonymous with modernity. Together with Alfred Richard Orage, Jackson became co-editor of the New Age in 1907. This magazine became hugely important in disseminating and pro- moting aphoristic writing in the early twentieth century. Young writers were encouraged to develop their craft by composing aphorisms for publication in the periodical; as such, the aphorism form became associated in the New Age with a new generation of modernist writers and their developing ideas of the ‘modern’. -
Rooms in the Darwin Hotel
ROOMS IN THE DARWIN HOTEL STUDIES IN ENGLISH LITERARY CRITICISM AND IDEAS 1880-1920 TOM GIBBONS UNIVERSITY OF WESTERN AUSTRALIA PRESS First published in 1973 by the University of Western Australia Press, Nedlands, W.A. 6009 Agents: Eastern States of Australia, New Zealand, Papua and New Guinea: Melbourne University Press; United Kingdom, Europe, Middle East, and the Caribbean: Angus & Robertson (U.K.) Ltd, London; Singapore, Thailand, Malaysia, Indonesia, Hong Kong, Philippines: Angus & Robertson (S.E. Asia) Pty Ltd, Singapore; United States, its territories and possessions, and Canada: International Scholarly Book Services Inc., Portland, Oregon Printed in Australia by Frank Daniels Pty Ltd, Perth, Western Australia, and bound by Stanley Owen and Sons Pty Ltd, Alexandria, New South Wales Registered in Australia for transmission by post as a book This book is copyright. Apart from any fair dealing for the purposes of private study, research, criticism or review, as permitted under the Copyright Act, no part may be reproduced by any process without written permission. Enquiries should be made to the publisher © Tom Gibbons 1973 Library of Congress catalog card number 73-83715 ISBN 0 85564 072 3 Published with the assistance of a grant from the Australian Academy of the Humanities Contents Preface vii 1 The Age of Evolutionism 1 2 The New Hellenism: Havelock Ellis 39 3 The Art of Modernity: Arthur Symons 67 4 Art for Evolution’s Sake: Alfred Orage 98 5 A Kind of Religion 127 References 145 Index 159 Preface In this book I make amends for the neglect which has largely overtaken the literary criticism of three prominent figures of the period 1880-1920: Havelock Ellis, who is best known for his pioneering work in the field of sexual psychology, Arthur Symons, who is generally and quite unfairly thought of as the author of a handful of Decadent poems, and Alfred Orage, who is mainly remembered as editor from 1907 until 1922 of the influential political and literary magazine The New Age.