قراءات إضافية
الفصل الأول: الأعمال الفنية الحداثية
For the politics of Ulysses, see,
inter alia, Andrew Gibson, Joyce’s Revenge: History, Politics and Aesthetics in
Ulysses (Oxford: Oxford University Press, 2002). On the
relationship of early modernist painting to popular culture, see for example
Jeffrey Weiss, The Popular Culture of Modern
Art (New Haven and London: Yale University Press, 1994). On
Picasso’s stylistic evolution, and much else, see Elizabeth Cowling, Picasso: Style and Meaning (London: Phaidon, 2002).
On the development of Léger’s painting, see Christopher Green, Léger and the Avant Garde (New Haven and London:
Yale University Press, 1976). For a study of technical innovation in the arts,
see Christopher Butler, Early Modernism: Literature,
Music and Painting in Europe 1900–1916 (Oxford: Clarendon Press,
1994).
الفصل الثاني: الحركات الحداثية والتقليد الثقافي
On Picasso and Matisse, see Elizabeth Cowling et al.
(eds.), Matisse/Picasso, exh. cat. (London:
Tate Publishing, 2002). On Diaghilev, see for example Lynn Garafola, Diaghilev’s Ballets Russes (New York and Oxford:
Oxford University Press, 1989), and Lynn Garafola and Nancy Van Norman Baier
(eds.), The Ballet Russe and Its World (New
Haven and London: Yale University Press, 1999). On the development of cubism,
see William Rubin (ed.), Picasso and Braque: Pioneering
Cubism, exh. cat. (New York: Museum of Modern Art,
1989).
On Kandinsky’s ‘Compositions’, see Magdalena Dabrowski,
Kandinsky Compositions (New York: Museum
of Modern Art, 1995). And also Hartwig Fischer and Sean Rainbird (eds.),
Kandinsky: The Path to Abstraction, exh.
cat. (London: Tate Publishing, 2006).
On the Bauhaus, see the documents and pictures in Hans
Wingler, The Bauhaus (Cambridge, Mass., and
London: Massachusetts Institute of Technology Press, 1978). On Duchamp and
Picabia in America, see Steven Watson, Strange
Bedfellows: The First American Avant Garde (New York: Abbeville
Press, 1991) and Calvin Tomkins, Duchamp
(London: Chatto and Windus, 1997). On the allegedly conservative aspects of
post-war neoclassicism, see for example Kenneth E. Silver, Esprit de Corps: The Art of the Parisian Avant Garde and the
First World War, 1914–1925 (London: Thames and Hudson, 1989). On
the modernist preoccupation with primitivism, see for example William Rubin
(ed.), Primitivism in Twentieth Century Art,
2 vols (New York: Museum of Modern Art, 1984). Also Robert Goldwater, Primitivism in Modern Art (Cambridge, Mass., and
London: Harvard University Press, 1986; first published 1938); Marianne
Torgovnik, Gone Primitive: Savage Intellects, Modern
Lives (Chicago and London: Chicago University Press, 1990); and
J. Lloyd, German Expressionism: Primitivism and
Modernity (New Haven and London: Yale University Press,
1991).
On the devlopment of modernist music in America, see
Carol J. Oja, Making Music Modern (New York
and Oxford: Oxford University Press, 2000). On the relationship of modernist
music to earlier models, see for example Joseph N. Straus, Remaking the Past: Musical Modernism and the Influence of the
Tonal Tradition (Cambridge, Mass.: Harvard University Press,
1990). For some appreciation of the many influences on The Waste Land, see Lawrence Rainey (ed.), The Annotated Waste Land, with Eliot’s Contemporary
Prose, 2nd edn. (New Haven and London: Yale University Press,
2006) and his Revisiting The Waste Land (New
Haven and London: Yale University Press, 2005), on the process of its
composition. On Freud as atheist, see Peter Gay, A
Godless Jew: Freud’s Atheism and the Making of Psychoanalysis
(New Haven: Yale University Press, 1987).
الفصل الثالث: الفنان الحداثي
On modernist literature in Germany, see J. P. Stern,
The Dear Purchase: A Theme in German
Modernism (Cambridge: Cambridge University Press, 1995); Ronald
Taylor, Literature and Society in Germany
1915–1945 (Brighton: Harvester, 1980); David Midgley, Writing Weimar: Critical Realism in German Literature
1916–1933 (Oxford: Oxford University Press, 2000); Wolf
Lepennies, The Seduction of Culture in German
History (New Jersey: Princeton University Press,
2006).
On the sexual ramifications of surrealism, see Jennifer
Mundy (ed.), Surrealism: Desire Unbound, exh.
cat. (London: Tate Publishing, 2001). On the irrationalist tradition in poetry,
see Marjorie Perloff, The Poetics of Indeterminacy:
Rimbaud to Cage (New Jersey: Princeton University Press, 1981).
On the influence of Dada, see Richard Sheppard, Modernism, Dada, Postmodernism (Evanston, Illinois: Northwestern
University Press, 2000). On surrealism in England, see Michel Remy, Surrealism in Britain (Aldershot: Ashgate, 1999).
On the history of the surrealist movement, see Gerard Duruzoi, tr. Alison
Anderson, History of the Surrealist Movement
(Chicago and London: Chicago University Press, 2002).
الفصل الرابع: الحداثة والسياسة
For a study of Western Marxism, see the volume of that
title by J. G. Merquior (London: Fontana, 1986), and for a study of the
interaction of Marxism and modernism, see Eugene Lunn, Marxism and Modernism (London: Verso, 1985). On the political
reactions of British writers, see Valentine Cunningham, British Writers of the Thirties (Oxford: Oxford University
Press, 1988). The effects of the modernist revolution on Russian art are
recounted in Camilla Gray, The Russian Experiment in Art
1863–1922, rev. edn. (London: Thames and Hudson, 1986). See also
Igor Golomstock, Totalitarian Art in the Soviet Union,
the Third Reich, Fascist Italy and the People’s Republic of
China, tr. Robert Chandler (London: Collins Harvill, 1991),
chapters 1 to 3. For an account of popular culture and of modernist responses to
it, see Noel Carroll, A Philosophy of Mass
Art (Oxford: Oxford University Press, 1998). An interesting
account of the failure of modernism to sustain a consistently socialist
development is to be found in T. J. Clark’s Farewell to
an Idea: Episodes from a History of Modernism (New Haven and
London: Yale University Press, 1999). A pioneering study of female social
groupings is to be found in Georgina Taylor, H. D. and
the Public Sphere of Modernist Women Writers 1913–1946 (Oxford:
Oxford University Press, 2001). On the continuing tradition and importance of
realist art in all periods, cf. Brendan Prendeville, Realism in Twentieth Century Painting (London: Thames and
Hudson, 2000).
Also of interest are David Peter Corbett, Modernism and English Art (Manchester: Manchester
University Press, 1997) and Lisa Tickner, Modern Life
and Modern Subjects (New Haven: Yale University Press, 2000). On
abstraction, see John Golding, Painting and the
Absolute (London: Thames and Hudson, 2000). On music in the 20th
century, see Alex Ross, The Rest is Noise
(London: Fourth Estate, 2008), Glenn Watkins, Pyramids
at the Louvre: Music, Culture and Collage from Stravinsky to the
Postmodernists (Cambridge, Mass., and London: Harvard University
Press, 1994), and Richard Taruskin, The Oxford History
of Western Music, vol. 4, The Early
Twentieth Century (New York and Oxford: Oxford University Press,
2005). Stephanie Barron (ed.), ‘Degenerate Art’: The
Fate of the Avant Garde in Germany, exh. cat. (Los Angeles: Los
Angeles County Museum of Art, 1991). And for music in Germany in this period,
see Michael Kater, Composers of the Nazi Era
(New York and Oxford: Oxford University Press, 2000).
