bluuebunny/crossref_metadata_2025_split huggingface dataset:
George Lamming (1927– )
Authors: Phillips George Micajah 
Published: September 2018

George Lamming’s fiction, poetry, criticism, and journalism have been foundational for 20th-century Caribbean and African diasporic identities. To date, he is the author of six loosely connected novels, and is arguably best known for In the Castle of My Skin (1953), The Emigrants (1954), and his widely read critical work, The Pleasures of Exile (1960). In these and other texts, Lamming critiques colonial rule and European hegemony on their own terms through recurring themes such as language, Shakespeare’s play The Tempest, and Christopher Columbus, and through an elliptical narrative style that experiments with point of view, temporality, and dialect as alternative strategies of representation.
Born in Carrington Village, Barbados, in 1927, Lamming briefly moved to Trinidad before becoming one of thousands of West Indians to relocate to post-war England. After settling in London in 1950, he worked for Caribbean Voices, a BBC radio programme that provided a platform for displaced West Indian writers during the 1940s and 1950s. The programme helped Lamming to secure a contract for his first novel, In the Castle of My Skin, which was published in 1953 to almost immediate international success. Based on his own early life, the novel centers on the childhood, colonial education, and young adulthood of "G."
Blixen, Karen (1885–1962)
Authors: Magnusson Gisli 
Published: September 2018

Karen Blixen was a singular figure in 20th century Danish literary life. In the 1930s, when Blixen started writing, Danish literature was dominated by social realism centred on the contemporary world. Blixen nourished the myth of herself as the timeless aristocratic storyteller who wrote her works independently of her own historical context. However, by drawing lines to Nietzsche, existentialism, and psychology, Blixen scholars have clearly demonstrated that she belongs to modernism. As her contemporary Samuel Becket, she was a bilingual author (she wrote her works in English and Danish).
Karen Blixen’s life can be divided into three different phases: During the first (1903–1913), Blixen studied at the Royal Danish Academy of Fine Arts in Copenhagen and wrote her first works under the pseudonym Osceola. The second begins in 1914, when she moved to Kenya (British East Africa) with Bror Blixen. The two were separated in 1921, leaving Karen Blixen to run the coffee farm at Ngong Hills alone until financial problems forced her to sell it in 1932. Finally, in 1931, Blixen returned to Denmark and remained at the family manor Rungstedlund until her death in 1962.
Charles Tory Bruce (1906–1971)
Authors: Huculak J. Matthew 
Published: September 2018

Charles Tory Bruce was born in Port Shoreham, Nova Scotia on 11 May 1906; he died in Toronto, Ontario on 19 December 1971.
Upon graduating from Mount Allison University in 1927, the year his first book of poetry Wild Apples appeared, Bruce began his life long profession as a journalist, first with the Halifax Morning-Chronicle, and then with the Canadian Press’s New York Bureau (1928–33). In Halifax, Bruce began his affiliation with the Song Fisherman Circle, a relationship that shaped his second book of poems, Tomorrow’s Tide (1932). In 1933, Bruce transferred to Toronto, where he published four more books of poetry: Personal Note (1941), Grey Ship Moving (1945), The Flowering Summer (1947), and The Mulgrave Road (1951), which won the Governor General’s Literary Award (1951).
Though Bruce’s regional poetics are not generally regarded as avant-garde, A. J. M. Smith included him in the seminal Book of Canadian Poetry (1943) on the basis that his work ‘represent[s] a certain "aspect" of the modern movement’ in its ‘simplification of technique’.
Buber, Martin (1878–1965)
Authors: Chestopalova Natalja 
Published: September 2018

Existential philosopher, essayist, translator and editor, Martin (Mordechai) Buber (מרטין בובר) was born in Austria and spent his earlier years studying in Vienna and Lemberg (now Lvov, Ukraine), eventually moving to Germany and Israel. Focusing on biblical hermeneutics and ethics, much of Buber’s writing is dedicated to the revival of religious Jewish consciousness through the idea of a transformed Zionist movement. Buber’s translation of the Hasidic tales, Die Geschichten des Rabbi Nachman (1906; The Tales of Rabbi Nachman), Die Legende des Baal Schem (1908; The Legend of the Baal Shem) and his original translation of the Hebrew Bible into German have remained valuable contributions to the study of spirituality, pacifism and human relations. Published in 1923, Buber’s most influential philosophical essay Ich und Du (I and Thou, 1937) is an articulation of the dialogic principle, or the duality of primal relations. In I and Thou Buber offers an ethical perspective by distinguishing between the I-Thou relations that stress the dialogical, mutual, holistic existence, and the monological I-It relations that objectify and dehumanize other beings. Buber allocates this dialogical relation to the very foundation of biblical faith and suggests that an authentic relationship to God is only possible through a dialogical life of existential responsibility.
Interior Monologue
Authors: Herman David 
Published: September 2018

One of the hallmarks of modernist style, interior monologue affords a prime opportunity for studying how writers ranging from James Joyce and Dorothy Richardson to Italo Svevo and Alfred Döblin innovated on conventions for speech and thought presentation to create effects of psychological immediacy. Gerald Prince, building on Dorrit Cohn’s foundational account of techniques for presenting fictional minds, defines interior monologue as "the nonmediated presentation of a character’s thoughts and impressions or perceptions" (2003: 45). In this usage, interior monologue is a cover term that applies to more or less extended passages of free direct discourse—in other words, discourse that, though stripped of quotation marks and tag phrases such as she reflected or he wondered, can be assumed to correspond to or quote the unvocalized thoughts of a character. The "Penelope" episode of James Joyce’s Ulysses is often taken to be a prototypical instance of the form, though Joyce deploys interior monologue in less extended stretches throughout his novel, nowhere more movingly than at the end of the "Lestrygonians" episode. Here the text cross-cuts between reports of Leopold Bloom’s outward conduct as he attempts to avoid Blazes Boylan and passages that can be taken as offering an unfiltered presentation of Bloom’s perceptions and thoughts when he encounters his wife’s lover (italics mark instances of interior monologue):
His heart quopped softly. To the right. Museum. Goddesses. He swerved to the right.
Is it? Almost certain. Won’t look. Wine in my face. Why did I? Too heady. Yes, it is. The walk. Not see. Get on. (Joyce 1986: 150)
Modernism without an Avant Garde in India
Authors: Mukherji Parul 
Published: September 2018

Any critical history of modern Indian Art must take into account the key difference between Indian and Euro-American modernism: the distinct absence of an avant-garde in Indian modernism. No Hegelian dialectics or Kantian autonomy impelled Indian modernism along the same historical lines plotted in Western art historiography, nor was there a distinct classical tradition to be disregarded and to start anew from.
India’s distinct origins of modernity stem from the fact that it was under colonial modernity that modernism first made its appearance in India. If the beginnings of modernism in India are traced to the late nineteenth century, Raja Ravi Varma can be considered as India’s first Salon artist, who acquired a mastery over the medium of oil painting and the genre of portraiture. Any neat dichotomy between the colonizer and the colonized becomes blurred when considering the close nexus between the two. It was the Western Orientalists and their investment in disciplines such as Indology, for instance, whose arduous discovery of the past fed the Indian nationalist imagination and its desire to return to the precolonial past.
Neue Sachlichkeit in Visual Arts [New Objectivity in Visual Arts]
Authors: Mackenzie Michael 
Published: September 2018

Neue Sachlichkeit, which can be translated as "New Objectivity," was the name given to a tendency in painting which, from about 1921 on, returned to something like traditional compositional and representational codes, eschewed vehemence of any kind, "Primitivism," and even painterliness, while emphasizing unbroken contour lines and unbroken local color. Painters depicted conventional subject matter such as still life, landscapes, and portraits with the pictorial means of sculptural volume, perspectival space, natural proportions, and unbroken, evenly modulated tonal values which had dominated painting since the Renaissance but which had been systematically dismantled by Modernism.
The tendency received its name with an exhibition at the Mannheim Kunsthalle in 1925, organized by Gustav Friedrich Hartlaub, although art critics had sought to name and define it since 1920, and explicitly in opposition to an Expressionism widely perceived as moribund. Hartlaub described what he saw as a split in the overall tendency, with an inclination toward traditionalism and classicism on the "right" wing, and toward aggressively critical social commentary and a propensity to exaggeration and caricature on the "left" (although Hartlaub denied that there was any political significance to his terminology of "left" and "right," the artists assigned to the "left" wing were either active in or openly sympathetic to the left wing of German politics).
S. Fischer Verlag
Authors: Barndt Kirsten 
Published: September 2018

Founded in Berlin in 1886 by Samuel Fischer, S. Fischer Verlag quickly became one of the most important publishing houses of German and European modernism. Émile Zola and Henrik Ibsen headlined the publisher’s first list of authors. The company went on to bring European and world literature to the German reading public, including works by Joseph Conrad, John Dos Passos, and Virginia Woolf. Yet the main focus of S. Fischer Verlag was to launch important new German-language writers who would soon come to shape the canon of modernism, including Gerhart Hauptmann, Thomas Mann, Hugo von Hofmannsthal, Hermann Hesse, Arthur Schnitzler, Franz Werfel, Robert Musil, and Alfred Döblin.
During the first decade of its existence, S. Fischer Verlag was instrumental in shaping naturalist drama in Germany, with Gerhart Hauptmann as its leading literary voice. This success was due to an engagement on various fronts: the founding of a private theatre association, the Freie Bühne (Free Stage), where new plays could premiere despite censorship; the promotion of naturalism in the publisher’s own literary journal; and the publishing concept of ‘Collected Works’. These multi-volume editions of complete works by living writers successfully accelerated the canonization of many of Fischer’s authors, adding economic and cultural value in the process.
Ultraísmo
Authors: Vanderbosch Dagmar 
Published: September 2018

Ultraísmo is an early twentieth-century art movement which developed in Spain around 1920 and was introduced to Argentina by Jorge Luis Borges in 1921. It was strongly influenced by European avant-garde movements, particularly Cubism and Dadaism, and by the Chilean poet Vicente Huidobro’s Creationism. The poets of Ultraísmo rejected the fin de siècle aesthetics of Spanish and Spanish-American modernism and experimented with the graphic and acoustic dimensions of poetry, emphasising rhythm over rhyme.
The origins of Ultraísmo go back to late 1918, when Vicente Huidobro visited Madrid for a short period, and Rafael Cansinos Assens, host of a literary circle in the Café Colonial, wrote the first Ultraist Manifesto, published in the magazine Grecia in January 1919 (Videla 1963: p. 27). Other founding texts of the movement are El movimiento ultraísta español and Manifiesto Vertical, both written by Guillermo de Torre in 1920. The movement of Ultraísmo was oriented both toward Europe and Spanish America. Ultraísmo adopted ideas from different European avant-garde movements in an effort to reduce the cultural distance between Spain and the rest of Europe, rather than develop an original programme. Their poetry gives importance to images and metaphors, experiments with typography and calligrams, rejects punctuation and often rhyme, and focuses on poetic rhythm. Ultraísmo developed in Spanish America when Jorge Luis Borges, who had spent several years in Spain and had published poems in Ultraist magazines, introduced the movement in the literary circles of Buenos Aires upon his return to Argentina in 1921.
De Stijl (1917–1932)
Authors: Johnson Michael 
Published: September 2018

De Stijl (The Style) was an avant-garde artistic group founded in the Netherlands in 1917. The name was also applied to a journal used to propagate the group’s theories and published between 1917 and 1932. Led by the painters Theo Van Doesburg and Piet Mondrian, the group developed an abstract, elemental style based upon primary colors, geometric planes and right angles. Pursuing spiritual harmony based upon mathematical order, De Stijl formulated a universal language of pure form and color. This became paradigmatic of modernist visual art and design.
In 1915 the painter and theorist Theo van Doesburg encountered the work of Piet Mondrian, who had developed a visual style consisting of primary colors and asymmetrical, orthogonal grids. Mondrian was inspired by the mystical ideas of the Theosophists, particularly the eccentric mathematician M.H.J. Schoenmaekers, who devised a Neo-Platonic philosophy based upon pure geometric form. Influenced by Schoenmaekers’ publications The New Image of the World (1915) and Principles of Plastic Mathematics (1916), Mondrian developed an artistic philosophy known as Neo-Plasticism (Nieuwe Beelding):
This new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary, it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour … [This art allows] only primary colors and non-colours, only squares and rectangles, only straight and horizontal or vertical line.
Agitprop Theatre
Authors: Filewod Alan 
Published: September 2018

Now widely used as a catchall term to describe politically combative or oppositional art, "agitprop" originated from the early Soviet conjunction of propaganda (raising awareness of an issue) and agitation (exciting an emotional response to the issue), as theorized by Lenin in What Is To Be Done (1902) and institutionalized in the many departments and commissions of Agitation and Propaganda in the USSR and the Comintern after the Russian Revolution. The portmanteau term conveys the terse telegraphic efficiencies of Bolshevik bureaucratic rhetoric. Considered both as a mode of artistic production and a set of formal characteristics, agitprop had an immense impact on modernist cultural practice, particularly in graphic design, visual art, and theater.
In the theater, agitprop developed in Russia and Germany as a mobile form of exhortative revolutionary theater designed for quick outdoor performance. It was adaptive to location, audience, and cast, and suited the sightlines and acoustics of outdoor performance in found spaces. Short phrases, heavy cadence, and repetition allowed performance to project through noisy and unruly audiences. The form achieved widespread popularity in the brief period between the mid-1920s and the coalescence of the Popular Front in 1934, when artistic and political radicalisms aligned in a vision of an artistic practice mobilized by international proletarian modernity; in this, agitprop was theorized as the theatricalization of modernity.
Ivory, James (1928–)
Authors: Winter Caroline 
Published: September 2018

James Frances Ivory is an American film director and co-owner of Merchant Ivory Productions. He and his partner, Ismail Merchant, a film producer, formed Merchant Ivory in 1961, and they collaborated closely with Ruth Prawer Jhabvala, a novelist and screenwriter. Although Ivory directed a few films set in modern India and New York, he is best known for his adaptations of novels and short stories by writers including Henry James, E.M. Forster, Jean Rhys, John Cheever, and Jhabvala. He and Merchant Ivory are so strongly identified with the genre of period drama that these are sometimes referred to as "Merchant-Ivory films."
Ivory has won numerous accolades, both for Merchant Ivory films and for his own work. For each of his films A Room with a View (1985), Howards End (1992), and The Remains of the Day (1993), he received Academy Award nominations for Best Director; Golden Globe nominations for Best Director, Motion Picture; and Directors Guild of America awards for Outstanding Directorial Achievement in Motion Pictures. He won lifetime achievement awards from the Directors Guild of America in 1995, from the Savannah Film and Video Festival in 2000, and from Camerimage in 2003.
Mayakovsky, Vladimir (1893–1930)
Authors: Krylova Natalia 
Published: September 2018

Vladimir Mayakovsky (МАЯКОВСКИЙ, ВЛАДИМИР) was a leading Russian poet of the twentieth century and representative of Russian Futurism, a modernist trend that emerged as an attempt to approximate the utopian future through art. Mayakovsky brought experiment and innovation to poetry, drama, cinematography and graphic design, thus changing the entire palette of Russian art.
He made his literary debut in 1912 as a co-author of the scandalous Russian Futurist Manifesto A Slap in the Face of Public Taste (Poshchechina obshchestvennomu vkusu). His concern with the flagrant social injustices of the time aggravated by the First World War led him to write a trilogy of early programmatic poems culminating in A Cloud in Trousers (Oblako v shtanakh, 1915). During this formative period, Mayakovsky met and fell in love with Lili Brik, a woman who would become his life-long muse and the personification of love, faith, and revolution in his oeuvre. The new aesthetic discourse he developed subsequently facilitated the poet’s passionate acceptance of the Bolshevik Revolution of 1917 that promised to solve all of the tragic controversies of the past. After thirteen years of devoted service to the revolutionary ideals, he gradually became disappointed with the actual social and ethical outcomes of the Revolution.
Billone, Pierluigi (1960–)
Authors: Cassidy Aaron 
Published: September 2018

Pierluigi Billone is an Italian composer. Following early studies in guitar and composition in Sienna and Milan, he studied with Salvatore Sciarrino before moving to Germany, where he was awarded a number of grants and residencies (Schloss Solitude Stuttgart, Heinrich-Strobel Foundation, Akademie der Künst Berlin) and studied with Helmut Lachenmann at the Musikhochschule Stuttgart before moving to Vienna.
Billone’s work is principally characterized by a raw, earthy, primeval soundworld and by a ritualistic, pre-linguistic approach to musical material and form. His compositions tend toward limited, focused, elemental sounds, and despite a certain sense of physicality and violence are often quite spare and sparse in texture. Unlike many of his contemporaries, Billone’s work has focused almost exclusively on acoustic instruments (with the exception of a handful of works which include electric guitar and some early works requiring amplification) and is comprised predominately of solo and chamber music.
Gaudier-Brzeska, Henri (1891–1915)
Authors: Brockington Grace 
Published: September 2018

Born in St Jean-de-Braye, France, Henri Gaudier-Brzeska had a catalytic effect on the development of modernist sculpture in Britain. In 1911 he moved to London, where he produced his most significant works. At the outbreak of the First World War he enlisted in the French army and was killed in action on 5 June 1915 at the age of 23. His career was brief but prolific, and has become emblematic of the growth of Modernism in Britain shortly before the War. As an artist he was self-taught, taking his inspiration from a number of sources including museum collections in Paris and London, Rodin and other European Modernists and non-European artefacts. Among avant-garde groups, he associated most closely with the Vorticists, signing their manifesto in 1914 and contributing articles to their magazine, Blast (1914 and 1915). He also worked across the factions of the London art world and his practice was eclectic; he used whatever materials came to hand, combining the virile negrophilia of Red Stone Dancer with the naturalistic figuration of Maternity (both 1913).
Inclán, Pedro Martínez (1883–1957)
Authors: López Alberto José-Antonio 
Published: September 2018

The urban development of modern Havana and the emergence of a planning discourse in Cuba owes much of its existence to the efforts of architect, urbanist, and professor Pedro Martínez Inclán. Through his authorship of urbanist texts and discussions that were widely disseminated among the local profession, position as a reformer through his involvement in such influential institutions as the Patronato Pro-Urbanismo [Pro-Urbanism Foundation], and role as a pedagogue to a generation of young modernists, Martínez Inclán may be regarded as one of the most important figures in the genesis of a school of Cuban regional modernity, and more importantly a locally contextualized functional Urbanism.
A native of Cienfuegos, Cuba, Pedro Martínez Inclán immigrated to the nation’s capital in 1899, eventually beginning his studies in architecture at the University of Havana’s School of Engineers and Architects. Graduating from said institution in 1910, he joined the profession and from 1913 to 1933 held the position of municipal architect of Havana. He was responsible for the first Plan Director de La Habana [Master Plan of Havana] during the presidential administration of Mario García Menocal (1913–1921), and in 1925 published a book on his views on urban design and beautification including a hypothetical 100-year design projection for a future Havana ironically titled La Habana Actual [Current Havana]. His claims that Havana’s beautification was to go hand in hand with a renewal in arterial infrastructure through broad avenues and parks predated the involvement of French planner and landscape architect Jean-Claude Forestier, who visited Cuba extensively and produced a body of planned work for the island’s capital between 1925 and 1930.
Migge, Leberecht (1881–1935)
Authors: Poppelreuter Tanja 
Published: September 2018

Leberecht Migge was a German landscape architect and writer. During his early career he collaborated with architects Hermann Muthesius and Henry van de Velde. Considered pioneers of modernist architecture, van de Velde and Muthesius (among others) were the founding members of the influential DeutscherWerkbund (1907–1934, 1950--), a German association of architects, designers, and industrialists that Migge joined in 1912.
During the 1920s Migge worked on large-scale settlement projects with Bruno Taut and Martin Wagner in Berlin (Onkel Tom’s Hütte [1926–31] and Berlin-Britz aka Hufeisensiedlung [1925–1931]), and with Ernst May in Frankfurt am Main (Römerstadt [1926–1930]). The economic crisis that followed World War I caused a severe housing shortage and in Berlin, as in Frankfurt, large-scale building programs were initiated to improve the living conditions of the working class. Gardens were incorporated into the plans of these new settlements, giving tenants easier access to nutritious foods, protecting them from fluctuating food prices, and providing spaces for physical exercise.
Having collaborated on some of Germany’s most influential settlements of the 1920s, published extensively, and completed a range of recognized projects, Migge was one of the most prolific landscape architects of his time.