bluuebunny/crossref_metadata_2025_split huggingface dataset:
Borges, Jorge Luis (1899–1986)
Authors: Tcherepashenets Nataly 
Published: September 2018

Jorge Luis Borges is among the writers who have brought international fame to Latin American Literature. A fabulist, poet, essayist and translator, Borges shaped modern literary perception and became a classic of modern letters. His influential concept of writing as rewriting and his view that each word or group of words has a determinant impact on literature’s effectiveness are crucial to an understanding of his texts and exemplify a modern approach to literary theory.
Borges, whose ancestors were among the first Europeans to arrive in America, was born in Buenos Aires, Argentina. His father, Jorge Guillermo Borges, a lawyer and psychology teacher with anarchist views, taught Jorge Luis philosophy. His mother, Leonor Acevedo de Borges, a proud descendant of a long line of soldiers and freedom fighters, was a dedicated companion to her son until her death at the age of 99. Her help was indispensable, especially when Jorge Luis’s blindness made it very difficult for him to read and write. Two years after Jorge Luis’ birth, his sister Norah, his closest childhood friend and his first illustrator, was born. Both English and Spanish were used in Borges’ house, and he learned to read English before he could read Spanish. This knowledge played a key role in his work as a translator. He introduced James Joyce, Joseph Conrad, Virginia Wolf, and William Faulkner to the Spanish-speaking world.
Modernism in Indian Literature
Authors: Ramakrishnan E. V. , Kumar Udaya 
Published: September 2018

Modernism in Indian literature, like Indian modernity, resists tidy definitions. Just as experiences of modernity outside the Western world have prompted accounts of ‘alternative,’ ‘colonial,’ or ‘vernacular’ modernities, literary modernism in India calls for a recognition of historical and locational specificities. A perplexing diversity of languages, communities and literary cultures, the continued life of oral traditions and uneven levels of literacy, and complexities of political and economic realities in postcolonial India confront attempts to chart modernism’s career in India. The category itself is Protean, displaying multiple meanings and accents in various regions and contexts; what follows is no more than a preliminary map aimed at an initial orientation.
Modernist departures in Indian writing, from their beginnings in the 1920s and 1930s, moved away from idealized visions of the human and dominant idioms of nationalist belonging. The thirties also saw the emergence of Marxist literary efforts, with their insistent, critical foregrounding of social reality. The Progressive Writers Association was founded in Lucknow in 1936, and similar outfits came up in many regional languages. Incipient modernism and early progressive writing overlapped in their stark estimation of reality and rejection of literary decorum. Urdu modernists like Sa’adat Hasan Manto and Ismat Chughtai had close associations with the progressives before they parted ways. The Kallol generation poets in Bengal provoked criticism not only for formal innovations but also for their preoccupation with ‘poverty and lust.’
Owen, Wilfred (1893–1918)
Authors: Beauchesne Nicholas 
Published: September 2018

Wilfred Edward Salter Owen (1893–1918) is among the most renowned British poets of the First World War (1914–1918). His style can best be described as elegiac or tragic, standing defiantly against the idealized or propagandistic depictions of the battlefield prevalent during the ‘Great War’s early stages. In opposition to the sentiments of Rupert Brooke (1887–1915) and Rudyard Kipling (1865–1936), and more akin to those of Isaac Rosenberg (1890–1918) and Siegfried Sassoon (1886–1967), Owen considered such reductive glorifications of mass slaughter ignorant, if not outright dishonest — a radical viewpoint at the time.
Owen’s influences range from Dante and Shakespeare to Thomas Gray, William Collins, Percy B. Shelley, Samuel Taylor Coleridge, Robert Burns, Alfred Lord Tennyson, Robert Browning and Elizabeth Barrett Browning, and especially John Keats. Owen’s poetic signature and chief innovation was his subversion of traditional rhyme schemes. He experimented with consonantal end-rhyme (or ‘pararhyme’), a technique that, along with Edmund Blunden (1896–1974), he helped popularize. Critic Sasi Bhusan Das interprets Owen’s use of this technique, in conjunction with broken rhythms, as an effort to capture ‘the disharmony of the [Great] War’ (13).
Klimt, Gustav (1862–1918)
Authors: Jordon Sharon 
Published: September 2018

Gustav Klimt had an indelible influence on the artistic and cultural innovations that occurred in Vienna at the turn of the century. He was a founding member and public figurehead for the city’s Secession, an organization responsible for exhibitions that introduced the public to the latest developments in European modern art. His associations with leading members of the city’s cultural and intellectual elite, and his collaborations with leading artists, architects, and designers resulted in many important artworks.
In 1876, at age 14, Klimt enrolled at the recently founded Kunstgewerbeschule (Imperial and Royal School of Applied Arts and Crafts), where he spent seven years. Klimt soon established his reputation for large paintings in public buildings as part of the redevelopment of the Ringstrasse: a series on the history of theatre for the new Burgtheater (Imperial Court Theatre), 1886–1888, was followed by murals in the Kunsthistorisches Museum (Art Museum), 1891, featuring female personifications of the arts of ancient cultures, showing Klimt’s growing interest in women as a primary subject in his work. Klimt received the Emperor’s prize for his realist painting Auditorium Theatre (1888), which includes more than 100 portraits of leading Viennese citizens making up the theatre’s audience.
Heidegger, Martin (1889–1976)
Authors: Caruana John 
Published: September 2018

Born in Meßkirch, Germany, Martin Heidegger is renowned as a leading 20th-century philosopher of existentialism and phenomenology with far-reaching influence in the Western world. Heidegger helped advance – at the same time as he radicalized – the phenomenological project initiated by his mentor, Edmund Husserl. The publication of his magnum opus, Sein und Zeit, a work ranked by his student Emmanuel Levinas as one of the five greatest texts in the history of Western philosophy, established Heidegger as a major voice in European philosophy. Demolishing the claims and pretensions of the Cartesian subject, this work also gave expression to the groundless nature of Dasein ("being-there"), its inexorable projection towards the nothingness of its being and its struggle for authenticity, ideas that would shape the work of Alberto Giacometti, Paul Celan, and Jean-Paul Sartre.
Heidegger’s relationship to modernism is simultaneously complementary and conflicted. Following in the wake of Friedrich Nietzsche’s sweeping philosophical attack, Heidegger’s work looms large as one of the most important philosophical critiques of the Western tradition, inspiring a wide-range of modernist and postmodern artists and theorists. Yet his mature work also exhibits a notable conservative streak that runs counter to some of the experimental and innovative thrust of modernist culture.
The British Documentary Film Movement (1926–1946)
Authors: Davis Thomas S. 
Published: September 2018

The British Documentary Film Movement refers to the film units pioneered by John Grierson. With the benefit of state sponsorship, Grierson and the filmmakers that gathered around him experimented with avant-garde film techniques to develop a socially conscious cinema. Grierson’s film units and the documentary culture they created were also an important part of the debates around aesthetic innovation and political commitment that circulated throughout Britain in the 1930s and 1940s. Grierson’s group disseminated their ideas and theories in publications such as Sight and Sound, Cinema Quarterly, World Film News, and Documentary News Letter.
Grierson coined the term "documentary" in a review of Robert Flaherty’s film Moana in The New York Sun in 1926. In this first use, documentary was nearly synonymous with the French documentaire, which typically refers to expedition films. In the coming years, Grierson would theorize documentary in more specific terms. His most famous and most lasting definition comes from an essay in a 1933 edition of Cinema Quarterly. Documentary, he claimed, was "the creative treatment of actuality." Grierson believed documentary could borrow formal techniques from the great Russian filmmakers (Eisenstein, Vertov, and Pudovkin) to dramatize scenes and practices from everyday life.
García Pardo, Luis (1910–2006)
Authors: Cobas Martín 
Published: September 2018

The Uruguayan architect Luis García Pardo studied architecture in the School of Architecture of the Universidad de la República, where he graduated in 1941. He belonged to a generation of Uruguayan architects that studied in a school permeated by the modern movement, mainly through travels (to Europe, in the context of the Grand Prix), European publications, and professors such as Julio Vilamajó (1894–1948). Together with colleagues Raúl Sichero and Ildefonso Aroztegui he adopted a revised version of the International Style, in works where geometric and formal purity is associated with cutting-edge technical and structural execution and, in the case of García Pardo in particular, the integration of the fine arts and other design areas to the architectural project – notably in the landscape design with Roberto Burle Marx.
His defense of a universal modernity was no impediment for a heterogeneous body of work that included experimentations with newly developed construction systems for social housing and, in his last period, a series of urban proposals characterized by a remarkable formal and organizational freedom.
Warner, Sylvia Townsend (1893–1978)
Authors: Suh Judy 
Published: September 2018

Sylvia Townsend Warner was the author of novels, short stories, poetry, journalistic non-fiction, and literary criticism. Her works often inhabit settings at opposite ends of the modernist-era spectrum: on one hand, fantasy and fable worlds, and on the other, detailed contemporary domestic and historical settings incorporating themes of war, revolution, and class struggle. Warner is regarded as a pioneer of anti-colonial, LGBT, Marxist, and anti-fascist narrative, particularly in her novels of the 1920s and 1930s.
Warner was born and raised in Harrow, Middlesex, England, where her father was schoolmaster at the boys’ public school. She resided in London between 1917 and 1927 to work as a musicologist and editor on the Carnegie UK Trust’s Tudor Church Music Research Project. In 1926, she met her lifelong partner, Valentine Ackland, a poet and writer in her own right, and in 1930 they moved in with each other in Dorset. Both women were committed leftist activists who joined the Communist Party in 1935. In the year, Warner joined the Executive Committee of the International Association of Writers for the Defence of Culture (IAWDC), and in 1936, she served as Secretary of the Association of Writers for Intellectual Liberty (AWIL); both were anti-fascist organisations. During the war, Warner wrote anti-fascist and Marxist articles for leftist newspapers and magazines, including Time and Tide, the Left Review, the Daily Worker, and Our Time.
Creeley, Robert White (1926–2005)
Authors: Salutsky Ron 
Published: September 2018

Robert Creeley was a postmodernist American poet whose concern for the emotional content of the quotidian influenced Deep Image poetry, the Black Mountain School of poets, and Beat poetry.
Creeley was born in Arlington, Massachusetts, on May 21, 1926. Before the age of five he had lost his physician father, and in an automobile accident the use of his left eye. Following the death of his father, Creeley moved with his mother and sister to a small farm in West Acton, where he enjoyed spending time in the woods. The relative isolation of his upbringing made him greet even strangers generously, a grace for which Creeley was known even after he had achieved literary fame.
Following formative years in the Holderness Academy in Plymouth, New Hampshire, Creeley attended Harvard University, where he received little support for his writing. In 1944, restless and discontented, Creeley was suspended from the university for shenanigans, and subsequently sought relief and adventure in the American Field Service in Burma and India. When the war was over, Creeley returned to Harvard and helped to edit an undergraduate literary magazine, The Wake, founded as a counter to the Eliotic, New Critical bent of Harvard’s The Advocate. Through his earliest publications in The Wake, Creeley began to experiment with the quotidian subjects and diction that ran counter to the rhetorical, analytical style of poets such as Eliot and Stevens.
Hesse, Hermann (1877–1962)
Authors: Crauwels Geert 
Published: September 2018

Hermann Hesse was born in Calw (Germany) in a pietistic missionary family. To his devout parents, ‘the I’, as a subject next to God, had no rights. This conviction not only lead to several personal crises in Hesse’s life but also inspired his central theme: the defense of the individual and its intellectual freedom, independent of any cause.
Destined to become a Protestant theologian, Hesse became a seminarist at the Protestant convent school Maulbronn in 1891, from which he fled shortly after. A suicide attempt followed in 1892. Some years later, Hesse was trained as a bookseller in Tübingen (1895–1898). Although Hesse had started his career as a lyricist in the neo-romantic tradition by then (Romantische Lieder, 1898) and considered poetry to be his central literary medium, his novels and stories were the foundation of his success. His novels can be characterized as biographies of the soul, reflecting the protagonist’s subjectivist development and self-discovery. Hesse’s breakthrough came with Peter Camenzind (1904), which already dealt with his main topics: the uncompromising personality development, criticism of modern civilization and the education system, the mystic experience of nature and a return to the simple, authentic life – echoing Nietzsche’s philosophy of life.
Lewis, Sinclair (Harry) (1885–1951)
Authors: Welch Bronwen 
Published: September 2018

Sinclair Lewis was an American novelist, short-story writer, and playwright. Born in the small town of Sauk Centre, in Minnesota, Lewis was the youngest of three boys; the eldest, Fred, was born in 1875, followed by Claude in 1878. Lewis was a sensitive and bookish boy, un-athletic and vulnerable. His, father Edwin J. Lewis, a doctor and a strict, domineering father, had a hard time understanding his youngest son, and sadly Lewis's mother, Emma Kermott Lewis, died when he was six years old; her death had a lasting impact of Lewis’ life and writing. In 1892, Edwin J. Lewis remarried Isabel Warner, a kind and deeply maternal woman who became a friend and confidant to the lonely Lewis.
Lewis’ works are known for their satirical representation of the pettiness of American life and values, revolving around such icons of Americanism as religion, patriotism, small-town life, and commercial capitalism. The narrowness of this lens, however, must be located within the broader realm of turmoil against a world order which Lewis felt was all about commerce: a buying and selling that produced only greed and dissatisfaction.
The Long Poem
Authors: Jaussen Paul 
Published: September 2018

In its most basic sense, the ‘long poem’ refers to any extended poetic work, from the long lyric to the epic. Within the context of modernism, the long poem emerged as a significant genre, channeling the authority and scope of the epic yet rejecting many traditional epic devices. Most notably, many modernist long poems abandoned narrative, replacing it with other organizational principles, ranging from symbolism to collage. The practice became particularly significant within the context of Anglo-American modernism, largely due to the influence of T.S. Eliot and Ezra Pound, although the long poem can also be considered a transnational genre, with examples in French, such as Saint-John Perse’s Anabase (1924), and Spanish, like Federico García Lorca’s sequence Poeta en Nueva York (1940).
One of the most famous and influential examples of the genre is Eliot’s The Waste Land, published in 1922. Adapting mythological themes, literary allusions, and a symbolic framework, Eliot’s work combined the traditional historical rhetoric of earlier long poetics, from Chaucer to the Arthurian legends, with the language and concerns of World War I England.
Smith, (James Marshall) Arthur (1902-1980)
Authors: Barclay Adèle 
Published: September 2018

A.J.M. Smith was a poet, scholar, and anthologist of Canadian literature. As an editor of little magazines and anthologies, Smith was an important figure in the founding of Canadian modernism.
Born on November 8, 1902 to English parents, Smith grew up in Westmont, Quebec. He studied at McGill University (1921-1926), obtaining a BSc (Arts) and an MA. His Masters thesis was on the poetry of W.B. Yeats. Smith associated with F.R. Scott, A.M. Kein, Leo Kennedy, and Leon Edel, the circle of Montreal poets who, influenced by T.S. Eliot and Anglo-American modernism, sought to establish the practice of modernist poetry in Canada in order to counter the Victorian-style Confederation Poets of the early twentieth century.
As an undergraduate student, Smith founded and edited the Literary Supplement of the McGill Daily. He continued his editorial efforts as a graduate student, creating, with Scott in 1925, the McGill Fortnightly Review—the first journal of modernist writing in Canada. The journal helped initiate the tradition of Little Magazines in Canada, publishing the surge of Canadian modernist poetry in the 1920s and 1930s. After marrying Jeanne Dougall Robins in 1927, he began his PhD at the University of Edinburgh and completed his dissertation, ‘Studies in the Metaphysical Poets of the Anglican Church in the 17th Century’, in 1931. Smith worked as a professor at Michigan State University (1936-1972).
Bialik, Hayim Nahman (H. N.) (1873–1934)
Authors: Segal Miryam 
Published: September 2018

Hayim Nahman Bialik was one of the most influential and widely-read Hebrew poets of the twentieth century. He revitalized modern Hebrew poetry with his romantic tropes, intense introspection, allusive irony and modernist treatment of language. Together with Shaul Tchernichovsky, his peer in the literary revival of the turn of the century, Bialik re-invented the sound of Hebrew poetry by introducing accentual-syllabic meter to Hebrew.
Bialik was born into a religious and very poor family, and engaged with the Jewish textual tradition even after leaving behind, first, his Hasidic upbringing, and then the more rationalist and intellectual but ultimately unsatisfying world of the famous Volozhin yeshiva.
Bialik spent the better part of three very productive decades in Odessa, the capital of the literary revival in which he was received as a young literary talent, then as national poet and one of the foremost Hebrew writers. He wrote lyric poetry, long poems, poems in the form of folk-song lyrics, children’s poetry and essay, and was an important figure in Hebrew publishing, with a particular interest in preserving the ‘Jewish Bookcase’ of classic works for secular Hebrew culture.
Boychukysty
Authors: Kochman Adrienne 
Published: September 2018

The Boychukysty were followers of the Ukrainian monumental painter Mikhajlo Lvovych Boychuk (1882–1937), who advocated a national Ukrainian artistic school drawn from Byzantine, Ukrainian mediaeval, and early Italian Renaissance sources. They included Ivan Padalka (1894–1937); Vasyl Sedlyar (1889–1937); Ivan Lypkivsky; Oksana Pavlenko (1895–1991); Antonina Ivanova; Manuil Shekhtman (1900–1941); Mykola Rokytsky (1901–1944); his wife, Sofiya A. Nalepinska (1884–1937); his brother, Tymofil Boychuk (1896–1922), and others.
Mikhajlo Boychuk was born in Romanivka, now in Ternopil Province in Western Ukraine. He studied at the Kraków Academy of Arts from 1900 to 1904, followed by several months at the Munich Academy of Arts in 1905, under the sponsorship of the head of the Ukrainian Greek Catholic Church, Metropolitan Andrei Sheptytsky (1865–1944). Sheptytsky, an ardent supporter of the arts in Ukraine, funded the education of numerous artists from Galicia to study in Munich and Paris. Boychuk’s education was interrupted by conscription into the Austro-Hungarian army in late 1905, where he served for one year. In early 1907, he moved to Paris to continue his studies, first at the Vitti Academy, then at the Academy Ranson, where he took classes with French Nabis painter Paul Serusier (1864–1927), a professor there. While in Paris, Boychuk met his future wife Sofiya Nalepinska, and other artists, among them Mykola Kasperovych (1885–1938), Sophie Segno (1890–1971), and Sophie Baudouin de Courtenay (1887–1967), who shared a similar passion for Byzantine and Early Renaissance art.
Breton, André (1896–1966)
Authors: Cunningham Anne 
Published: September 2018

André Breton was a French poet, writer, editor and critic. He is best known as one of the key founders of Surrealism. Breton published the Le Manifeste du Surréalisme (The Manifesto of Surrealism) in 1924, announcing the central theme of the pre-eminence of the irrational and the automatic over logic and reason, encouraging free expression and the release of the subconscious mind in an effort to reject and overthrow social and moral conventions. Influenced by Sigmund Freud’s theories of the unconscious, Surrealism sought to blur the distinctions between dream and reality, reason and madness, objectivity and subjectivity. Breton was a strict disciplinarian within the movement, expelling many members, and was nicknamed ‘The Pope of Surrealism.’ Breton’s other well known works of fiction include Nadja (1928) and L’Amour fou (1937—Mad Love). During World War II, Breton’s writing was banned by the Vichy government, and he fled France until 1946 when he returned to Paris. He was an avid collector of modern art, ethnographic materials, and unusual objects. His collection of over 5,300 pieces was open to researchers at his Paris apartment after his death in 1966 until 2003, but was closed after attempts to form a surrealist foundation failed, and his collection was auctioned off. A wall of his apartment is preserved today at the Centre Georges Pompidou.
Droubi, Hafidh al- (1914–1991)
Authors: Floyd Tiffany Renee 
Published: September 2018

Considered an important figure in the development of art education in Iraq, Hafidh al-Droubi held important posts during his career including the Deanship of the Academy of Fine Arts in Baghdad and the Chair of the Society of Iraqi Plastic Art, he was also a prolific painter who experimented with various modes of representation. As a leading artist of the pioneer generation, Al-Droubi was one of the first Iraqi artists to study art abroad, first at the Accademia Reale in Rome and then at Goldsmiths College in London. He also instituted Iraq’s first free art studio, which gave young artists a space to practice and interact, an idea that eventually grew into a network of successful ateliers.
Al-Droubi was a founding member of Iraq’s first official art group, the Society of the Friends of Art, established in 1941. The painter also founded his own artist collective, the Impressionists, in 1953, which better served his own pedagogical concerns. Largely made up of Al-Droubi’s students, the Impressionists worked toward a shared attitude about art education rather than a specific style. Al-Droubi was an active exhibitor, showing works in almost all major shows held by the Society of the Friends of Art and the Impressionists, also participating in international exhibitions both in Europe and around the Arab world. He was honored at the 1972 Al-Wasiti Festival, one of only a few artists to garner special recognition.