This title defines the theory and practice of 'classicism' as practised in the 1920s by a number of composers, writers, and artists, setting it off against other movements of the period that are customarily grouped together under the general heading of 'modernism'. It argues that classicism is a more precise term than neo-classicism during this period, since every classicism from antiquity to the present shares certain common qualities as well as characteristics of its own time.

The triumph of avant-gardes in the 1920s tends to dominate our discussions of the music, art, and literature of the period. But the broader current of modernism encompassed many movements, and one of the most distinct and influential was a turn to classicism. In Classicism of the Twenties, Theodore Ziolkowski offers a compelling account of that movement. Giving equal attention to music, art, and literature, and focusing in particular on the works of Stravinsky, Picasso, and T. S. Eliot, he shows how the turn to classicism manifested itself. In reaction both to the excesses of neoromanticism and early modernism and to the horrors of World War I—and with respectful detachment—artists, writers, and composers adapted themes and forms from the past and tried to imbue their own works with the values of simplicity and order that epitomized earlier classicisms. By identifying elements common to all three arts, and carefully situating classicism within the broader sweep of modernist movements, Ziolkowski presents a refreshingly original view of the cultural life of the 1920s.

First published in 1966, Classicism and Romanticism is a collection of important articles originally published in the author's famous book, Florentine Painting and its Social Background. Dr. Antal, a Hungarian by birth, was a man of the wildest culture. He studied art history in the universities of Budapest, Berlin, Paris and Vienna; thereafter, he travelled extensively in Italy, where he devoted himself to pioneering research in the history of mannerist painting. His exceptional sensitivity to the visual arts is apparent in such brilliant stylistic analyses as the essays on Netherlandish mannerism and on Girolamo da Carpi. He is known especially, however, for his application to art history of the sociological method. By returning art to its place in the general history of ideas and relating it to its economic, social, and political environment, he sought to give to the history of art a wider significance ad deeper meaning. This book will be of interest to students of art, history, literature, art history and European studies.

This volume gathers together a cross-section of essays and book chapters dealing with the ways in which musicians and their music have been pressed into the service of political, nationalist and racial ideologies. Arranged chronologically according to their subject matter, the selections cover Western and non-Western musics, as well as art and popular musics, from the eighteenth century to the present day. The introduction features detailed commentaries on sources beyond those included in the volume, and as such provides an invaluable and comprehensive reading list for researchers and educators alike. The volume brings together for the first time seminal articles written by leading scholars, and presents them in such a way as to contribute significantly to our understanding of the use and abuse of music for ideological ends.

It was a decade of flappers, Prohibition, and unprecedented prosperity that abruptly ended with the crash of '29. In New Orleans, steamships lined the wharves, vaudeville gave way to "talkies," and William Faulkner's Sherwood Anderson and Other Famous Creoles was the first book produced by a new publisher called Pelican Publishing Company. Mary Lou Widmer's fourth retrospect of the city reminisces about how New Orleans welcomed the economic growth of the postwar twenties in its own special way. The Crescent City celebrated this prosperity, giving birth to jazz halls in the Vieux Carrand launching the careers of musicians like Louis Armstrong. It was the most progressive era in the city's history since before the Civil War. From politics to homelife there is hardly an aspect of life in the twenties Widmer does not touch upon. A full chapter is devoted to how the city known for Bourbon Street and Mardi Gras reacted to Prohibition. Indoor plumbing and electric lights became the standard in homes throughout the city. Transportation opened up new neighborhoods as cars became status symbols and the streetcar system took riders to every neighborhood in the city. Mary Lou Widmer, a native of New Orleans, is former president of the South Louisiana Chapter of Romance Writers of America. She has written several novels set in New Orleans. A certified descendant of settlers in the area prior to the Louisiana Purchase, she is a member of the Louisiana Colonials and the Daughters of 1812. She is also the author of New Orleans in the Thirties, New Orleans in the Forties, and New Orleans in the Fifties, all published by Pelican.

The T.S. Eliot of the 1920s was a European humanist who was part of an international network of like-minded intellectuals. Their ideas about literature, education and European culture in general remain highly relevant to the cultural debates of our day.

This volume combines a clear overview for those with no prior knowledge or experience of modernism with a subtle argument that will appeal to higher level undergraduates and scholars.