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A. Munton (1997)
Misreading Morrison, Mishearing Jazz: A Response to Toni Morrison's Jazz CriticsJournal of American Studies, 31
Geoffrey Giles, K. Toepfer (2011)
EMPIRE OF ECSTASY: NUDITY AND MOVEMENT IN GERMAN BODY CUL-
D. Goldring (1945)
The nineteen twenties : a general survey and some personal memories
D. Bridson (1972)
The Filibuster: A Study of the Political Ideas of Wyndham Lewis
P. Edwards (1992)
Wyndham Lewis: Painter and Writer
Wyndham Lewis
Time and Western Man
C. Ferrall (2001)
Modernist writing and reactionary politics
B. Deutsch (1922)
Modern PoetryJournal of Education, 96
F. Ford
New York is not America : being a mirror to the state
C. Taylor (2008)
Blue Order: Wallace Stevens’s Jazz ExperimentsJournal of Modern Literature, 32
T. Eliot (1952)
The complete poems and plays
S. Klein (1994)
The Fictions of James Joyce and Wyndham Lewis: List of abbreviations
Wyndham Lewis (1931)
Men Without Art
Evelyn Waugh
Decline and Fall
J. Carey (1992)
The Intellectuals and the Masses: Pride and Prejudice Among the Literary Intelligentsia, 1880-1939
Wyndham Lewis (1948)
America And Cosmic Man
A. Munton, Mockery, Mark Perrino (1998)
The Poetics of Mockery: Wyndham Lewis's 'The Apes of God' and the Popularization of ModernismModern Language Review, 93
Violet Hunt (2010)
The flurried years
Catherine Parsonage (2005)
The evolution of jazz in Britain, 1880-1935
Nathan Waddell The relationships between jazz and modernist writing have in recent years increasingly interested musico-literary scholars. Much of this interest centres on links between modernism, jazz, and the Harlem Renaissance, whose music and art extend `far beyond its geographic boundaries as well as beyond the relational boundaries of time'.1 As evidence of this trans-national and trans-temporal influence, especially as it applies to Anglo-American culture, writers like T. S. Eliot, F. Scott Fitzgerald, Virginia Woolf, and Philip Larkin, among others, have all been considered in relation to jazz and New York in the 1920s and 1930s.2 Such studies contribute to the growing significance of African-American traditions within modernist scholarship and provide increasingly nuanced pictures of jazz's impact upon literary modernism (both as creative stimulus and as `despised' phenomenon). However, these interpretations of the jazz `influence' need to be understood as more than a reductive dichotomy. For instance, Fitzgerald was attuned to the prevalence of jazz in twentieth-century modernity, and his jazz allusions `anxiously suggest that beneath the surface of [what he saw as] the music's frivolous gaiety lurks the presence of violence and chaos, which threatens to erupt at any moment.'3 Therefore, his complex representations of jazz music
Modernist Cultures – Edinburgh University Press
Published: May 1, 2013
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