bluuebunny/crossref_metadata_2025_split huggingface dataset:
Andreev, Leonid Nikolaevich (1871–1919)
Authors: Hinds-Bond Jessica 
Published: September 2018

Leonid Nikolaevich Andreev was a prolific Russian author, widely popular in the first decade of the 20th century, whose fictional and dramatic works spanned the divide between realism and symbolism.
Andreev was born in Orel, a provincial capital south of Moscow, and died in Finland. He studied law in St Petersburg and Moscow. After a brief and unsuccessful legal career, he worked as a journalist, prose writer and dramatist, quickly making a name for himself as a successful short-story writer once his stories began to appear in newspapers. His first published volume of stories (1901) was an immediate success, with its first two printings selling out in two weeks. He turned to playwriting five years later, although he continued to write short stories until late in life. Andreev’s creative work sparked much debate from both realist and symbolist writers. He developed a close friendship with realist writer Maxim Gorky, although the two grew to disagree on questions of literary style and politics, as Andreev’s work strayed from its early realist tendencies and revolutionary ideals. Gorky mentored Andreev in his early career and spearheaded a collection of literary reminiscences by famous writers upon the latter’s death. Andreev’s popularity waned, along with his health, during the final decade of his life.
Apocalypse Poets
Authors: Beauchesne Nicholas 
Published: September 2018

The Apocalypse Poets (or Apocalyptics) were a network of British writers centred around the largely forgotten Apocalypse poetry movement. Apocalypse poetry, inspired by the notion of Surrealism stripped of its automatism, was a reaction to the poetic dominance of the Auden Generation during the 1930s. Aesthetically, Apocalypticism dealt in nightmarish images, engaged with mythology, and meditated on war. Politically, it tended towards anarchism.
Poets Henry Treece (1912–1966) and J. F. Hendry (1912–1986) became acquainted with one another while contributing to the literary magazine Seven. They developed an Apocalyptic manifesto in 1938 in collaboration with Dorian Cooke (1916–2005). The following year, Treece and Hendry edited an anthology of poetry entitled The New Apocalypse (1939). They later anthologised two more collections of Apocalyptic poetry: The White Horseman (1941) and The Crown and the Sickle (1943). By the time The Crown and the Sickle saw publication, the Apocalypse movement had lost much of its momentum and, along with another short-lived movement, Personalism, was subsumed under an emerging New Romanticism.
Bjørnson, Bjørnstjerne Martinius (1832–1910)
Authors: D’Amico Giuliano 
Published: September 2018

Bjørnstjerne Bjørnson is one of the most important Scandinavian writers of the second half of the 19th century, a novelist and playwright as well as a journalist, theater director, and political activist. In the Scandinavian context, he was a pioneer of a variety of literary forms, including late Romantic prose, historical and bourgeois drama, and the modern novel. He was deeply involved in the literary and political debates of his age, both in Norway and elsewhere in Europe, where he enjoyed, at least until his death, a degree of public recognition. He received the Nobel Prize for literature in 1903.
Bjørnstjerne Bjørnson made his literary debut in 1857 with SynnøveSolbakken, the first of a series of prose works which combined a late Romanticism with an interest in the contemporary period and its problems. The main characters Synnøve and Thorbjørn, and the contrast between good and evil they represent, are still dependent on the stylization of Romanticism, but the environment in which they grow comprises a problematic social space in which alcoholism and bigotry plague the population. Such a duality is also evident in Bjørnson’s historical plays published between 1857 and 1862. His production took a turn towards the Modern Breakthrough with the play En Fallit [A Bankruptcy] (1875), which introduced theatrical realism in Scandinavia and paved the way for Henrik Ibsen.
Henein, Georges (1914–1973)
Authors: Bardaouil Sam 
Published: September 2018

The son of an Egyptian diplomat and Italian-Egyptian mother, surrealist writer Georges Henein spent his childhood between Cairo, Madrid, Rome, and Paris. It was in Paris that he completed his secondary education at the Lycée Pasteur de Neuilly, going on to study at the Sorbonne. His cosmopolitan upbringing allowed Henein to master Arabic, Italian, Greek, English, and French equally, enabling him to navigate the various worlds in which he roamed with ease and confidence.
In 1935 Henein’s leftist and surrealist leanings began to surface in contributions made to two publications, Un Effort, a monthly periodical published in Cairo by Les Essayistes (a Francophone literary group); and Les Humbles, a Marxist-Leninist journal that was printed in Paris. In 1936 Henein met André Breton, who had revealed his awareness of the former’s efforts to promulgate surrealism in Egypt in a 1936 letter. Later the same year, during a sojourn in Paris, Henein attended the surrealist meetings where Breton called attendees to take a stand against what became known as the Moscow Trials. A manifesto, or more precisely a declaration, entitled La Verité Sur Le Procès de Moscou was read by Breton in a meeting on the 3rd of September of 1936 and signed by those present, including Henein.
Ivanov, Georgy Vladimirovich Ivanov [Иванов, Георгий Владимирович] (1894–1958)
Authors: Chandler Robert 
Published: September 2018

Along with Khodasevich and Tsvetaeva, Georgy Ivanov was one of the three great Russian poets of émigré Paris – and the most important representative of the so-called ‘Parisian Note’.
As a young man in St Petersburg, he had been close to the Acmeists. For several years after settling in Paris with his wife, the poet and memoirist Irina Odoevtseva, he wrote little, but in the early 1930s he began writing the poems by which he is remembered – poems of brilliant despair that both anticipate Existentialism and look back to the French Symbolists, and to their Russian translator, Innokenty Annensky. He went on writing better and better, his formal grace coexisting with an ever more startling emotional directness. He composed much of his finest work during his last few months, when he knew he was dying.
Ivanov was a controversial figure. Several memoirs portray him as a monster of egotism, nihilism and worse. He incurred the fury of Anna Akhmatova, Nadezhda Mandelstam and others by publishing a memoir, Petersburg Winters, that mixes fact, rumour and fantasy. He was accused of Nazi sympathies and even of complicity in a murder in St Petersburg. It is now clear that these rumours were unfounded.
Kluge, Alexander (1932--)
Authors: Weigel Moira 
Published: September 2018

Alexander Kluge is a German author, film director, and television producer who has also worked as a lawyer, teacher, and political lobbyist. A founding figure of the New German Cinema, he has continued to publish numerous works of fiction and social criticism, and to make experimental films and "film essays" for television.
Kluge was born in Halberstadt in 1932. After studying at the University of Marburg, he earned a doctorate in law at the Goethe University of Frankfurt am Main in 1956. During this time, Kluge began writing short stories. He also befriended the philosopher Theodor Adorno, who was then teaching at the Institute for Social Research. The encounter with critical theory would profoundly shape Kluge’s work. Adorno also introduced the young writer to director Fritz Lang.
In 1960, Kluge made his first film, Brutalitätim Stein (Brutality in Stone), a twelve-minute, black-and-white montage of Nazi architecture, intended to open discussion of Germany’s recent past that public discourse had suppressed. It premiered at the Oberhausen Film Festival in 1961. The following year, Kluge signed the Oberhausen Manifesto with twenty-five other filmmakers. This document, usually identified as the beginning of the New German Cinema, declared that "Daddy’s cinema is dead." Celebrating the innovative potential of experimental shorts, it called for greater political and creative freedom for, and a better system for financing and distributing, independent films. Lutze argues that Kluge belongs to a distinctly modernist tradition of figures who have opposed what they see to be the dominant culture of capitalist society, taking adversarial stances on mainstream aesthetics and politics alike.
Livesay, (Kathleen May) Dorothy (1909–1996)
Authors: Barclay Adèle 
Published: September 2018

Dorothy Livesay was a Canadian poet, journalist, activist, social worker, instructor, field worker, and author of short fiction, literary criticism, radio plays, and autobiography. Her collection of poetry Day and Night (1944) was lauded as a significant socialist, modernist text.
Livesay was born on 12 October 1909 in Winnipeg, Manitoba to journalist parents. She received a BA Honours in modern languages (1931) from the University of Toronto. Influenced by IMAGISM, she published her first collection of poetry Green Pitcher (1928), a well-received book of lyric poetry, while still an undergraduate student. Livesay studied at the Sorbonne, earning a Diplôme d’Études Supérieures (1932). Her thesis was entitled "Symbolism and the Metaphysical Tradition in Modern English Poetry." In Paris, she was exposed to Marxism and the effects of the Depression in Europe, and developed her left-wing politics in response. Upon returning to Canada in 1932, she published a second book of poetry, Signpost, enrolled in the School of Social Work at the University of Toronto, and joined the Young Communist League.
Parnok, Sofia Yakovlevna [Парнок, София Яковлевна] (1885–1933)
Authors: Chandler Robert 
Published: September 2018

Sofia Parnok was born into a Jewish family, in the southern Russian city of Taganrog. Her father was a pharmacist; her mother, a doctor, died when Sofia was six. After decades of neglect, Parnok is now recognized as a gifted and original poet.
Parnok studied music and law before deciding to devote herself to poetry. In 1909, after divorcing her husband, she settled in Moscow. She converted to Orthodox Christianity; she appears always to have seen herself as Russian rather than Jewish.
In 1914 she and Marina Tsvetaeva fell in love. Tsvetaeva wrote about their affair in her poem-cycle ‘The Girl-Friend’, and Parnok in her first book, Poems (1916). No Russian poet before her had written so directly about female—let alone lesbian—sexuality.
In the 1920s she published four collections of poetry, the last two through The Knot, a publishing co-operative she had co-founded in 1926. An influential critic, she was the first to pick out the four now considered the greatest Russian poets of their time: Pasternak, Tsvetaeva, Akhmatova and Mandelstam. After 1928, unable to publish her own work, she supported herself mainly through translations from French.
Penrose, Valentine (1898–1978)
Authors: Marwood Kimberley 
Published: September 2018

Valentine Penrose was born Valentine Boué in south-west France. She met and married Roland Penrose in 1925. Her small oeuvre consists of poems influenced by surrealist writers such as Paul Éluard and collages inspired by Max Ernst, whom she encountered through her husband, who was a champion of the surrealist movement. The first English translation of Penrose’s collected work, Poems and Narrations, appeared in 1977 containing the works Dons des Féminines [Gifts of the Feminine] (1951) and Martha’s Opera (1945).
Penrose’s poems are often supplemented by collages. By using similar source material to Max Ernst, Penrose parodies his collages, focusing on female relationships and thus giving power and prominence to women rather than men. This is a theme she subsequently returned to in her major literary work, La ComtesseSanglante (1962, later published as The Bloody Countess in English in 1970), a semi-historical account of the life of Erszébet Bathory. Her marriage to Roland broke down in 1934 and they were divorced in 1937. Roland later married model and photographer Lee Miller, with whom Penrose remained friends. She returned to live with the couple at Farley Farm in East Sussex, where she died in 1978.
Peretz, Yitskhok Leybush (1835–1917)
Authors: Mahalel Adi 
Published: September 2018

Yitskhok Leybush Peretz, or I. L. Peretz (1835–1917), was a Yiddish and Hebrew writer, known for introducing modernist trends into Yiddish literature. Born in the town of Zamość Poland, he lived significant parts if his life in Warsaw, which he helped make a center of modern Jewish and Yiddish culture.
Peretz had been a Hebrew writer since the 1870s and was then known mostly as a Hebrew poet, although he was also capable of writing in Polish. He first expressed his ideas concerning Yiddish in his letters to Sholem Aleichem in the late 1880s; he "confessed" his affinity to Yiddish, referring to it as "the language of Beril and Shmeril," in a Hebrew poem. His Yiddish writing debut was the long poem Monish (1888), which is considered to be the first folk narrative to be employed in modern Yiddish literature, with a style and plot heavily influenced by Goethe’s Faust.
His early Yiddish prose included a collection of stories titled Bekante bilder (1890). These texts embody psychological complexity, employing the form of internal monologues, and are considered to represent a significant development in modern Yiddish fiction. "The Messenger" (Der meshulakh) tells the story of the dying traditional Jewish-shtetl economy through the confessional story of an old man suffering from chest pains, reminiscing and hallucinating about his life, who is carrying a sum of money and a contract that he needs to deliver. "The Crazy Idler" (Der meshugener batln; in English often translated as "The Mad Talmudist"), consists of the internal monologue of a person suffering from a split personality disorder.
Altenberg, Peter (1859–1919)
Authors: Kim David 
Published: September 2018

Born in Vienna on 9 March 1859, the Jewish-Austrian poet Peter Altenberg (birth name: Richard Engländer) became a literary sensation with his characteristically telegraphic writing style. The purpose of this narrative form, he explained, was to capture Kleinigkeit (the smallness) of modern life—fleeting, ordinary, and unembellished. His so-called prose poems went on to garner the admiration of contemporary artists, architects and writers who belonged to the Young Vienna. They included, among others, Hermann Bahr, Gustav Klimt, Hugo von Hofmannsthal, Karl Kraus and Arthur Schnitzler. Suffering from pneumonia, Altenberg died in Vienna on 8 January 1919.
Opposed to the assignment and expectation of specific social roles in a conservative Austro-Hungarian Empire, Altenberg took on a nom de plume to redefine his cultural identity in the image of the oppressed, including children, women and non-Europeans. This act of political resistance in writing became a lifelong commitment to exposing the divided and hypocritical world around him, although some of his works portrayed those in suffering with a certain degree of eroticization and prejudice. By focusing on moments of ambiguity, contradiction, monotony and triviality in social interaction, he exposed the clash of cultures between old provincialism and new cosmopolitanism in contemporary Vienna while pushing new limits of mimetic representation.
Young Vienna
Authors: George Alys 
Published: September 2018

Young Vienna was an informal, heterogeneous literary circle that existed in Vienna for little more than a decade, beginning in approximately 1890. Hermann Bahr and his protégés Hugo von Hofmannsthal, Arthur Schnitzler, Richard Beer-Hofmann, and Felix Salten formed the core of the group, while Karl Kraus and Peter Altenberg were later, peripheral participants. Many other writers, most now forgotten, were involved to varying degrees. These included Felix Dörmann, Friedrich Michael Fels, Paul Goldmann, Jacques Joachim, Eduard Michael Kafka, Julius Kulka, Rudolf Lothar, and Richard Specht. The group often met at Café Griensteidl and, later, Café Central.
Unlike the naturalists in Berlin and Munich, Young Vienna put forth no coherent literary program, manifestos, or theories, and their literary production ranged from naturalism and impressionism to aestheticism, symbolism, and decadence. The only commonality among the writers, according to Bahr, was that they wanted ‘in all things and at all costs to be modern’ (in allen Dingen um jeden Preis modern zu sein).
Adam, Hoerijah (1936–1971)
Authors: Minarti Helly 
Published: September 2018

Born nine years before Indonesia’s independence, Hoerijah Adam epitomized the transitional figure of the Indonesian postcolonial dancer. Despite her short life, Adam changed the course of modern dance in Indonesia by formulating a new style derived from her origins—the Minangkabau culture of West Sumatra.
In contrast to the Javanese influence seen elsewhere in Indonesia’s modern dance—whose classical dances rooted in the Hindu-Buddhist syncretism developed within its court traditions after the arrival of Islam in the fourteenth century—Minangkabau is distinct for its pencak-silat, a vernacular martial arts form. Scholars describe Minangkabau as a culture of paradox, referring to the fact that although its people are predominantly Muslim, their customs are based on matrilineal principles—an unlikely combination.
Ishii, Baku (1886–1962)
Authors: Yukihiko Yoshida 
Published: September 2018

Baku Ishii is widely regarded as the creator of Japanese modern dance. He was born in Mitane-cho, Akita Prefecture in 1886. Despite his difficulty adapting to school life in his early years, he moved to Tokyo at the age of twenty-four to study literature. Eventually, he began studying the violin at the Imperial Theatre. During the course of his violin studies, however, Ishii, moved by his exposure to opera, decided to focus on dance. While he remained at the Imperial Theatre, his new focus led him to study ballet under Giovanni Rossi, a ballet instructor who previously worked in the UK, but who had been invited to teach at the Imperial Theatre by the then managing director Keinosuke Nishino. Ishii also performed in the operas Rossi produced at the Imperial Theatre.
Ishii eventually resigned from the opera as a result of an argument with Rossi. After leaving Rossi, Ishii studied rythmique (eurhythmics) with Émile Jaques-Dalcroze. Later he began to choreograph his own work.
Beckett, Clarice Marjoribanks (1887–1935)
Authors: Peers Juliette 
Published: September 2018

Clarice Beckett was a major Australian artist, and remains an important figure in feminist history. Beckett’s abstracted impressionism, subtle color harmonies, and ordered placement of compositional elements is considered quintessential to Australian modernism. In the early 1970s her proto-minimalist approach was likened to that of Mark Rothko. Her refined blurring of hues and para-futurist vision of industrialized cities broke with the predominately agrarian themes of 1920s Australian painting. Having never left Victoria, her artistic vision was highly autonomous and self-reliant; locally available books and art instruction, for instance, provided her with theoretical and technical cross-references. While her own creativity was bounded by domestic routine, her works poetically transformed and transcended her local surroundings.
During the women’s liberation movement and second wave feminism of the 1970s, discussions framing Beckett as a self-driven cultural maverick trapped within a restrictive middle-class family offered guidance and self-identification for many artists associated with each movement. While the narrative of Beckett’s artistic career stimulated substantial curatorial and scholarly interest in her work, the posthumous focus on her social standing and personal life risk undermining the artistic breadth and credibility she achieved during her lifetime.
Beckmann, Max (1884–1950)
Authors: Grimm Dagmar 
Published: September 2018

A painter, printmaker, sculptor, and writer, Max Beckmann achieved success at an early age. After studying art in Weimar and spending some months in Paris, Beckmann moved to Berlin in late 1904. Participating in an art competition there, he was awarded an opportunity to study in Florence. His prize-winning painting Young Men by the Sea, was bought by the Weimar Museum in 1905, an unprecedented occurrence for a twenty-year-old painter. Beckmann was admitted to the Berlin Secession in 1906 and took part in their annual exhibitions to favorable response. He worked in an academic style, painting melodramatic renditions of disasters such as the Messina earthquake in 1910, and the sinking of the Titanic in 1912, as well as mythological or biblical scenes.
Until 1913, Beckmann’s work was not considered avant-garde. A controversy between him and Franz Marc in 1912 regarding the merits of contemporary art played out in the periodical Pan, placing Beckmann on the side of the conservative artistic establishment. Beckmann never wanted to be classified with the Expressionists, or to be a part of any group or trend. Yet his later work, in which he developed his personal, subjective, symbolic world, must be considered with the Expressionist movement.
Berni, Antonio (1905–1981)
Authors: Westphalen Von Hartenthal Mariana 
Published: September 2018

Antonio Berni is a central figure in 20th-century Argentinean art who employed a number of diverse mediums in his work, experimenting with a wide variety of techniques, from oil painting to collages to large sculptures. Berni frequently incorporated trash and other industrialized, humble materials, into his pieces. The artist’s complex prints, which combined traditional printmaking techniques and collage with found materials, secured him the Grand Prize for Drawing and Printmaking at the 1962 Venice Biennal. Berni’s works usually addressed the inequality and injustices he witnessed in Argentina as a result of the rapid growth in industrialization and consumerism. His works, predominantly figurative, have a cluttered, grimy aspect.
At the beginning of his career in the 1920s and early 1930s, Berni was influenced by the Surrealists, with whom he became familiar on a study trip to Europe. During the 1930s, the artist created monumental paintings; he also delineated the movement "Nuevo Realismo" ("New Realism"), an attempt to bring art to a broader audience. In 1933, Berni worked with David Alfaro Siqueiros, Lino Spilimbergo, Juan Castagnino, and Enrique Lázaro on the mural Ejercícioplástico [Plastic Exercise]. He later criticized this experience on the grounds that mural painting could only exist in Argentina with the collaboration of the bourgeoisie.
Biomorphism
Authors: Botar Oliver 
Published: September 2018

Biomorphism is a 20th-century style of painting, sculpture, photography and design with roots in the late 19th century. It is characterized by what are often termed "organic" forms: curvilinear rather than angular lines and surfaces, presumably more typical of biomorphs (life forms) than orthogonal arrangements.
The term "biomorph" was coined by English anthropologist Alfred Cort Haddon in 1895 to refer to designs derived from animate sources. It was applied to modernist art by English critic Geoffrey Grigson in 1934, and was soon adopted by Alfred Barr in Cubism and Abstract Art, his 1936 account of modernist movements. While Barr used it to designate one of two styles of abstraction (geometric abstraction was the other), the term has been used for both abstracted but recognizable depictions (usually plants, animals or geological formations) and non-mimetic or difficult-to-decipher curvilinear forms.