Chapter Twenty-One Between the World Wars
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Transcript of Chapter Twenty-One Between the World Wars
Chapter Twenty-OneChapter Twenty-OneBetween the World Between the World
WarsWarsCulture and Values, 6th Ed.
Cunningham and Reich
The Great War and Its Significance
Drastic loss of lifeSociopolitical consequences
October RevolutionHitler’s National Socialist movement
Cultural consequencesTransportation, communicationEntertainment
Literary ModernismModernist temperT.S. Eliot (1888-1965)
Necessity of cultural continuityThe Wasteland Four Quartets
James Joyce (1882-1941)Cultural stability found through artEpiphany, autobiographyAlienated artist
Literary ModernismFranz Kafka (1883-1924)
“Kafkaesque”Guilt, loss, oppression, violence
Virginia Woolf (1882-1941)Writer, critic (Bloomsbury Group)Social, economic, and intellectual
discrimination against women
Revolution in Art: CubismAnalytical Cubism
Geometric qualities, flat planes, 2-d linearityPicasso’s Les Demoiselles d’Avignon (1907)Braque’s Violin and Palette (1909-1910)
Synthetic CubismPost-war color, vitality, expressivenessPicasso’s Three Musicians (1921)
Revolution in Art: Cubism
Piet Mondrian (1872-1944)Marc Chagall (1889-1985)Rufino Tamayo (1899-1991)
Women of Tehuantepec (1939)Wassily Kandinsky (1866-1944)
Expressionist, non-objective art
Freud, the Unconscious, and Surrealism
Interpretation of Dreams (1900)Id, ego, superegoDreams and the unconscious mind
Psychoanalysis as philosophyHuman and cultural behaviors
SurrealismBreton’s Manifesto of Surrealism (1924)
Freud, the Unconscious, and Surrealism
Dalí’s The Persistence of Memory (1931)
Kahlo’s Self-Portrait (1937)René Magritte (1898-1967)Influence of film
Dalí and Buñuel, Jean CocteauPaul Klee (1879-1940)
Cubist, Expressionist, Surrealist
The Age of JazzAfrican-American experience,
heritageIntonations, rhythmsSpirituals“Blue note” / the BluesRagtime
From New Orleans to ChicagoBlack Jazz in Anglo culture
Symphonies, operas, swing
The Age of JazzGeorge Gershwin (1898-1937)
Jazz in symphonic, operatic worksRhapsody in Blue (1924)Porgy and Bess (1935)
Duke Ellington (1899-1974)Orchestra virtuoso, prolific composerExtended jazz idiom to larger arena
The Harlem RenaissanceAfrican American writers, artists,
intellectuals, musiciansThemes of African American
experienceRoots, racism, culture, religion
W.E.B. Dubois (1868-1963)African American self-identity, cultural
identity, racial identity
Ballet: Collaboration in Art
Artistic integration:setting, movement, music, narrative
Serge Diaghilev’s Ballet Russe (1909)Vast musical commissionsParade (1917):
Diaghilev, Cocteau, Satie, Picasso
Art as Escape: DadaProtest against war
Nonsense language, dissonant music, anarchic irreverence
Tristan Tzara’s Dada manifesto (1918)
Marcel Duchamp (1887-1968)Mobiles, ready-madesL.H.O.O.Q. (1919)
Art as Protest: GuernicaPicasso’s protest against
inhumanityHope in the face of horror
Inspired by destruction of warSocial, pivotal document
Expressionistic, CubistTechnical experimentation
Art as Propaganda: FilmPropaganda as high art
Radio, filmEducate, persuade, shape public opinion
Sergei Eisenstein (1898-1948)Strike! (1924), Ivan the Terrible (1944, 1946)Class struggle, the working class, socialismAlexander Nevsky with Prokofiev (1938)Potemkin and the October Revolution (1925)
Art as Propaganda: Film
Leni Riefenstahl (1902-2003)Triumph of the Will (1936)
Documentary of 1934 Nazi congressGlorification of Nazi virtues
Olympia (1938)Documentary of the 1936 Berlin
OlympicsHomage to Hitler vs. beauty of sport
PhotographyIncreased mobility, immediacy of
imageMan Ray (1890-1976)László Moholy-Nagy (1895-1946)The “f/64 Group”
Direct, nonmanipulative picturesImages from the Great Depression
Commissioned by FSA and USDA
Art as Prophecy: From Futurism to Brave New
WorldFuturists
Valued industrialization, urbanizationFilippo Tommaso Marinetti (1876-1944)
Lewis’s Babbitt (1922)“a chicken in every pot…”Mindless materialism
Huxley’s Brave New World (1932)Technology as tool for totalitarian
control
Chapter Twenty-One: Discussion Questions
What aspects of the “modernist temper” can be found in the works of the Harlem Renaissance writers and African American Jazz musicians? What are the personal and cultural expressions found behind these artistic forms? Explain, citing specific examples.
In light of the “modernist temper,” why were Freud’s theories so popular? In what sense does psychoanalytical theory abandon the explanation of human motivation that has been long held by Western Europeans? What does this shift in understanding signal about the twentieth century? Explain.
Consider the ways in which film was used in the early twentieth century as propaganda. In what ways does the cinematic medium continue to serve in this way? What types of cultural, social, and political values are asserted through popular film and other visual media of the twenty-first century? Explain.
To what extent do you agree or disagree with Huxley’s assertion that technology makes individuals dependent on totalitarian forces? Do you feel that our dependency on technology puts us at risk as a culture? …as a free people? Explain.