Modern Mind: An Intellectual History of the 20th Century (155 page)

1.
John Ruskin,
Modem Painters:
5
Volumes,
Orpington, Kent: George Allen, 1844–1888.

2.
Arthur Herman, The Idea of Decline in Western
History,
New York: The Free Press, 1997, page 221.

3.
Ibid.,
page 222.

4.
Ivan Hannaford,
Race: The History of an Idea in the West,
Washington D.C. and Baltimore: The Woodrow Wilson Center Press and Johns Hopkins University Press, 1996, page 296.

5.
Friedrich Nietzsche,
Will to Power,
New York: Random House, 1968, page 30.

6.
Herman,
Op. cit.,
page 99.

7.
Ibid.

8.
Ibid.,
pages 99–100.

9.
Ibid.,
page 102.

10.
Ibid.,
pages 102–103.

11.
Richard Hofstadter,
Social Darwinism in American Thought,
Boston: Beacon Press, 1944, page 5.

12.
Mike Hawkins,
Social Darwinism in European and American Thought 1860–1945,
Cambridge: Cambridge University Press, 1997, pages 109–118; see also Hofstadter, Op.
cit.,
pages 51–66.

13.
Hofstadter,
Op. cit.,
pages 152–153.

14.
Ibid.,
page 41.

15.
Hawkins, Op.
cit.,
page 132.

16.
Hannaford, Op.
cit.,
pages 289–290. Hawkins, Op.
cit.,
page 133.

17.
Hawkins,
Op. cit.,
pages 126–127.

18.
Ibid.,
page 178.

19.
Ibid.,
page 152.

20.
Hannaford, Op.
cit.,
page 292.

21.
Hawkins, Op.
cit.,
page 193.

22.
Ibid.,
page 196.

23.
Hannaford, Op.
cit.,
pages 291–292.

24.
Hawkins,
Op. at.,
page 185.

25.
Ibid.

26.
Ibid., page 219.

27.
Hannaford,
Op. cit.,
page 338.

28.
Johnston, The Austrian Mind, Op. cit., page 364. Herman, Op. cit., page 125.

29.
Hawkins,
Op. cit.,
page 62.

30.
Ibid.,
page 201.

31.
Ibid.

32.
Hannaford,
Op. cit.,
page 330; see also Hawkins, Op.
cit.,
page 217.

33.
Hawkins, Op.
cit.,
page 219.

34.
Hannaford, Op.
cit.,
page 332.

35.
Hawkins,
Op. cit.,
page 218.

36.
Hawkins,
Op. cit.,
page 225.

37.
Ibid.,
page 242.

38.
Johnston, Op.
cit.,
page 357.

39.
Janik and Toulmin, Wittgenstein’s Vienna, Op. cit., pages 60–61.

40.
Ibid.,
page 61.

41.
Johnston, Op.
cit.,
page 358.

42.
Schorske, Fin-de-siècle Vienna, Op. cit., page 164.

43.
Ibid.,
pages 166–167.

44.
Johnston, Op.
cit.,
page 358.

45.
Anthony Giddens, Introduction to: Max Weber,
The Protestant Ethic and the Spirit of Capitalism,
London and New York: Routledge, 1942 (reprint 1986), page vii.

46.
Ibid.,
page viii.

47.
Donald G. Macrae,
Weber,
London: The Woburn Press, 1974, pages 30–32. See also: Hartmut
Lehmann and Guenther Roth,
Weber’s Prolestant Ethic,
Cambridge: Cambridge University Press, 1993, especially pages 73ff and 195ff.

48.
Ibid.,
page 58.

49.
J. E. T. Eldndge (editor).
Max Weber: The Interpretation of Social Reality,
London: Michael Joseph, 1970, page 9.

50.
Giddens,
Op. cit.,
page ix.

51.
Ibid.,
page 35.

52.
Ibid.,
page xi.

53.
Ibid.

54.
Eldridge,
Op. cit.,
pages 168–169.

55.
Giddens,
Op. cit.,
page xii. Eldridge,
Op. cit.,
page 166.

56.
Ibid.,
pages xii—xiii.

57.
Ibid.,
page xvii.

58.
Lehmann and Roth,
Op. cit.,
pages 327ff. See also: Giddens,
Op. cit.,
page xviii.

59.
Eldridge,
Op. cit.,
page 281.

60.
Hawkins,
Op. cit.,
page 307. In
Plough, Sword and Book: The Structure of Human History,
London: Collins Harvill, 1988, Ernest Gellner takes Weber’s analysis further, arguing that the internalisation of norms makes Protestant societies more trusting, aiding economic activity (page 106). ‘The stress on scripturalism is conducive to a high level of literacy’ which means, he says, that high culture eventually becomes the majority culture. This promotes egalitarianism, and the modern anonymous society, simultaneously innovative and involving standardised measures and norms, promoting social order so characteristic of modernity (page 107).

61.
Redmond O’Hanlon,
Joseph Conrad and Charles Darwin,
Edinburgh: Salamander Press, 1984, page 17.

62.
D. C. R. A. Goonetilleke, Joseph
Conrad: Beyond Culture and Background,
London: Macmillan, 1990, pages
15ff.

63.
O’Hanlon,
Op. cit.,
pages 126–127. See also: Kingsley Widner, ‘Joseph Conrad’,
Dictionary of Literary Biography,
Detroit: Bruccoli Clark, 1988, Volume 34, pages 43–82.

64.
O’Hanlon,
Op. cit.,
pages
17ff.

65.
Ibid.,
pages 20–21.

66.
Widner,
Op. cit.,
pages 43–82.

67.
Ibid.

68.
Joseph Conrad,
Heart of Darkness,
Edinburgh and London: William Blackwood, 1902; Penguin, 1995.

69.
Goonetilleke,
Op. cit.,
pages 88–91.

70.
Conrad,
Op. cit.,
page 20.

71.
Ibid.,
page 112.

72.
Goonetilleke,
Op. cit.,
page 168; see also: R. W. Stalman,
The Art of Joseph Conrad: A Critical Symposium,
East Lansing: Michigan State University Press, 1960.

73.
O’Hanlon,
Op. cit.,
page 26.

74.
Richard Curie,
Joseph Conrad: A Study,
London: Kegan Paul, French, Trübner, 1914.

75.
Goonetilleke,
Op. cit.,
page 85.

76.
Ibid.,
page 63.

77.
Gary Adelman, Heart of Darkness: Search for the
Unconscious,
New York: Twayne, 1987, page 59.

1.
Kurt Wilhelm,
Richard Strauss: An Intimate Portrait,
London: Thames & Hudson, 1989, pages 99–100. See also: Michael Kennedy,
Richard Strauss: Man, Musician, Enigma,
Cambridge: Cambridge University Press, 1999, pages 142–149, for this and other reactions.

2.
See Malcolm Bradbury and James Mcfarlane, (editors),
Modernism, Op. cit.,
pages 97–101.

3.
George R. Marek,
Richard Strauss, Op. cit.,
pages 15 and 27.

4.
Ibid.,
page 150.

5.
Michael Kennedy,
Richard Strauss,
London: J. M. Dent, 1976, page 144.

6.
Wilhelm,
Op. cit.,
page 100.

7.
Ibid.

8.
Ibid.,
page 102.

9.
Ibid.,
page 103.

10.
Wilhelm, Op. cit., page 120; Kennedy, Richard Strauss: Man, Musician, Enigma, Op. cit., page 152.

11.
Wilhelm,
Op. cit.,
pages 120–121.

12.
Kennedy, Richard Strauss, Op. cit., page 161.

13.
Marek,
Op. cit.,
page 183.

14.
Ibid.,
page 185.

15.
Kennedy (1976),
Op. cit.,
page 45. See also: Bryan Gilliam (editor),
Richard Strauss and His World,
Princeton: Princeton University Press, 1992, pages 31 Iff, ‘Strauss and the Viennese Critics.’

16.
Marek, Op.
cit.,
page 182.

17.
Kennedy (1976), Op.
cit.,
page 149.

18.
Marek, Op.
cit.,
page 186.

19.
Kennedy (1976), Op.
cit.,
page 150.

20.
Marek,
Op. cit.,
page 316.

21.
Hans H. Stuckenschmidt,
Schoenberg: His Life, World and Work,
London: John Calder, 1977, page 42.

22.
Harold C. Schonberg,
The Lives of the Great Composers,
London: Davis-Poynter, 1970, page 516.

23.
Ibid.,
page 517.

24.
Everdell, The First Moderns, Op. cit., page 275.

25.
Schonberg, Op.
cit.,
page 517.

26.
Everdell,
Op. cit.,
page 266.

27.
Stuckenschmidt, Op.
cit.,
page 88.

28.
Schonberg, Op.
cit.,
page 520; see also: Stuckenschmidt,
Op. cit.,
page 141; and Schorske, Op.
cit.,
page 351.

29.
Schonberg, Op.
cit.,
page 517.

30.
Ibid.,
page 518.

31.
Everdell, Op.
cit.,
page 269; see also: Stuckenschmidt, Op.
cit.,
pages 88 and 123–124.

32.
Stuckenschmidt, Op.
cit.,
page 94; see also: Schonberg,
Op. cit.,
page 400.

33.
Everdell, Op.
cit.,
page 277.

34.
Ibid.,
page 279.

35.
Paul Griffiths,
A Concise History of Modern Music,
London: Thames & Hudson, 1978, revised 1994, page 26. Everdell, Op.
cit.,
page 278.

36.
Schorske, Fin-de-Siècle, Op. cit., page 349.

37.
Stuckenschmidt, Op.
cit.,
page 124.

38.
Everdell, Op.
cit.,
pages 277–278.

39.
Ibid.,
page 279.

40.
Ibid.,
pages 280–281.

41.
Stuckenschmidt,
Op. cit.,
page 124.

42.
Schonberg, Op.
cit.,
page 520.

43.
Schorske,
Op. cit.,
page 354.

44.
Griffiths, Op.
cit.,
page 34.

45.
Joan Allen Smith,
Schoenberg and his Circle,
New York: Macmillan, 1986, page 68.

46.
Schonberg,
Op. cit.,
page 521.

47.
Griffiths,
Op. cit.,
page 43. Everdell,
Op. cit.,
page 282.

48.
Janik and Toulmin, Wittgenstein’s Vienna, Op. cit., page 107.

49.
Schorske,
Op. cit.,
page 360.

50.
See for example: James R. Mellow,
Charmed Circle: Gertrude Stein and Company,
London: Phaidon, 1974, pages 8ff.

51.
John Russell,
The World of Matisse,
Amsterdam: Time-Life, 1989, page 74.

52.
Jack Flam,
Matisse on Art
(revised edition), Berkeley: University of California Press, 1995, page 35.

53.
Pierre Cabanne,
Pablo Picasso: His Life and Times,
New York: William Morrow, 1977, page 110.

54.
André Malraux,
Picasso’s Mask,
New York: Holt, Rinehart & Winston, 1976, pages 10–11.

55.
Lael Westenbaker,
The World of Picasso, 1881–1973,
Amsterdam: Time-Life, 1980, pages 125ff.

56.
Robert Hughes, The Shock of the New, Op. cit., page 24.

57.
Dora Vallier, ‘Braque, la peinture et nous,’ Paris:
Cahiers d’Art,
No. 1, 1954, pages 13–14.

58.
Ibid.,
page 14.

59.
Hughes,
Op. cit.,
pages 27 and 29.

60.
Arianna Stassinopoulos,
Picasso: Creator and Destroyer,
London: Weidenfeld & Nicolson, 1988, pages 96–97.

61.
‘Testimony Against Gertrude Stein,’
Transition,
February 1935, No. 23, pages 13–14.

62.
Everdell, Op.
cit.,
page 311.

63.
Ibid.,
page 314.

64.
Ibid.,
page 313.

65.
Peg Weiss,
Kandinsky in Munich,
Princeton: Princeton University Press, 1979, pages 58–59.

66.
Ibid.,
pages 5–6.

67.
K. Lindsay and P. Vergo (editors),
W. Kandinsky: Complete Writings on Art
(two vols), New York: G. K. Hall, 1982; reprinted in one volume, 1994, pages 371–372.

68.
Weiss, Op.
cit.,
pages 28, 34 and 40.

69.
Lindsay and Vergo (editors),
Op. cit.,
page 364, quoted in Everdell,
Op. cit.,
page 307.

70.
Quoted in Hughes,
Op. cit.,
page 301.

71.
Weiss, Op.
cit.,
page 91.

72.
Algot Ruhe and Nancy Margaret Paul,
Henri Bergson: An Account of His Life and Philosophy,
London: Macmillan, 1914, page 2.