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This study reconsiders and reassesses the work of Allen Tate as a poet whose themes and expression place him among the most studied and canonical Modernists of the last century. Allen Tate (1899-1979), a former Poet Laureate of the US, although generally regarded during his lifetime as one of the twentieth century's preeminent literary critics and men of letters, has been largely overlooked by critics in the years since his death. John V. Glass III rectifies this by tracing the development of Tate's thought and verse from his early years as a student at Vanderbilt in the 1920s through his final terza-rima sequence completed in the 1950s. Tate's poetry in the intervening years charts the course of an American modernist who brings to bear on the problems of his age the unique perspective of a southerner, one who refuses either to accept sentimentality or to repudiate the past in his search for a solution to the dissociation of sensibility.

Rediscovering a lost luminary of modernism and the Russian avant-garde
 
This kaleidoscopic biography offers readers a compelling microhistory of a revolutionary moment in art and politics through its portrait of an enigmatic but influential figure: Ivan Aksyonov authored the first book-length study about Pablo Picasso, translated Elizabethan drama, and was a literary adviser to Vsevolod Meyerhold, as well as a teacher of Sergei Eisenstein in Meyerhold’s institute and an important critic, before dying in 1935. Lars Kleberg traces Aksyonov’s influences, interlocutors, and creative output in multiple genres and media to bring a complicated and fascinating character back to life. Kleberg invites us to reconsider the avant-garde and to understand the political and artistic ferment of the revolutionary era and its aftermath in new, deeper ways.

Congo Style presents a postcolonial approach to discussing the visual culture of two now-notorious regimes: King Leopold II’s Congo Colony and the state sites of Mobutu Sese Seko’s totalitarian Zaïre. Readers are brought into the living remains of sites once made up of ambitious modernist architecture and art in Kinshasa, Democratic Republic of the Congo. From the total artworks of Art Nouveau to the aggrandizing sites of post-independence Kinshasa, Congo Style investigates the experiential qualities of man-made environments intended to entertain, delight, seduce, and impress. 

In her study of visual culture, Ruth Sacks sets out to reinstate the compelling wonder of nationalist architecture from Kinshasa’s post-independence era, such as the Tower of the Exchange (1974), Gécamines Tower (1977), and the artworks and exhibitions that accompanied them. While exploring post-independence nation-building, this book examines how the underlying ideology of Belgian Art Nouveau, a celebrated movement in Belgium, led to the dominating early colonial settler buildings of the ABC Hotels (circa 1908–13). Congo Style combines Sacks’s practice as a visual artist and her academic scholarship to provide an original study of early colonial and independence-era modernist sites in their African context.

The role of modernist interior design in the construction of Italian nationalism

Along with the rise of Mussolini’s fascist regime, the interwar years in Italy also saw the widespread development of its modernist interior design and furnishing practices. While the regime’s politics were overtly manifest in monumental government architecture, Furnishing Fascism examines the subtler yet effective role of household goods and decor in the cultivation of Italy’s exclusionary sense of national identity.

Presenting a fresh look at the work of various architects and designers, including iconic figures such as Gio Ponti and Carlo Enrico Rava, Ignacio G. Galán explores how seemingly neutral products of everyday life contributed to the propagation of fascist ideology. Through extensive promotion in popular magazines and department stores, on the film sets of Cinecittà Studios, and throughout the country’s colonial territories, Italy’s modernist design practices were part of a larger political project that aimed to produce a totalizing image of cultural hegemony.

Interweaving design theory, architectural history, and media scholarship, Furnishing Fascism reexamines the period’s so-called minor arts to reveal the political entanglement of modernism in early twentieth-century Italy and offers valuable insight into the complications of cultural production under the auspices of authoritarian power.

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In the spring of 1900, British archaeologist Arthur Evans began to excavate the palace of Knossos on Crete, bringing ancient Greek legends to life just as a new century dawned amid far-reaching questions about human history, art, and culture. With Knossos and the Prophets of Modernism, Cathy Gere relates the fascinating story of Evans’s excavation and its long-term effects on Western culture. After the World War I left the Enlightenment dream in tatters, the lost paradise that Evans offered in the concrete labyrinth—pacifist and matriarchal, pagan and cosmic—seemed to offer a new way forward for writers, artists, and thinkers such as Sigmund Freud, James Joyce, Giorgio de Chirico, Robert Graves, and Hilda Doolittle. 

Assembling a brilliant, talented, and eccentric cast at a moment of tremendous intellectual vitality and wrenching change, Cathy Gere paints an unforgettable portrait of the age of concrete and the birth of modernism.

This volume represents the first in a four-volume series, a daring project by CEU Press which presents the most important texts that triggered and shaped the processes of nation-building in the many countries of Central and Southeast Europe. The series brings together scholars from Austria, Albania, Bosnia-Herzegovina, Bulgaria, Croatia, the Czech Republic, Greece, Hungary, the Republic of Macedonia, Poland, Romania, Serbia and Montenegro, Slovakia, Slovenia and Turkey. The editors have created a new interpretative synthesis that challenges the self-centered and "isolationist" historical narratives and educational canons prevalent in the region, in the spirit of of "coming to terms with the past." The main aim of the venture is to confront 'mainstream' and seemingly successful national discourses with each other, thus creating a space for analyzing those narratives of identity which became institutionalized as "national canons." The series will broaden the field of possible comparisons of the respective national cultures.

Imagine yourself in Weimar Germany: you are visually inundated with depictions of dance.  Perusing a women’s magazine, you find photograph after photograph of leggy revue starlets, clad in sequins and feathers, coquettishly smiling at you.  When you attend an art exhibition, you encounter Otto Dix’s six-foot-tall triptych Metropolis, featuring Charleston dancers in the latest luxurious fashions, or Emil Nolde’s watercolors of Mary Wigman, with their luminous blues and purples evoking her choreographies’ mystery and expressivity.  Invited to the Bauhaus, you participate in the Metallic Festival, and witness the school’s transformation into a humorous, shiny, technological total work of art; you costume yourself by strapping a metal plate to your head, admire your reflection in the tin balls hanging from the ceiling, and dance the Bauhaus’ signature step in which you vigorously hop and stomp late into the night.
 
Yet behind the razzle dazzle of these depictions and experiences was one far more complex involving issues of gender and the body during a tumultuous period in history, Germany’s first democracy (1918-1933).  Rather than mere titillation, the images copiously illustrated and analyzed in Marking Modern Movement illuminate how visual artists and dancers befriended one another and collaborated together.  In many ways because of these bonds, artists and dancers forged a new path in which images revealed artists’ deep understanding of dance, their dynamic engagement with popular culture, and out of that, a possibility of representing women dancers as cultural authorities to be respected.  Through six case studies, Marking Modern Movement explores how and why these complex dynamics occurred in ways specific to their historical moment.
 
Extensively illustrated and with color plates, Marking Modern Movement is a clearly written book accessible to general readers and undergraduates. Coming at a time of a growing number of major art museums showcasing large-scale exhibitions on images of dance, the audience exists for a substantial general-public interest in this topic.  Conversing across German studies, art history, dance studies, gender studies, and popular culture studies, Marking Modern Movement is intended to engage readers coming from a wide range of perspectives and interests.
 

Fifty-one texts illustrate the evolution of modernism in Eastern Europe. Essays, articles, poems, or excerpts from longer works offer new opportunities of possible comparisons of the respective national cultures. The volume focuses on the literary and scientific attempts at squaring the circle of individual and collective identities. Often outspokenly critical of the romantic episteme, these texts reflect a more sophisticated and critical stance than in the preceding periods. At the same time, rather than representing a complete rupture, they often continue and confirm the romantic identity narratives, albeit with "other means". The volume also presents the ways national minorities sought to legitimize their existence with reference to their cultural and institutional peculiarity.

This volume presents and illustrates the development of the ideologies of nation states, the "modern" successors of former empires. They exemplify the use modernist ideological framaeworks, from liberalism to socialism, in the context of the fundamental reconfiguration of the political system in this part of Europe between the 1860s and the 1930s. It also gives a panorama of the various solutions proposed for the national question in the region.

67 texts, including hymns, manifestos, articles or extracts from lengthy studies exemplify the relation between Romanticism and the national movements in the cultural space ranging from Poland to the Ottoman Empire. Each text is accompanied by a presentation of the author, and by an analysis of the context in which the respective work was born.The end of the 18th century and first decades of the 19th were in many respects a watershed period in European history. The ideas of the Enlightenment and the dramatic convulsions of the French Revolution had shattered the old bonds and cast doubt upon the established moral and social norms of the old corporate society. In culture a new trend, Romanticism, was successfully asserting itself against Classicism and provided a new key for a growing number of activists to 're-imagine' their national community, reaching beyond the traditional frameworks of identification (such as the 'political nation', regional patriotism, or Christian universalism). The collection focuses on the interplay of Romantic cultural discourses and the shaping of national ideology throughout the 19th century, tracing the patterns of cultural transfer with Western Europe as well as the mimetic competition of national ideologies within the region.

Why do we seek to return to the past or rescue pieces of the past that may have value in the present? Why does nostalgia attach to an approach to the world, social rules, and material products that willfully rejected the past?

Larry Bennett explores the complexities of nostalgia with considerations of the historic preservation of brutalist architecture, specifically Bertrand Goldberg’s Prentice Women’s Hospital in Chicago; the memoirs and recollections of early and mid-twentieth-century Brooklyn and Detroit; and the turntable’s rebirth as a musical instrument alongside the vinyl LP’s resurgence as a prized way of consuming music. Bennett tracks modernity as expressed through ideas, artistic products, and widespread social practices. His consideration of nostalgia focuses on our inclination to rediscover value in people, places, and social habits diminished by the passage of time.

Provocative and multidisciplinary, Reclaiming Modernity delves into the paradox of how we feel nostalgia for ideas and times that emerged from an impulse to shun nostalgia.

A study of Soviet factography, an avant-garde movement that employed photography, film, journalism, and mass media technologies.
 
This is the first major English-language study of factography, an avant-garde movement of 1920s modernism. Devin Fore charts this style through the work of its key figures, illuminating factography’s position in the material culture of the early Soviet period and situating it as a precursor to the genre of documentary that arose in the 1930s. Factographers employed photography and film practices in their campaign to inscribe facts and to chronicle modernization as it transformed human experience and society. Fore considers factography in light of the period’s explosion of new media technologies—including radio broadcasting, sound in film, and photo-media innovations—that allowed the press to transform culture on a massive scale.
 
This theoretically driven study uses material from Moscow archives and little-known sources to highlight factography as distinct from documentary and Socialist Realism and to establish it as one of the major twentieth-century avant-garde forms. Fore covers works of photography, film, literature, and journalism together in his considerations of Soviet culture, the interwar avant-gardes, aesthetics, and the theory of documentary.
 

             
Leighten examines the circle of artists—Pablo Picasso, Juan Gris, František Kupka, Maurice de Vlaminck, Kees Van Dongen, and others—for whom anarchist politics drove the idea of avant-garde art, exploring how their aesthetic choices negotiated the myriad artistic languages operating in the decade before World War I. Whether they worked on large-scale salon paintings, political cartoons, or avant-garde abstractions, these artists, she shows, were preoccupied with social criticism. Each sought an appropriate subject, medium, style, and audience based on different conceptions of how art influences society—and their choices constantly shifted as they responded to the dilemmas posed by contradictory anarchist ideas. According to anarchist theorists, art should expose the follies and iniquities of the present to the masses, but it should also be the untrammeled expression of the emancipated individual and open a path to a new social order. Revealing how these ideas generated some of modernism’s most telling contradictions among the prewar Parisian avant-garde, The Liberation of Painting restores revolutionary activism to the broader history of modern art.

Investigating late imperial Russian and early Soviet modernism’s reinvention of the actor

In this wide-ranging study, Alisa Ballard Lin argues that Russian theatrical theory and practice contributed to a broad pre- and postrevolutionary discourse about the mind, profoundly reshaping concepts of consciousness, perception, identity, and the constitution of the subject. Theatrical Consciousness: The Actor’s Mind in Russian Modernism examines efforts in Russian theater—from around the turn of the century through the mid-1930s—to stimulate, train, imagine, and ultimately understand the actor’s, as well as the spectator’s, mind. Discussing key figures of the period, including Nikolai Evreinov, Konstantin Stanislavsky, Vsevolod Meyerhold, and Alexander Tairov, Lin identifies an underappreciated dimension of humanism within Russian modernism: a humanism that resisted the pressures of an increasingly technologized, industrialized, and politicized modernity that challenged the place of the human within it.