57 results for avant garde

Nancy Cunard

NC 's mother was American, with French and Irish blood. Her father was an English landowner whose family money had made him a member of the upper class; he was heir to the Cunard shipping-line fortune. Her mother's interest in the arts was a formative feature in Nancy's childhood, as was her growing hostility towards her mother. NC spent long periods at Nevill Holt while her mother conducted her extremely active life as a society hostess and patron of the arts. For Nancy, a major fact in her childhood was isolation. Later, she divorced herself increasingly from her mother and her mother's political and social circles, taking her cue from avant-garde modernist poets and artists and left-wing political activists.

Julia Kristeva

She worked with Sollers on Tel Quel (an avant-garde little magazine which became notorious for its support for Maoism), whose editorial board she joined in 1971. In New York, in 1976, she became a Permanent Visiting Professor in the French Department at Columbia University . The autumn 1977 issue of Tel Quel was devoted to New York. Later academic appointments have included one as visiting professor at the University of Toronto in 1992.
“Contemporary Authors”. Gale Databases: Literature Resource Centre-LRC.

George Egerton

One year after the death of her lover Henry Peter Higginson , Chavelita Dunne (later GE ) fell in love with the avant-garde realist
Stetz, Margaret. “Keynotes: A New Woman, Her Publisher, and Her Material”. Studies in the Literary Imagination, Vol.
30
, No. 1, pp. 89-107.
91
author Knut Hamsun (whose real name was Knut Pedersen ).
Egerton, George. A Leaf from the Yellow Book. Editor White, Terence de Vere, Richards Press.
19

Hope Mirrlees

The Hogarth Press published HM 's avant-garde poem Paris, in an edition of 175 copies, as one of its earliest publications.
Woolmer, J. Howard, and Mary E. Gaither. A Checklist of the Hogarth Press, 1917-1946. Woolmer/Brotherson.
6
Briggs, Julia. “The Wives of Herr Bear”. London Review of Books, pp. 24-5.
25

Iris Tree

Writer, critic, and caricaturist Sir Max Beerbohm was IT 's half-uncle, the youngest son from Sir Herbert Beerbohm Tree's father's second marriage. Best remembered for his drawings and caricatures of the famous, Beerbohm also wrote one novel (Zuleika Dobson, 1911), a collection of seventeen parodies of contemporary authors (A Christmas Garland, 1912), a collection of short stories (Seven Men, 1919), and numerous essays, many of which he broadcasted for the BBC . In A Christmas Garland, he parodies authors such as Henry James , Rudyard Kipling , H. G. Wells , Thomas Hardy , Arnold Bennett , John Galsworthy , Frank Harris , George Bernard Shaw , and George Moore , among others. For each, he writes a story presumably by that author (whose name he fills in with asterixes, such as R*d**rd K*pl*ng
Beerbohm, Max. A Christmas Garland. E. P. Dutton.
11
), but the story is really a parody of that author's themes and style.
Beerbohm, Max. A Christmas Garland. E. P. Dutton.
1, 11, 31, 59, 75, 83, 101, 153, 177
He contributed caricatures to the avant-garde journal The Yellow Book, and from 1898 to 1910 he was a drama critic for the Saturday Review. His work is known for its satirical qualities and for expressing a certain nostalgia for the past. He was a close friend of Oscar Wilde , and attended the second trial in 1895, at which Wilde was accused of indecency and sodomy.
Hall, N. John. Max Beerbohm: A Kind of Life. Yale University Press.
36-8
“Contemporary Authors”. Gale Databases: Literature Resource Centre-LRC.
Matthew, Henry Colin Gray et al., editors. Oxford Dictionary of National Biography. http://www.oxforddnb.com/.
under Max Beerbohm
Fielding, Daphne. The Rainbow Picnic. Eyre Methuen.
21-3, 29n, 40, 122
Beerbohm often visited the Trees' family home, Walpole House, and when IT lived in Italy, as he did, she visited him frequently. In 1920 he edited a volume of memoirs entitled Herbert Beerbohm Tree: Some Memories of Him and of His Art, to which IT contributed.
Fielding, Daphne. The Rainbow Picnic. Eyre Methuen.
21-3, 29n, 40, 122
Beerbohm, Max, editor. Herbert Beerbohm Tree: Some Memories of Him and of His Art. Hutchinson.
prelims

Caroline Blackwood

Writing in The Listener on 3 June 1971 of Jane Arden 's avant-garde feminist play A New Communion for Freaks, Prophets and Witches (and a panel discussion of it), she poured scorn on extremist women.
Schoenberger, Nancy. Dangerous Muse, A Life of Caroline Blackwood. Phoenix.
176
Writing of Nancy Friday 's pop psychology book My Secret Garden in October 1975 she poured scorn on women's sexual fantasies.
Schoenberger, Nancy. Dangerous Muse, A Life of Caroline Blackwood. Phoenix.
213-14 and n72

Rhoda Broughton

The sisters were in general popular in Oxford society, but Rhoda, although at first she dined regularly at the table of scholar Benjamin Jowett ,
“The Times Digital Archive 1785-2007”. Thompson Gale: The Times Digital Archive.
(29 November 1940): 5
, was then ostracized in some circles because of her risqué fiction and satire on Oxford society. Jowett stopped inviting her, and Lewis Carroll snubbed her outright, saying he could not bring himself to meet Miss Rhoda Broughton, of whose novels I greatly disapprove.
Arnold, Ethel M. “Rhoda Broughton as I Knew Her”. Fortnightly Review, Vol.
114
, pp. 262-78.
267
An anti-Broughton camp was established by Eleanor Elizabeth Smith , a governor of the Radcliffe Infirmary —who maintained an unshakeable misapprehension that the new arrival was in fact Mary Elizabeth Braddon . RB understandably resented this hostility, and became quite sensitive to what she termed the cold incivility of Oxford society.
Arnold, Ethel M. “Rhoda Broughton as I Knew Her”. Fortnightly Review, Vol.
114
, pp. 262-78.
267
Wood, Marilyn. Rhoda Broughton: Profile of a Novelist. Paul Watkins.
51
She herself, however, was a warm friend to literary undergraduates, as several of them recalled in the Times a hundred years after her birth. Her appearance with W. L. Courtney at a meeting of the Oxford Robert Browning Society (then something of an avant-garde organization) caused some excitement.
“The Times Digital Archive 1785-2007”. Thompson Gale: The Times Digital Archive.
(7 December 1940): 5; (9 December 1940): 5; (10 December 1940): 5

Bryher

In July 1927 Bryher and Macpherson founded Close Up magazine, dedicated to avant-garde film theories and practices.
Hanscombe, Gillian, and Virginia L. Smyers. Writing for Their Lives: The Modernist Women, 1910-1940. Women’s Press.
276
Both as editor and contributor, Bryher used Close Up as a forum to develop and share her ideas on the links between psychological, political, and cinematic expression, as well as the impact of film technology on modern education.
Marek, Jayne E. Women Editing Modernism: "Little" Magazines & Literary History. University Press of Kentucky.
122-3
The magazine also functioned as a forum for leading European and American directors, photographers, and writers.
Marek, Jayne E. Women Editing Modernism: "Little" Magazines & Literary History. University Press of Kentucky.
118-20
Inspired by the intellectual dialogue which they were printing, Bryher, MacPherson, and H. D. (along with others) began to experiment with film-making at this time.
Schaffner, Perdita. “Keeper of the Flame”. H.D., Woman and Poet, edited by Michael King, National Poetry Foundation, pp. 27-33.
30-1

Kathleen Caffyn

Critic Stephanie Forward has pointed out that at this date the colour yellow signified avant-garde and slightly dangerous fashion, as had been recognised in such literary works as Mona Caird 's The Yellow Drawing-Room and Charlotte Perkins Gilman 's The Yellow Wallpaper (both written in 1890, though they took a year or two to reach print) and The Yellow Book, launched in April this year, 1894.
Forward, Stephanie. “A Study in Yellow: Mona Caird’s ’The Yellow Drawing-Room’”. Women’s Writing, Vol.
7
, No. 2, pp. 295-07.
300

Ella D'Arcy

As well as a writer, EDA was an editor, assistant to Henry Harland on the avant-garde Yellow Book, published by John Lane of the Bodley Head . Sources agree on this, though she herself downplayed her role: I was around a good bit . . . and I helped as I could. But I never was really an editor.
Mix, Katherine Lyon. A Study in Yellow: <span data-tei-ns-tag="tei_title" data-tei-title-lvl="j">The Yellow Book</span> and Its Contributors. Greenwood Press.
190
Harland was the new magazine's literary editor; the artistic editor was Aubrey Beardsley . Beardsley, however, was dismissed from this position in May 1895, a year into the journal's lifetime and a month after Oscar Wilde 's arrest, apparently because a wrongly perceived connection with Wilde made hostile crowds attack the building. Some scholars say D'Arcy summoned Harland, who was away, to decide on Beardsley's dismissal. Benjamin Franklin Fisher claims, citing a letter now in the Clark Library , USA, that she was responsible for the dismissal in Harland's absence (though this was apparently not what she told Katherine Mix ). The ODNB entry on Beardsley does not mention her.
Fisher, Benjamin Franklin. “Ella D’Arcy: A Commentary with a Primary and Annotated Secondary Bibliography”. English Literature in Transition, 1880-1920, Vol.
35
, No. 2, pp. 179-11.
209
Mix, Katherine Lyon. A Study in Yellow: <span data-tei-ns-tag="tei_title" data-tei-title-lvl="j">The Yellow Book</span> and Its Contributors. Greenwood Press.
144-5

T. S. Eliot

To earn a living for himself and his wife, Eliot became a schoolteacher, a prolific reviewer, an extension lecturer for London University , and the literary editor of the avant-garde magazine The Egoist.

Elaine Feinstein

EF was editor of the first number of Prospect, a literary magazine published this winter at Cambridge University . She used her editorship (continued until the fifth issue) to introduce an American avant-garde influenced by Ezra Pound , including Charles Olson and Denise Levertov .
Feinstein, Elaine. It Goes with the Territory. Alma.
69-73, 75

Michael Field

Recent criticism, however, has valued this volume highly. Ana I. Parejo Vadillo argues that its achievement is not only that the subject, the observer, is given sexual agency, but that the object is given agency too, and, thus, powerful images of women such as Venus refuse the gaze of the avid and always consuming subject. She sees the authors as putting forward a theory of visuality that values the autonomy of the object, foreseeing the avant-garde revolution of the object.
Vadillo, Ana I. Parejo. “Sight and Song: Transparent Translations and a Manifesto for the Observer”. Victorian Poetry, Vol.
38
, No. 1, pp. 15-34.
32
Jill Ehnenn points to the new possibilities forged by the collection's queer and feminist aesthetic, involving women's agency against traditional readings of the paintings. The poems, she writes, create speaking-spaces for female characters and artists' models—spaces to be perceived by women readers and spectators. Sight and Song thus rewrites the histories of the figures depicted, criticizes the history of art criticism, and conveys new authority upon the possibilities of a female gaze.
Ehnenn, Jill. “Looking Strategically: Feminist and Queer Aesthetics in Michael Field’s <span data-tei-ns-tag="tei_title" data-tei-title-lvl=‘m’>Sight and Song</span&gt”;. Victorian Poetry, Vol.
42
, No. 3, pp. 213-59.
217

André Gide

As well as his close acquaintance with members of the French avant-garde, AG was a friend of the British writers Oscar Wilde and Dorothy Bussy .

Germaine Greer

During this period she added film to stage performance in it droppeth as the gentle rain, a surrealist work by Albie Thoms (who was later an avant-garde film-maker of some fame). Designed to be shown as part of a festival of the absurd along with various well-known plays, the film was banned at the last moment for using bad language, but Greer forwarded her theatrical reputation by appearing in more than one of the plays (and painting scenery). Later she undertook the name role in Brecht 's Mother Courage.
Wallace, Christine. Germaine Greer: Untamed Shrew. Richard Cohen Books.
92, 98

Nina Hamnett

NH , deadly serious and determined to get on (whereas most of the girls there were marking time until marriage), studied under an old Scotsman who painted curious pictures of Highlanders and romantic scenes at dawn [which] did not seem to me to mean much, and took a life class with Arthur Cope (who was later knighted). She learned anatomy from a skeleton belonging to a medical student she was in love with.
Hamnett, Nina. Laughing Torso. Ray Long & Richard R. Smith, Inc.
18
She won a silver medal at Pelham for landscapes, but also first became conscious of her distaste for Classical and Romantic aesthetics, and the appeal of more avant-garde techniques. Camille Mauclair's book on the French impressionists was a revelation to her.
Hamnett, Nina. Laughing Torso. Ray Long & Richard R. Smith, Inc.
19
Her suspicion that the RA was not the right fit for her was confirmed at an evening sketching class at the London School of Art in Earl'sCourt (later the Royal College of Art), where the students drew from clothed models, workpeople and character models. This window on the real world, which had been witheld from her at Pelham, convinced NH that she was far more interested in painting life around her than the carefully composed, idealized version of it beloved by the Academy. She subsequently decided against the free teaching at the Royal Academy and instead persuaded her reluctant grandmother to fund, for a while, her education at the London School of Art.
Hamnett, Nina. Laughing Torso. Ray Long & Richard R. Smith, Inc.
20
Hooker, Denise. Nina Hamnett: queen of bohemia. Constable and Company Limited.
21-2

Jane Ellen Harrison

Mirrlees had published an avant-garde poem (with the Hogarth Press in 1919) about Paris,
Blain, Virginia et al., editors. The Feminist Companion to Literature in English: Women Writers from the Middle Ages to the Present. Yale University Press; Batsford.
where the two women now first lived at the Hotel de Londres and then the American University Women's Club.
Robinson, Annabel. The Life and Work of Jane Ellen Harrison. Oxford University Press.
291
Harrison, Jane Ellen. Reminiscences of a Student’s Life. Hogarth Press.
91

H. D.

During 1927-33 HD contributed to the avant-garde, influential film magazine Close Up: Devoted to the Art of Films, which Bryher funded and of which Kenneth Macpherson was the official editor. It had a temperate beige color and a refreshingly noncommercial makeup, which conspired to deflect attention from its iconoclasm.
Guest, Barbara. Herself Defined: The Poet H.D. and Her World. Collins.
189
Contributors in the second number included the founding trio, as well as Gertrude Stein , Dorothy Richardson , and (with photographs) Man Ray .
Marek, Jayne E. Women Editing Modernism: "Little" Magazines &amp; Literary History. University Press of Kentucky.
102, 118-19
This has been edited by James Donald , Anne Friedberg , and Laura Marcus in a volume entitled Close Up, 1927-1933: Cinema and Modernism, 1998.

Violet Hunt

VH purchased from her mother the lease of South Lodge, their home since 1896 and a gathering place of both established and avant-garde artists in London.
Belford, Barbara. Violet. Simon and Schuster.
113, 170

Naomi Jacob

Briefly back in London in 1944, she returned to the stage as the mother of a troupe of performing acrobats in a stage adaptation of Margery Sharp 's novel The Nutmeg Tree.
Bailey, Paul. Three Queer Lives: An Alternative Biography of Fred Barnes, Naomi Jacob and Arthur Marshall. Hamish Hamilton (Penguin).
167
In 1951 she lectured on the history of the theatre (pouring scorn on Ibsen as new-fangled).
Bailey, Paul. Three Queer Lives: An Alternative Biography of Fred Barnes, Naomi Jacob and Arthur Marshall. Hamish Hamilton (Penguin).
178-9
She was later persuaded by Harold Lang to star in a surrealistic radio play, The Quest for Corbett, on which he collaborated with Kenneth Tynan . She took this part although her first reaction had been that she didn't understand a bloody word of this avant-garde tripe,
Bailey, Paul. Three Queer Lives: An Alternative Biography of Fred Barnes, Naomi Jacob and Arthur Marshall. Hamish Hamilton (Penguin).
180
and even though the protagonist, an outsize, celebrity woman writer, was modelled on herself. The play was printed in 1960.
Bailey, Paul. Three Queer Lives: An Alternative Biography of Fred Barnes, Naomi Jacob and Arthur Marshall. Hamish Hamilton (Penguin).
180-1

Deborah Levy

This collection feels like a transitional work, between Levy's avant-garde theatre and her later prose fiction. A Little Treatise on Sex and Politics in the 1980s uses various contrasting type-faces and combines prose with verse, lists, dramatic dialogue. The Feminist Companion called the title story a witty and unnerving fable about the nuclear family and nuclear society.
Blain, Virginia et al., editors. The Feminist Companion to Literature in English: Women Writers from the Middle Ages to the Present. Yale University Press; Batsford.
656

Wyndham Lewis

WL was an avant-garde painter and writer. His paintings were shown in the second Post-Impressionist exhibit, held in London in 1912, and for a time he worked with Roger Fry and the Omega Workshops . (They quarrelled and Lewis left on bad terms, however.) With Ezra Pound and others, Lewis launched the Vorticist movement, an English variant on Italian Futurism that thrived between 1912 and 1915.
Hussey, Mark. Virginia Woolf A to Z. Facts on File.
147
Drabble, Margaret, editor. The Oxford Companion to English Literature. Oxford University Press.

Penelope Lively

PL 's aunt Rachel Reckitt was (like her mother, Penelope's grandmother) a woman of strong social conscience. She worked as a volunteer during the Second World War in East London, finding billets for evacuees and working with bombed-out families. This experience made her a life-long socialist. She was also an avant-garde artist: a wood-engraver, painter, and sculptor in metal, creator of unique pub signs as well as sculpture for churches.
Lively, Penelope. A House Unlocked. Grove Press.
x-xi, 34

Mina Loy

There she gained entrance to the circle of expatriate and avant-garde writers and artists who gathered at the apartment of Walter Arensberg . Chief among these was Marcel Duchamp .
Burke, Carolyn. Becoming Modern: The Life of Mina Loy. Farrar, Straus, Giroux.
213

Shena Mackay

It is set in a strange community composed of the residents of an experimental 1930s building called the Nautilus, once avant-garde and now passée. Several of the inhabitants follow or once followed artistic pursuits (including the surviving female partner from the architect couple who idealistically designed the building), but they also include a scrap merchant.