Cecily Swanson argues that“modernism's Gurdjieff craze in fact played a surprising role in the development of an overlooked canon of popular autobiographies:Muriel Draper's memoir,Music at Midnight;Margaret A...Cecily Swanson argues that“modernism's Gurdjieff craze in fact played a surprising role in the development of an overlooked canon of popular autobiographies:Muriel Draper's memoir,Music at Midnight;Margaret Anderson's memoir,My Thirty Years'War;and Kathryn Hulme's autobiographical novel,We Lived As Children.”Swanson reads Draper,Anderson,and Hulme because they wrote as esotericists,while she divorces the memoirs from any overt esoteric influences,contents,or aesthetics.There is no need to search further for the source of the mode of the popular autobiographies by Anderson and Draper than what of Loos's novel comes through the Peggy Hopkins Joyce/Zora Neale Hurston memoir.Marriage,Men,and Me appears near the commencement of a line of esoteric memoirs that becomes visible in the best-selling works by Draper and Anderson but then continues expansively.展开更多
Augusta Savage’s“Lift Every Voice and Sing”is discussed as a composite work showing influences from ancient Egyptian musical instruments,surrealism,August Rodin,and ancient Egyptian funerary and devotional sculptur...Augusta Savage’s“Lift Every Voice and Sing”is discussed as a composite work showing influences from ancient Egyptian musical instruments,surrealism,August Rodin,and ancient Egyptian funerary and devotional sculpture.The sculpture is a significant departure from the social realist sculpture of the New Deal era.“Objective”artworks like Savage’s sculpture have been overwritten by inadequate investigations.Savage approximates the shape of Rodin’s hand and arm in the sound board of her harp.A comparison of Savage’s sculpture with a concert harp shows that the kneeling figure(the foot pedal)is at the wrong end of the harp.In“objective”art mistakes are meaningful,while in“subjective”art mistakes have no useful status.The mistaken position of the kneeling figure at the front of Savage’s magical harp establishes it as the most significant aspect of the esoteric symbolism of Savage’s sculpture.Savage’s sculpture implicates A.R.Orage's esoteric intervention in history.展开更多
文摘Cecily Swanson argues that“modernism's Gurdjieff craze in fact played a surprising role in the development of an overlooked canon of popular autobiographies:Muriel Draper's memoir,Music at Midnight;Margaret Anderson's memoir,My Thirty Years'War;and Kathryn Hulme's autobiographical novel,We Lived As Children.”Swanson reads Draper,Anderson,and Hulme because they wrote as esotericists,while she divorces the memoirs from any overt esoteric influences,contents,or aesthetics.There is no need to search further for the source of the mode of the popular autobiographies by Anderson and Draper than what of Loos's novel comes through the Peggy Hopkins Joyce/Zora Neale Hurston memoir.Marriage,Men,and Me appears near the commencement of a line of esoteric memoirs that becomes visible in the best-selling works by Draper and Anderson but then continues expansively.
文摘Augusta Savage’s“Lift Every Voice and Sing”is discussed as a composite work showing influences from ancient Egyptian musical instruments,surrealism,August Rodin,and ancient Egyptian funerary and devotional sculpture.The sculpture is a significant departure from the social realist sculpture of the New Deal era.“Objective”artworks like Savage’s sculpture have been overwritten by inadequate investigations.Savage approximates the shape of Rodin’s hand and arm in the sound board of her harp.A comparison of Savage’s sculpture with a concert harp shows that the kneeling figure(the foot pedal)is at the wrong end of the harp.In“objective”art mistakes are meaningful,while in“subjective”art mistakes have no useful status.The mistaken position of the kneeling figure at the front of Savage’s magical harp establishes it as the most significant aspect of the esoteric symbolism of Savage’s sculpture.Savage’s sculpture implicates A.R.Orage's esoteric intervention in history.
