| Popis: |
It is a commonplace in contemporary work in modernist studies to assume that interwar writing should no longer be conceptualized along the lines of a "great divide" separating autonomous, experimental art from the standardized products of mass culture, but rather as moving across a per meable membrane, with avant-garde artists experimenting with the lan guage, images, and styles of mass culture, and mass culture appropriating the techniques of "advanced" artists.2 Work that links modernism and mass culture, however, has tended to privilege the aesthetic dimension of this linkage over its institutional underpinnings: there is now a wide range of excellent work that emphasizes the various ways in which modernist artworks draw from mass cultural energies and forms but relatively few studies of the nexus linking modernist artists with the nascent "culture industries" of the interwar era.3 |
