Focussing upon both canonical figures such as Woolf, Eliot, Pound, and Stein and emergent themes such as Christian modernism, intermedial modernism, queer Harlem Renaissance, this volume brings together previously unseen materials, from various archives, to bear upon cutting-edge interpretation of modernism. It provides an overview of approaches to modernism via the employment of various types of primary source material: correspondence, manuscripts and drafts, memoirs and production notes, reading notes and marginalia, and all manner of useful contextualising sources like news reports or judicial records. While having much to say to literary criticism more broadly, this volume is closely focused upon key modernist figures and emergent themes in light of the discipline's 'archival turn' – termed in a unifying introduction 'achivalism'. An essential ingredient separating the above, recent tendency from a much older and better-established new historicism, in modernist studies at least, is that 'the literary canon' remains an important starting point. Whereas new historicism 'is interested in history as represented and recorded in written documents' and tends toward a 'parallel study of literature and non-literary texts', archival criticism tends toward recognised, oftentimes canonical or critically-lauded, writers, presented in Part 1. Sidestepping the vicissitudes of canon formation, manuscript scholars tend to gravitate toward leading modernist authors: James Joyce, Ezra Pound, Virginia Woolf, Gertrude Stein, T.S. Eliot and Samuel Beckett. Part of the reason is obvious: known authors frequently leave behind sizeable literary estates, which are then acquired by research centres. A second section then applies the same empirical methodology to key or emergent themes in the study of modernism, including queer modernism; spatial modernism; little magazines (and online finding aids structuring them); and the role of faith and/or emotions in the construction of 'modernism' as we know it.

Set within the fascinating cultural and political world of Vienna from the fin-de siecle to the present day, this book provides an insightful analysis of the city's extraordinarily rich architectural tradition. Since 1900, Vienna has produced many great architects and their work includes some of the finest masterpieces of the twentieth century such as Otto Wagner's Stadtbahn stations, his Postsparkasse and his Majolica House, Adolf Loos's American Bar and Goldman & Salastch, the Secession building by Joseph Maria Olbrich, and Josef Hoffmann's Palais Stoclet, not to mention Ludwig Wittgenstein's House for his sister. Beginning with Wagner's polemical manifesto, Moderne Architektur, it stresses the importance of the fraught and highly polarized cultural politics that engulfed Vienna for most of the twentieth century and ultimately produced much of what is modern in every field of culture and science. It shows how leading cultural figures such as Freud, Mahler, Schoenberg, Klimt and Twain encouraged a 'rebellious' architecture, which continued in later eras with the Wiener Gruppe, amongst others. The book also places architectural history within the context of the political economy that has shaped Vienna and highlights the relatively unknown tradition of Viennese social housing, initiated by social democratic Red Vienna in the 1920s. Today, 60% of Vienna's population lives in the most successful social housing in the world, which has proved to be an important factor in stimulating the highly successful economy of the country as a whole.

This volume contains 44 original essays on the role of periodicals in the United States and Canada. Over 120 magazines are discussed by expert contributors, completely reshaping our understanding of the construction and emergence of modernism.

Modernist urbanism seems progressive, even Utopian: design for a better world through a democratic and humane built environment. But two currents undermine this vision from within: an Arcadianism which turns to a rural idyll as retreat from change and the effects of industrialization; and an instrumentalism by which the humane vision becomes prescriptive and anti-democratic. Malcolm Miles argues that these two currents undermine modernism’s progressive vision. This book examines the roots of modernist urbanism in the seamless, self-contained systems of Cartesian space; and identifies contradictions within modernist urbanism in its instrumentalism and reliance on de-politicised professional expertise. Miles adroitly reviews the postmodern culture of industrial ruinscapes; and posits that if cities are to be places of proximity, diversity, mobility and agency, this will require a move from modernist instrumentalism to a creative and radically democratic co-production of the built environment.

In 1903, Henry Ford founded the Ford Motor Company in a small Detroit workshop. Five years later, he introduced the Model T and met with extraordinary commercial success. Between 1910 and 1914, he developed mass production and made the conveyor a symbol of the auto-industrial age. Then, in 1914, Ford acquired an overnight reputation as humanitarian, philanthropist and social reformer; and simultaneously infuriated the business community and stunned social reformers with his announcement of the outrageous Five Dollar Day. More than simply high-wage policy, the Five Dollar Day attempted to solve attitudinal and behavioral problems with an effort to change the worker’s domestic environment. Half of the five dollars represented “wages” and the other half was called “profits”—which the worker received only when he met specific standards of efficiency and home life that accorded with the ideal of an American way of life which the company felt was the basis for industrial efficiency. The unique and short-lived Ford program did not succeed, yet its significance as an early managerial strategy goes beyond the boundaries of success or failure. The Ford Motor Company was uniquely situated in the historical evolution of labor management and industrial technology, and this readable study of that evolution, which highlights the Ford workers, is a chapter in the larger history of labor and work in America. Stephen Meyer III, Professor of Urban Studies at the University of Wisconsin, Milwaukee, is one of the new historians who have begun to address the profound social impact of technology on the world of work.

During the 1930s, psychologists Gordon Allport, Gardner Murphy, and Lois Barclay Murphy emerged from the fields of social and personality psychology to challenge the neo-behavioralist status quo in American social science. Willing to experiment with the idea of 'science' itself, these 'rebels within the ranks' contested ascendent conventions that cast the study of human life in the image of classical physics. Drawing on the intellectual, social, and political legacies of William James' radically empiricist philosophy and radical Social Gospel theology, these three psychologists developed critiques of scientific authority and democratic reality as they worked at the crossroads of the social and the personal in New Deal America. Appropriating models from natural history, they argued for the significance of individuality, contextuality and diversity as scientific concepts as they explored what they envisioned as the nature of democracy, and the democracy of nature.

With the rise of women's suffrage, challenges to marriage and divorce laws, and expanding opportunities for education and employment for women, the early years of the twentieth century were a time of social revolution. Examining British novels written in 1890-1914, Jane Eldridge Miller demonstrates how these social, legal, and economic changes rendered the traditional narratives of romantic desire and marital closure inadequate, forcing Edwardian novelists to counter the limitations and ideological implications of those narratives with innovative strategies. The original and provocative novels that resulted depict the experiences of modern women with unprecedented variety, specificity, and frankness. Rebel Women is a major re-evaluation of Edwardian fiction and a significant contribution to literary history and criticism. "Miller's is the best account we have, not only of Edwardian women novelists, but of early 20th-century women novelists; the measure of her achievement is that the distinction no longer seems workable." —David Trotter, The London Review of Books

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“This is an absolute triumph—ideas, lives, and the dramas of the twentieth century are woven together in a feat of storytelling. A masterpiece.” —Edmund de Waal, ceramic artist and author of The White Road The impact of Walter Gropius can be measured in his buildings—Fagus Factory, Bauhaus Dessau, Pan Am—but no less in his students. I. M. Pei, Paul Rudolph, Anni Albers, Philip Johnson, Fumihiko Maki: countless masters were once disciples at the Bauhaus in Berlin and at Harvard. Between 1910 and 1930, Gropius was at the center of European modernism and avant-garde society glamor, only to be exiled to the antimodernist United Kingdom during the Nazi years. Later, under the democratizing influence of American universities, Gropius became an advocate of public art and cemented a starring role in twentieth-century architecture and design. Fiona MacCarthy challenges the image of Gropius as a doctrinaire architectural rationalist, bringing out the visionary philosophy and courage that carried him through a politically hostile age. Pilloried by Tom Wolfe as inventor of the monolithic high-rise, Gropius is better remembered as inventor of a form of art education that influenced schools worldwide. He viewed argument as intrinsic to creativity. Unusually for one in his position, Gropius encouraged women’s artistic endeavors and sought equal romantic partners. Though a traveler in elite circles, he objected to the cloistering of beauty as “a special privilege for the aesthetically initiated.” Gropius offers a poignant and personal story—and a fascinating reexamination of the urges that drove European and American modernism.

Aesthetic Modernism and Masculinity in Fascist Italy is an interdisciplinary historical re-reading of a series of representative texts that complicate our current understanding of the portrayal of masculinity in the Italian fascist era. Champagne seeks to evaluate how the aesthetic analysis of the artifacts explored offer a more sophisticated and nuanced understanding of what world politics is, what is at stake when something - like masculinity - is rendered as being an element of world politics, and how such an understanding differs from more orthodox 'cultural' analyses common to international relations.