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In the earliest decades of the modernist movement many interpretations of it took the form of parodies. Mock Modernism is an anthology of these amusing pieces, the overwhelming majority of which have not been in print since the first decades of the twentieth century.

Modernism (Literature) --- Modernism (Art) --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Crepuscolarismo --- Literary movements --- Press coverage. --- Public opinion.

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Modernism and Masculinity investigates the varied dimensions and manifestations of masculinity in the modernist period. Thirteen essays from leading scholars reframe critical trends in modernist studies by examining distinctive features of modernist literary and cultural work through the lens of masculinity and male privilege. The volume attends to masculinity as an unstable horizon of gendered ideologies, subjectivities and representational practices, allowing for fresh interdisciplinary treatments of celebrated and lesser-known authors, artists and theorists such as D. H. Lawrence, Ezra Pound, Henry Roth, Theodor Adorno and Paul Robeson as well as modernist avant-garde movements such as vorticism, surrealism and futurism. As diverse as the masculinities that were played out across the early twentieth century, the approaches and arguments featured in this collection will appeal especially to scholars and students of modernist literature and culture, gender studies and English literature more broadly.

Modernism (Literature) --- Masculinity in literature. --- Modernism (Art) --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Masculinity (Psychology) in literature --- Crepuscolarismo --- Literary movements

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Der vorliegende Band ist in Zusammenarbeit mit dem Deutschen Forum fürKunstgeschichte entstanden. Darüber hinaus konnten für einzelne Beiträge auswärtige Autorinnen und Autoren gewonnen werden, für deren Interesse an diesem wichtigen Thema der deutsch-französischen Kulturvermittlung wir ihnen sehr verbunden sind. Das Thema dieses Buches, das deutsche Privatsammlungen französischer Kunst der Moderne in den Mittelpunkt stellt, erschließt ein weiteres Kapitel der deutsch-französischen Kunstbeziehungen, deren Erforschung eine der Aufgaben ist, denen sich diese junge kunsthistorische Einrichtung in Paris widmet.

Art, French --- Modernism (Art) --- Art --- Art français --- Modernisme (Art) --- Catalogs. --- Catalogs --- Private collections --- Catalogues --- Collections privées --- verzamelaars --- privécollecties --- moderne kunst --- 19de eeuw --- 20ste eeuw --- Duitsland --- Frankrijk --- Art français --- Collections privées --- Art, Occidental --- Art, Visual --- Art, Western (Western countries) --- Arts, Fine --- Arts, Visual --- Fine arts --- Iconography --- Occidental art --- Visual arts --- Western art (Western countries) --- Arts --- Aesthetics --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Art, Primitive --- privécollecties. --- 19de eeuw. --- 20ste eeuw. --- Duitsland. --- Frankrijk.

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This book is both a telling of operatic histories 'after' Richard Wagner, and a philosophical reflection upon the writing of those histories. Historical musicology reckons with intellectual and cultural history, and vice versa. The 'after' of the title denotes chronology, but also harmony and antagonism within a Wagnerian tradition. Parsifal, in which Wagner attempted to go beyond his achievement in the Ring, to write 'after' himself, is followed by two apparent antipodes: the strenuously modernist Arnold Schoenberg and the æstheticist Richard Strauss. Discussion of Strauss's Capriccio, partly in the light of Schoenberg's Moses und Aron, reveals a more 'political' work than either first acquaintance or the composer's 'intention' might suggest.Then come three composers from subsequent generations: Luigi Dallapiccola, Luigi Nono, and Hans Werner Henze. Geographical context is extended to take in Wagner's Italian successors; the problem of political emancipation in and through music drama takes another turn here, confronting challenges and opportunities in more avowedly 'politically engaged' art. A final section explores the world of staging opera, of so-called Regietheater, as initiated by Wagner himself. Stefan Herheim's celebrated Bayreuth production of Parsifal, and various performances of Lohengrin are discussed, before looking back to Mozart (Don Giovanni) and forward to Alban Berg's Lulu and Nono's Al gran sole carico d'amore. Throughout, the book invites us to consider how we might perceive the æsthetic and political integrity of the operatic work 'after Wagner'.After Wagner will be invaluable to anyone interested in twentieth-century music drama and its intersection with politics and cultural history. It will also appeal to those interested in Richard Wagner's cultural impact on succeeding generations of composers. MARK BERRY is Senior Lecturer in Music at Royal Holloway, University of London.

Modernism (Art) --- Arts, Modern --- Wagner, Richard, --- Influence. --- Art, Modernist --- Modern art --- Modernism in art --- Modernist art --- Aesthetic movement (Art) --- Art, Modern --- Wagner, Wilhelm Richard, --- Drach, Wilhelm, --- Fājner, Rītshārd, --- Vāgners, Richards, --- Vagner, Rikhard, --- Vagner, R. --- Wagner, R. --- Wagunā, R., --- Vagneri, Rihard, --- Wagner, Riccardo, --- ואגנר, ריכארד, --- ואגנר, ריכרד, --- Al gran sole carico d'amore. --- Alban Berg. --- Arnold Schoenberg. --- Bayreuth production. --- Hans Werner Henze. --- Luigi Dallapiccola. --- Luigi Nono. --- Lulu. --- Mozart. --- Regietheater. --- Richard Strauss. --- Stefan Herheim. --- Wagner's Parsifal. --- Wagnerian tradition. --- aesthetics. --- geographical context. --- music drama. --- opera staging. --- politically engaged art. --- politics. --- Opera