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Though often defined as having opposite aims, means, and effects, modernism and modern propaganda developed at the same time and influenced each other in surprising ways. The professional propagandist emerged as one kind of information specialist, the modernist writer as another. Britain was particularly important to this double history. By secretly hiring well-known writers and intellectuals to write for the government and by exploiting their control of new global information systems, the British in World War I invented a new template for the manipulation of information that remains with us to this day. Making a persuasive case for the importance of understanding modernism in the context of the history of modern propaganda, Modernism, Media, and Propaganda also helps explain the origins of today's highly propagandized world. Modernism, Media, and Propaganda integrates new archival research with fresh interpretations of British fiction and film to provide a comprehensive cultural history of the relationship between modernism and propaganda in Britain during the first half of the twentieth century. From works by Joseph Conrad to propaganda films by Alfred Hitchcock and Orson Welles, Mark Wollaeger traces the transition from literary to cinematic propaganda while offering compelling close readings of major fiction by Virginia Woolf, Ford Madox Ford, and James Joyce.

This chapter contains sections titled: Endnotes

Acclaimed for treading new ground in operatic studies of the period, Simon Morrison's influential and now-classic text explores music and the occult during the Russian Symbolist movement. Including previously unavailable archival materials about Prokofiev and Tchaikovsky, this wholly revised edition is both up to date and revelatory. Topics range from decadence to pantheism, musical devilry to narcotic-infused evocations of heaven, the influence of Wagner, and the significance of contemporaneous Russian literature. Symbolism tested boundaries and reached for extremes so as to imagine art uniting people, facilitating communion with nature, and ultimately transcending reality. Within this framework, Morrison examines four lesser-known works by canonical composers--Pyotr Tchaikovsky, Nikolay Rimsky-Korsakov, Alexander Scriabin, and Sergey Prokofiev--and in this new edition also considers Alexandre Gretchaninoff's Sister Beatrice and Alexander Kastalsky's Klara Milich, while also making the case for reviving Vladimir Rebikov's The Christmas Tree.

This article offers a brief overview of English and French landscape poetry, and then a structural analysis of the features that characterize the paysage d'âme technique. The uncertain history of the coinage of the term is also explored, with special reference to Amiel and Verlaine, as is the adoption in Spanish literature of both the label (as paisaje del alma ) and the technique. I go on to trace how, after the Symbolist period, it is gradually transformed into the objective correlative, and finally scrutinize several Spanish poems from the late 1920s where objective correlatives combine to create disjointed avant-garde landscapes.

One of the features of the earlyRussian Symbolist movementin the 1890s is its appropriation of literary models previously championed by thecivic traditionwhich preceded it, and to which it was both philosophically and aesthetically opposed. One example can be found in treatments of the English poetPercy Bysshe Shelley. This article compares civic and Symbolisttranslationsof Shelley's sonnet ‘Ozymandias’, showing that the same material could be used to support radically different views, and that the literary world of the period was a particularly fluid space in which multiple overlapping trends competed for the attention of readers.

In the early 1960s, African American poet Bob Kaufman began what would turn into a decade-long period of silence, withdrawing from poetry and the world at large. While much has been written about Kaufman's relationship to the Beats, jazz, and the Black Arts Movement, very little theorizing has been done on Kaufman's period of silence, with many critics simply viewing it as a biographical aberration. This article suggests that such misreadings of Kaufman's silence fail to acknowledge the agency and radical aesthetics behind it. When viewed in the context of avant-garde practices, Kaufman's silence makes sense as a performative gesture that collapses the divide between life, art, and politics. Furthermore, silence becomes an ethical act, in part because it declares the autonomy of the poem in opposition to the reactionary politics that govern the world. This article ends by suggesting that being cognizant and sensitive to such a poetics of silence can allow us to reconsider the meaning of the lyric poem.

Rilke's Sonette an Orpheus can be read in the tradition of the French tombeau , but differ from it since they intend a memorial for a dancer, whose art leaves no trace. The sonnet is an inherently static form, good for erecting a monument such as Mallarmé's ‘Tombeau de Charles Baudelaire’, but seemingly less well suited to dance. Rilke makes the sonnet dance, in particular by inflecting it with classical metres, chiefly the Adonic. The meanings of the sonnets unfold in their way of moving. Their grace and meaning are akin to those of dance, forming and dissolving in one movement.

Pre-Raphaelite Brotherhood was a group of radical London-based artists who appeared mid-century, united in rebellion against Royal Academy training and the artistic traditions of their birth. This group sought to replicate nature's realism in a framework of contemporary, medieval, and high-literary subjects. Its formation had coincided with the mid-century blossoming and democratization of photography, giving rise to more photographers and a greater variety of subjects. One of the most talented exponents of the camera at the time, and a close friend of key members including Dante Gabriel Rossetti, was Charles Dodgson. Using the alias Lewis Carroll, he published Alice's Adventures in Wonderland (1865) and Through the Looking Glass and What Alice Found There (1872)--both revolutionary works of juvenile fantasy fiction. Their appearance at the far end of Pre-Raphaelitism may suggest a disconnect from the aims and objectives of the Brotherhood, and Dodgson's Wonderland, with its strangely timeless and decidedly unrealistic world of talking plants and animals, was in many ways the very antithesis of Pre-Raphaelitism. Here, Organ examines a narrative art by Australian artist Christian Yandell. A latecomer to the Pre-Raphaelite and Symbolist worlds of myth and legend, Yandell's work from the 1910s through to the 1930s strongly reflected both, with theosophical underpinnings eventually dominating.

Eburne and Epstein talk about the idea that poetry and play are intimately connected. It has a very long history, but this linkage moves to the forefront during the twentieth century, as the use of word games, constraints, chance methods, generative processes, performative projects, collaborative writing, hoaxes, and other project-based or playful compositional practices become central tools for a wide range of avant-garde writers and artists. Indeed, such \"poetry games\" seem to be everywhere in recent years. The notion of poetry as a game or project--in which the writer devises an idea, concept, or set of procedures or practices that help generate the work--has become central to contemporary poetry.

Acclaimed for treading new ground in operatic studies of the period, Simon Morrison's influential and now-classic text explores music and the occult during the Russian Symbolist movement. Including previously unavailable archival materials about Prokofiev and Tchaikovsky, this wholly revised edition is both up to date and revelatory. Topics range from decadence to pantheism, musical devilry to narcotic-infused evocations of heaven, the influence of Wagner, and the significance of contemporaneous Russian literature. Symbolism tested boundaries and reached for extremes so as to imagine art uniting people, facilitating communion with nature, and ultimately transcending reality. Within this framework, Morrison examines four lesser-known works by canonical composers-Pyotr Tchaikovsky, Nikolay Rimsky-Korsakov, Alexander Scriabin, and Sergey Prokofiev-and in this new edition also considers Alexandre Gretchaninoff's Sister Beatrice and Alexander Kastalsky's Klara Milich, while also making the case for reviving Vladimir Rebikov's The Christmas Tree.