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In this article we discuss the modern premises of visuality and the effects of the cultural transfer of optical and photographic techniques on the work of Max Blecher, a Romanian Jewish writer who was a keen explorer of Marcel Proust’s works. In his works Blecher pursued the same theme as Proust—the mechanisms of interior memory and life—and often used optical instruments as a metaphor of identity. The role of the photographic model in his depiction of social tableaux, characters, and dispositions, originated partly in the influence of Proust’s writing and partly in other techniques of the European literary avant-gardes. 相似文献
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It is generally believed that the reputation of Sir Edward Elgarexperienced a disastrous reversal of fortune after the GreatWar. This has conventionally been explained by the changingmusical tastes of the public and by a postwar reaction againstthe unappealingly Edwardian character of Elgar'smusic. Both claims, I argue, have been exaggerated. Examiningevidence from concert programmes, gramophone record sales, andBBC broadcasts, this article demonstrates that Elgar continuedto enjoy estimable popularity after 1918. The article also considersthe way in which Elgar came to be seen as an archetype of Englishnessand Edwardianism in music. With a legacy of virulentattacks on the composer's complacency and jingoism,critical attention by the 1930s had been refocused onto a perceivedrural nostalgia within Elgar's music. This atavism complementedinterwar visions of the Edwardian period as a prelapsarian goldenage. The implications of these changing perspectiveson Elgar are twofold. They can be seen to have laid the foundationsfor our mature understanding of Elgar's life andwork; and they suggest that our views of the interwar reactionagainst the past might require profound and wide-ranging revision.
*I am grateful to Professor Hugh Cunningham, Dr Peter Martland,and Dr David Turley for their comments on an earlier versionof this article. 相似文献
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The late John Burrow, one of the most stimulating promoters of the distinctively interdisciplinary enterprise that is Intellectual History, was a vital member of what has become known as the ‘Sussex School’. In exploring the resonances of his singular and richly idiosyncratic contribution, this article places his unique historical sensibility within a series of interpretative contexts, demonstrating the vitality of writings that will continue to inspire and inform scholarship in the field for decades to come. 相似文献
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