Download Classicism of the Twenties: Art, Music, and Literature by Theodore Ziolkowski PDF
By Theodore Ziolkowski
The triumph of avant-gardes within the Twenties has a tendency to dominate our discussions of the track, artwork, and literature of the interval. however the broader present of modernism encompassed many activities, and the most exact and influential used to be a flip to classicism.
In Classicism of the Twenties, Theodore Ziolkowski bargains a compelling account of that circulate. Giving equivalent consciousness to tune, paintings, and literature, and focusing specifically at the works of Stravinsky, Picasso, and T. S. Eliot, he indicates how the flip to classicism manifested itself. In response either to the excesses of neoromanticism and early modernism and to the horrors of worldwide struggle I—and with respectful detachment—artists, writers, and composers tailored issues and varieties from the earlier and attempted to imbue their very own works with the values of simplicity and order that epitomized previous classicisms.
By selecting parts universal to all 3 arts, and punctiliously situating classicism in the broader sweep of modernist events, Ziolkowski provides a refreshingly unique view of the cultural lifetime of the Twenties.
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Additional resources for Classicism of the Twenties: Art, Music, and Literature
Still, as in their cases, it was not the historical Greece of reason and order that attracted him but, rather, the archaic Greece of myth and sculpture that he heralded in the poems that open the two parts of his New Poems (Neue Gedichte, 1907–8). Both feature Apollo (and not Hauptmann’s Dionysus), but both are explicitly preclassical statues: “Early Apollo” (“Früher Apollo”) and “Archaic Torso of Apollo” (“Archaïscher Torso Apollos”)—both radiant figures but utterly speechless with as yet no hint of the reason that Apollo was later to embody.
Settem- Prewar Classicism 31 brini upholds the classics and the Renaissance against the fanatic medievalism of Naphta, who despite his position as a professor of Latin in the Jesuit seminary has a wholly medieval orientation and rejects modern notions of democracy and progress. It is symptomatic that the featured artwork in Naphta’s luxuriously furnished apartment is a splendid wood-carved Pièta from the fourteenth century and that he rejects Copernican heliocentrism in favor of the ancient Ptolemaic view (550).
For that reason he is justly alarmed when, in the licentiousness of Mardi Gras celebrations, Hans Castorp finally works up his courage to approach the Russian femme fatale, Clavdia Chauchat. ” (462). 82 Peeperkorn’s inarticulate gestures overwhelm the intellectuals, whose convoluted arguments he dismisses with cavalier disdain as “cerebrum, cerebral” (807). ” (926). Chief among Settembrini’s opponents is the Jew turned Jesuit and Communist Leo Naphta, who disdains Settembrini’s beliefs in reason, freedom, and human progress as nothing but “the whole moth-proof chest of classicistic-bourgeois virtue- ideology” (701).