المراجع

الفصل الأول: الأعمال الفنية الحداثية

James Joyce, Ulysses, ed. Walter Gabler et al. (London: The Bodley Head, 1986), 1–8, 3.
Hugh Kenner, Ulysses (London: George Allen and Unwin, 1982), 34, 35.
Louis Vauxcelles, in Gil Blas, 14 November 1908, in Edward F. Fry, Cubism (London: Thames and Hudson, 1966), 50.
John Golding, Cubism: A History and an Analysis 1907–1914 (London: Faber and Faber, 1959), 10.
Kirk Varnedoe and Adam Gopnik (eds.), High and Low: Modern Culture and Popular Art, exh. cat. (New York: Museum of Modern Art, 1991), 292.
Stephen Hinton (ed.), Kurt Weill: The Threepenny Opera (Cambridge: Cambridge University Press, 1990), 5f, 24, 27, 188. The alternative version of the execution scene can be found in The Threepenny Opera, tr. Ralph Mannheim and John Willet (London: Methuen, 1979), 121f.
F. S. Flint, in The Times, cit. Alan Young, Dada and After: Extremist Modernism and English Literature (Manchester: Manchester University Press, 1981), 49.
Cit. Elizabeth Cowling, Picasso: Style and Meaning (London: Phaidon, 2002), 2.
Cowling, ibid., 26.
Cf. Marinetti’s ‘Destruction of Syntaxt: Imagination without Strings-Words in Freedom’ (1913), in Umbro Apollonio (ed.), Futurist Manifestos (London: Thames and Hudson, 1973), 96.

الفصل الثاني: الحركات الحداثية والتقليد الثقافي

Kandinsky, On the Spiritual in Art, cit. Debbie Lewer (ed.), Post Impressionism to World War II (Oxford: Blackwell, 2006), 101.
Desmond MacCarthy, preface to the catalogue of the 1910 exhibition, in J. B. Bullen (ed.), Post-Impressionists in England (London and New York: Routledge, 1988), 98.
Matisse, ‘Notes of a Painter’ (1908), in Jack D. Flam, Matisse on Art (London: Phaidon, 1978), 37.
As Jack D. Flam points out in Matisse: The Man and His Art 1869–1918 (London: Thames and Hudson, 1986), 250–2.
Quotations from Roger Fry, ‘The French Group’ (1912) come from Bullen op. cit., 352–4. Also rpt. in Vassili Kolocotroni et al. (eds.), Modernism: An Anthology of Sources and Documents (Edinburgh: Edinburgh University Press, 1998), 189 ff. (This is a very useful and wide-ranging anthology which sees modernism in its European context.)
Jelena Hahl-Koch, Kandinsky (London: Thames and Hudson, 1993), 253.
Joseph Rufer, The Works of Arnold Schoenberg: A Catalogue of His Compositions, Writings and Paintings, tr. Dika Newlin (London: Faber and Faber, 1962), 45.
This essay was later reprinted in the collection Von neuer Musik (Cologne, 1924).
Stephen Walsh, Stravinsky: The Second Exile, France and America 1934–1971 (London: Jonathan Cape, 2006), 292; cf. 281.
On the symbolic interpretation of this concerto, see e.g. Karen Monson, Alban Berg (London: Macdonald, 1979), 211–21.
John Milner, Mondrian (London: Phaidon, 1992), 161, 163.
De Stijl, I, 2, 39, and II, 2, 40, rpt. in Hans L. Jaffe, De Stijl (London: Thames and Hudson, 1970), 31.
C. H. Waddington, Behind Appearances (Edinburgh: Edinburgh University Press, 1969), 42ff.
See Joan Weinstein, The Ends of Expressionisn: Art and the November Revolution in Germany, 1918-1919 (Chicago: Chicago University Press, 1990).
Cit. Frank Whitford, Bauhaus (London: Thames and Hudson, 1984), 128.
Calvin Tomkins, Duchamp (London: Chatto and Windus, 1997), 168.
Constant Lambert, Music Ho! A Study of Music in Decline (1934; reprinted London: Faber and Faber, 1966), 74.
Stravinsky in an interview of 1925, cit. Scott Messing, Neoclassicism in Music: From the Genesis of the Concept through the Stravinsky/Schoenberg Polemic (Rochester, New York: Rochester University Press, 1988, 1996), 141.
Cit. Messing, ibid., 142.
Theodor W. Adorno, The Philosophy of ModernMusic (London: Sheed andWard, 1948), 64. The attack on neoclassicism as infantile is on 206f.
Dermé, ‘Quand le symbolisme fut mort’, a programmatic statement for his North South, cit. Peter Nicholls, Modernisms (London: Macmillan, 1995), 243.
Cit. Nicholls, ibid., 245.
Igor Stravinsky and Robert Craft, Expositions and Developments (London: Faber and Faber, 1962, 1981), 113.
Mikhail Ruskin, Igor Stravinsky: His Personality, Works and Views (Cambridge: Cambridge University Press, 1995), 47.
Stravinsky, cit. Eric Walter White, Stravinsky: The Composer and His Work (Berkeley: University of California Press, 1979), 574f.
Messing, op. cit., 133.
Elizabeth Cowling, op. cit., 425, 428f.
John Berger, Success and Failure of Picasso (Harmondsworth: Penguin Books, 1965), 98.
Michael Roberts, in his introduction to The Faber Book of Modern Verse (1936), rpt. Kolcotroni, op. cit., 514f.
Stravinsky, Poetics of Music (Cambridge, Mass., and London: Harvard University Press, 1998), 56-7.
Cit. Bram Djikstra, Cubism, Steiglitz and the Early Poetry of William Carlos Williams (New Jersey: Princeton University Press, 1969), 9.
Williams, ‘Prologue’ to ‘Kora in Hell’, in Imaginations (New York: New Directions, 1971), 14.
Djikstra, op. cit., 134, 165, 167f.
James Joyce, Stephen Hero (London: Jonathan Cape, 1969), 96.
Mann, letter of 1915, cit. T. J. Reed, Thomas Mann: The Uses of Tradition 2nd edn. (Oxford: Oxford University Press, 1996), 237.
J. P. Stern, The Dear Purchase: A Theme in German Modernism (Cambridge: Cambridge University Press, 1995), 29.
I. A. Richards, Principles of Literary Criticism (1926; rpt. London: Routledge and Kegan Paul, 1967), 233.
C. Day Lewis, ‘A Hope for Poetry’ (1934), in C. B. Cox and Arnold P. Hinchcliffe (eds.), T. S. Eliot: The Waste Land: A Casebook (London: Macmillan, 1968), 58f.
T. S. Eliot, ‘Ulysses, Order and Myth’, The Dial, LXX, 5 (November 1923), 483.
Madame Blavatsky, ‘The Secret Doctrine’ (1888), extract rpt. Kolcotroni, op. cit., 32.
J. A. Symons, The Symbolist Movement in Literature (London: Heinemann, 1899), 9.

الفصل الثالث: الفنان الحداثي

Joyce, Ulysses, ed. Gabler, op. cit., 8: 21–6.
Ibid., 8: 537–44.
Woolf, ‘Mr Bennett and Mrs Brown’, in Andrew Mcneillie (ed.), The Essays of Virginia Woolf, vol. III (London: Hogarth Press, 1988), 385.
Woolf, ‘Character in Fiction’, in ibid., vol. III, 427, 428.
Woolf, Mrs Galloway (Oxford: Oxford University Press, 1992), 4f.
Joyce, Stephen Hero (London:Jonathan Cape, 1969), 218.
Jeri Johnson (ed.), Joyce, A Portrait of the Artist as a Young Man (Oxford: Oxford University Press, 2000), 172, 178f.
Jeanne Schulkind (ed.), Virginia Woolf, Moments of Being (London: Grafton, 1989), 79–81.
Virginia Woolf, To the Lighthouse (Oxford: Oxford University Press, 1992), 217, 231, 272.
T. S. Eliot, ‘Burnt Norton’, The Complete Poems and Plays of T. S. Eliot (London: Faber and Faber, 1969), 175.
Frank Kermode, Romantic Image (London: Routledge, 1957), 157.
Jean-Paul Sartre, Nausea, tr. Robert Baldick (Harmondsworth: Penguin Books, 1965), 60, 63, 82, 182f., 185, 191.
J. P. Stern, The Dear Purchase (Cambridge: Cambridge University Press, 1995), 30.
Thomas Mann, The Magic Mountain, tr. H. T. Lowe-Porter (Harmondsworth: Penguin Books, 1953), 495ff.
Ricardo Quinones, Mapping Literary Modernism (New Jersey: Princeton University Press, 1985), 92, 95.
Charles Russell, Poets, Prophets and Revolutionaries (New York: Oxford University Press, 1985), 10.
Franz Kafka, The Trial, tr. Willa and Edwin Muir (Harmondsworth: Penguin Books, 1953), 250f.
Quinones, ibid., 95f.
Quinones, ibid., 105.
George K. Zykaruk and James T. Boulton (eds.), The Letters of D. H. Lawrence, vol. ii (Cambridge: Cambridge University Press, 1981), 183.
In a review in The Nation and Athenaeum, 13 August 1921, rpt. Colin Clarke (ed.), D. H. Lawrence, The Rainbow and Women in Love: A Casebook (London: Macmillan, 1969).
D. H. Lawrence, The Rainbow (Oxford: Oxford University Press, 1997), 319f.
See John Werthen, D. H. Lawrence (London: Allen Lane, 2005), 164.
I follow S. L. Goldberg, ‘The Rainbow: Fiddle and Sand, Essays in Criticism, XI, no. 4 (1961), rpt. in Clarke (ed.), op. cit., 120.
Julian Moynihan, ‘Ritual Scenes in The Rainbow’, rpt. Clarke (ed.), op. cit., 149.
Douglas Jarman, Alban Berg: Wozzeck (Cambridge: Cambridge University Press, 1989), 44 (on the fugue) and 21.
André Breton, ‘The First Surrealist Manifesto’ (1924), in André Breton: Manifestos of Surrealism (Ann Arbor: University of Michigan Press, 1972), 26.
Ibid., 9f.
Rpt. in Kolocotroni et al. (eds.), Modernism: An Anthology of Sources and Documents (Edinburgh: Edinburgh University Press, 1998), 601ff.
Ruth Brandon, Surreal Lives: The Surrealists 1917–1945 (London: Macmillan, 1999), 317f and 330.
Sigmund Freud ‘Fetishism’ (1927), in On Sexuality, Penguin Freud Library, vol. 7 (Harmondsworth: Penguin Books, 1977), 354.
Jennifer Mundy (ed.), Surrealism: Desire Unbound, exh. cat. (London: Tate Publishing, 2001), 45.
Ian Gibson, The Shameful Life of Salvador Dali (London: Faber and Faber, 1997), 215f.
Wallace Stevens, Opus Posthumous (London: Faber and Faber, 1969), 177.
Christopher Isherwood, Lions and Shadows (London: Signet, 1968), 185.
W. H. Auden, The Orators (London; Faber and Faber, 1966), 93.
W. H. Auden, ‘Psychology Today’ (1935), in Edward Mendelson (ed.), The English Auden (London: Faber and Faber, 1977), 340f.

الفصل الرابع: الحداثة والسياسة

I follow Brandon, op. cit., 262ff. For a full account, see Gerard Duruzoi, History of the Surrealist Movement, tr. Alison Anderson (Chicago and London: Chicago University Press, 2002), 189–235.
Arthur Koestler, Darkness at Noon (Harmondsworth: Penguin Books, 1964), 41, 82.
Cf. the account of Lukács in Astradur Eysteinsson, The Concept of Modernism (Ithaca and London: Cornell University Press, 1990), esp. 29.
Lukács, ‘Realism in the Balance’ (1938), rpt. in Kolcotroni et al., op. cit., 584ff.
Eric Kaufmann in Prospect magazine, November 2006, 30.
In his ‘A Hope for Poetry’ (1934), in Kolcotroni, op. cit., 489.
Orwell, ‘Inside the Whale’ (1940), ibid., 607. ‘poetry’: Day Lewis, ibid., 492.
Alex Ross, The Rest is Noise (London: Fourth Estate, 2008), 203-4.
Peter Adam, The Arts of the Third Reich (London: Thames and Hudson, 1992), 123.
Excerpts from Hitler’s speech are cited from Kolcotroni, op. cit., 560–3. The German text of the speech is in Peter Klaus Schuster (ed.), Die ‘Kunststad’ Munchen 1937 – Nationalsozialismus und ‘Entartete Kunst’ (Munich: Prestel, 1987), 242–53.
Winfried Wendland, Kunst und Nation (Berlin: Verlag der Raimer Hobbing, 1934), 19, cit. Adam, op. cit., 95.
Cit. Adam, op. cit., 95f.
These paintings (along with many others) are reproduced in Adam, op. cit., 26, 51, 172.
A press spokesman for the Ministry of Information (1937), cit. Adam, op. cit., 16.
Cit. Adam, op. cit., 69.
Paul Fechter, cit. Ronald Taylor, Literature and Society in Germany 1915–1945 (Brighton: Harvester, 1980), 244.
Charles Russell, Poets, Prophets and Revolutionaries (New York and Oxford: Oxford University Press, 1985), 113.
Diana Crane, The Transformation of the Avant-Garde: The New York Art World, 1940–1985 (Chicago: Chicago University Press, 1987), 1.
Notably in his essays ‘Modernist Painting’ (1961) and ‘After Abstract Expressionism’ (1962), rpt. in Charles Harrison and Paul Wood (eds.), Art in Theory 1900–1990 (Oxford: Blackwell, 1992).
Derek B. Scott, ‘Introduction’, in Derek B. Scott (ed.), Music, Culture and Society (Oxford: Oxford University Press, 2000), 11.
Grosz, cit. Beth Irwin Lewis, Georg Grosz: Art and Politics in the Weimar Republic (New Jersey: Princeton University Press, 1991), 53.
Grosz, cit. Hans Hess, George Grosz (New Haven and London: Yale University Press, 1985), 101f.
Carl Einstein ‘Otto Dix’, Das Kunstblatt, vol. 7 (1923), 97.
Christopher Green, Art in France 1900–1940 (New Haven: Yale University Press, 2003), 335.
Tim Hilton, Picasso (London: Thames and Hudson, 1975), 246.
Blunt, cit. Green, op. cit., 286.
Green, op. cit., 289.
Cf. e.g. Gijs van Hensbergen, Guernica: The Biography of a Twentieth Century Icon (London: Bloomsbury, 2005).