FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2262912294> ?p ?o ?g. }

• W2262912294 endingPage "428" @default.
• W2262912294 startingPage "407" @default.
• W2262912294 abstract "The Mess and Muddle of Modernism:The Modernist Journals Project and Modern Periodical Studies Sean Latham (bio) Recovering Modernism What we now call modernism took shape in the pages of the magazines, few of which were more important than The Little Review. A crucible for literary experiment brilliantly coedited by Margaret Anderson and Jane Heap, it sought a revolution in the arts aimed not at the discriminations of the connoisseur but those of the creator.1 Appearing more or less every month from 1914 to 1922, it bore the famous slogan MAKING NO COMPROMISE WITH THE PUBLIC TASTE, a provocative riposte aimed at that other influential journal edited by a woman in Chicago, Harriet Monroe's Poetry.2 The latter borrowed a phrase from Walt Whitman to announce that to have great poets there must be great audiences too.3 This demotic sentiment drove Ezra Pound to distraction, leading him to abandon the magazine where he helped shape Imagism in favor of The Little Review, to which he brought James Joyce's Ulysses. This new forum initially seemed the perfect vehicle for Pound, and he, in fact, devised the new review's famous slogan as a distillation of his philosophical Egoism. For Anderson, however, that failure to compromise trumpeted on the masthead was charged less with Pound's outsized insistence on the importance of the heroic individual than with a feminist, liberationist agenda that drew its energies from the collaborative, combative, and ultimately generative power of the magazine form itself. To the perpetual frustration of men like Pound, John Quinn, William Carlos Williams, and others, Anderson refused to separate art into a special sphere of it own, one somehow devoid of history, personality, and the micropolitics of everyday life. Writing of the partnership she shared with her coeditor and lover, she observed that Jane and I . . . were a great disappointment to the litterati. Somehow we could never lead the kind of life that appeared normal for them . . . . We were dedicated to the ceremonies of living (p. 155). This remark encompasses more than just her lesbian affair with Heap, her (sometime) anarchist politics, and her often outrageous publicity stunts, like the decision to camp out at the edge of Lake Michigan in downtown Chicago when the magazine's funds ran low. What made [End Page 407] Anderson so unsettling a figure for the litterati who nevertheless sought her pages was her understanding that the magazine was itself a distinctly modern aesthetic form, an emergent genre possessed of its own avant-garde possibilities, pleasures, and politics. I was born to be an editor, she quips in her memoir, My Thirty Years War, I always edit everything. I edit my room at least once a week (p. 58). Easily frustrated with this blend of the personal and the political, Pound tried to assert control over the magazine by narrowing its aesthetic agenda. When rebuffed he grew scornful, writing to Joyce that despite the enormous legal and financial risks Anderson and Heap were taking in publishing Ulysses, the editrices have merely messed and muddled, NEVER to their own loss.4 A great talent scout but a poor editor, Pound failed to realize that such mess and muddle is precisely the point—that The Little Review succeeded because its editors refused to settle on a single mission and would not be bullied by anyone into narrowing the magazine's range or reconciling its many contradictions. The Modernist Journals Project For over fifteen years now, the Modernist Journals Project (MJP) has sought to recover the mess and muddle of the generative magazine culture that Anderson and Heap so successfully embraced.5 These practices, in fact, constitute a far-reaching modernism of their own that was by no means unique to avant-garde journals like The Little Review but was instead one of the major innovations of a period we now recognize as the golden age of print culture. Indeed, when the MJP took shape, we began not with the familiar, often irregularly published little magazines where modernism had traditionally been located but with a then little-known weekly paper called The New Age. Edited by A. R. Orage in London, it mixed politics, philosophy, and aesthetics..." @default.
• W2262912294 created "2016-06-24" @default.
• W2262912294 creator A5060736520 @default.
• W2262912294 date "2011-09-01" @default.
• W2262912294 modified "2023-10-10" @default.
• W2262912294 title "The Mess and Muddle of Modernism: The Modernist Journals Project and Modern Periodical Studies" @default.
• W2262912294 cites W1480492886 @default.
• W2262912294 cites W1506026338 @default.
• W2262912294 cites W1552374053 @default.
• W2262912294 cites W1584814601 @default.
• W2262912294 cites W1588707856 @default.
• W2262912294 cites W1685798696 @default.
• W2262912294 cites W1972891844 @default.
• W2262912294 cites W2008551063 @default.
• W2262912294 cites W2034637494 @default.
• W2262912294 cites W2048075503 @default.
• W2262912294 cites W2051678521 @default.
• W2262912294 cites W2056140546 @default.
• W2262912294 cites W2145897247 @default.
• W2262912294 cites W223402745 @default.
• W2262912294 cites W2545438732 @default.
• W2262912294 cites W274243879 @default.
• W2262912294 cites W3198485704 @default.
• W2262912294 cites W581145642 @default.
• W2262912294 cites W591488126 @default.
• W2262912294 cites W619316644 @default.
• W2262912294 cites W628388165 @default.
• W2262912294 doi "https://doi.org/10.1353/tsw.2011.a498336" @default.
• W2262912294 hasPublicationYear "2011" @default.
• W2262912294 type Work @default.
• W2262912294 sameAs 2262912294 @default.
• W2262912294 citedByCount "4" @default.
• W2262912294 countsByYear W22629122942017 @default.
• W2262912294 countsByYear W22629122942018 @default.
• W2262912294 countsByYear W22629122942019 @default.
• W2262912294 crossrefType "journal-article" @default.
• W2262912294 hasAuthorship W2262912294A5060736520 @default.
• W2262912294 hasConcept C124952713 @default.
• W2262912294 hasConcept C136764020 @default.
• W2262912294 hasConcept C142362112 @default.
• W2262912294 hasConcept C153349607 @default.
• W2262912294 hasConcept C15744967 @default.
• W2262912294 hasConcept C164913051 @default.
• W2262912294 hasConcept C169760540 @default.
• W2262912294 hasConcept C17744445 @default.
• W2262912294 hasConcept C199539241 @default.
• W2262912294 hasConcept C2776242748 @default.
• W2262912294 hasConcept C2777470859 @default.
• W2262912294 hasConcept C2778662471 @default.
• W2262912294 hasConcept C2779732396 @default.
• W2262912294 hasConcept C2780619561 @default.
• W2262912294 hasConcept C2781350852 @default.
• W2262912294 hasConcept C41008148 @default.
• W2262912294 hasConcept C46355384 @default.
• W2262912294 hasConcept C52119013 @default.
• W2262912294 hasConcept C8868529 @default.
• W2262912294 hasConcept C94625758 @default.
• W2262912294 hasConcept C94817283 @default.
• W2262912294 hasConcept C95457728 @default.
• W2262912294 hasConceptScore W2262912294C124952713 @default.
• W2262912294 hasConceptScore W2262912294C136764020 @default.
• W2262912294 hasConceptScore W2262912294C142362112 @default.
• W2262912294 hasConceptScore W2262912294C153349607 @default.
• W2262912294 hasConceptScore W2262912294C15744967 @default.
• W2262912294 hasConceptScore W2262912294C164913051 @default.
• W2262912294 hasConceptScore W2262912294C169760540 @default.
• W2262912294 hasConceptScore W2262912294C17744445 @default.
• W2262912294 hasConceptScore W2262912294C199539241 @default.
• W2262912294 hasConceptScore W2262912294C2776242748 @default.
• W2262912294 hasConceptScore W2262912294C2777470859 @default.
• W2262912294 hasConceptScore W2262912294C2778662471 @default.
• W2262912294 hasConceptScore W2262912294C2779732396 @default.
• W2262912294 hasConceptScore W2262912294C2780619561 @default.
• W2262912294 hasConceptScore W2262912294C2781350852 @default.
• W2262912294 hasConceptScore W2262912294C41008148 @default.
• W2262912294 hasConceptScore W2262912294C46355384 @default.
• W2262912294 hasConceptScore W2262912294C52119013 @default.
• W2262912294 hasConceptScore W2262912294C8868529 @default.
• W2262912294 hasConceptScore W2262912294C94625758 @default.
• W2262912294 hasConceptScore W2262912294C94817283 @default.
• W2262912294 hasConceptScore W2262912294C95457728 @default.
• W2262912294 hasIssue "2" @default.
• W2262912294 hasLocation W22629122941 @default.
• W2262912294 hasOpenAccess W2262912294 @default.
• W2262912294 hasPrimaryLocation W22629122941 @default.
• W2262912294 hasRelatedWork W2262912294 @default.
• W2262912294 hasRelatedWork W2354305669 @default.
• W2262912294 hasRelatedWork W2356452679 @default.
• W2262912294 hasRelatedWork W2361921085 @default.
• W2262912294 hasRelatedWork W2372759446 @default.
• W2262912294 hasRelatedWork W2377785499 @default.
• W2262912294 hasRelatedWork W2386313631 @default.
• W2262912294 hasRelatedWork W2386371529 @default.
• W2262912294 hasRelatedWork W2748952813 @default.
• W2262912294 hasRelatedWork W3178980428 @default.
• W2262912294 hasVolume "30" @default.
• W2262912294 isParatext "false" @default.
• W2262912294 isRetracted "false" @default.

• next