Modern Mind: An Intellectual History of the 20th Century (164 page)

111.
Gleb Struve,
Russian Literature under Lenin and Stalin, 1917–1953,
Norman: University of Oklahoma Press, 1971, pages 59ff.

112.
A. Kemp-Welch, Stalin and the Literary Intelligentsia,
1928–1939,
London: Macmillan, 1991, page 233.

113.
See: Dan Levy,
Stormy Petrel: The Life and Work of Maxim Gorky,
London: Frederick Muller, 1967, pages 313–318, for details of his relations with Stalin towards the end.

114.
Although RAPP itself was bitterly divided. See: Struve,
Op. cit.,
page 232; Kemp-Welch,
Op. cit.,
page 77.

115.
Kemp-Welch, Op.
cit.,
page 77.

116.
Ibid.,
pages 169–170.

117.
See Struve, Op.
cit.,
chapter 20, pages 256ff.

118.
Edward J. Brown,
The Proletarian Episode in Russian Literature 1928–1932,
New York: Columbia University Press, 1953, pages 69–70, 96, 120 and 132.

119.
Struve, Op.
cit.,
page 261; Kemp-Welsh, Op.
cit.,
page 175.

120.
See Brown, Op.
cit.,
page 182 for what the Politburo said of Shostakovich; Kemp-Welsh, Op.
cit.,
page 178.

121.
See Nadezhda Mandelstam,
Hope Against Hope,
London: Collins and Harvill Press, 1971, pages 217–221 for Mandelstam’s relations with Akhmatova.

122.
John and Carol Garrard,
Inside the Soviet Writers’ Union,
London: I. B. Tauris, 1990, pages 58–59.

123.
Shentalinsky, Op.
cit.,
page 191.

124.
Ibid.,
page 193.

125.
Garrard and Garrard, Op.
cit.,
page 38; see also Shentalinsky, Op.
cit.,
pages 70–71 for Ehrenburg’s attempted defence of Babel.

126.
Kemp-Welch, Op.
cit.,
page 223.

127.
Ibid.,
page 224.

128.
I. Ehrenburg,
Men, Years-Life,
London, 1963, volume 4,
The Eve of War,
page 96, quoted in: Kemp-Welch, Op.
cit.,
page 198.

1.
Lewis Jacobs,
The Rise of the American Film, A Critical History,
New York: Harcourt Brace, 1939, page 419.

2.
Alfred Knight, The Liveliest Art, Op. cit., page 156.

3.
Ibid.,
pages 164–165.

4.
Jacobs,
Op. cit.:
see the ‘still’ between pages 428 and 429.

5.
Knight, Op.
cit.,
page 257.

6.
Ibid.,
pages 261–262. See also Jacobs, Op.
cit.,
for a list of some prominent directors of the period.

7.
Knight, Op.
cit.,
page 222.

8.
Kristin Thompson and David Bordwell,
Film History,
New York: McGraw Hill, 1994, page 353.

9.
Knight, Op.
cit.,
page 225.

10.
Ibid.,
pages 226–227.

11.
Thompson and Bordwell, Op.
cit.,
page 354.

12.
W H. Auden, ‘Night Mail’, July, 1935. See Edward Mendelsohn (editor).
The English Auden,
London and Boston: Faber & Faber, 1977.

13.
Knight, Op.
cit.,
page 211.

14.
Thomson and Bordwell, Op.
cit.,
page 309.

15.
Ibid.,
page 310.

16.
Knight,
Op. cit.,
page 212. Riefenstahl later said that she was only ever interested in art and was unaware of the Nazis’ persecutions, a claim that film historians have contested. See Thompson and Bordwell, Op.
cit.,
page 320.

17.
John Lucas,
The Modern Olympic Games,
Cranbury, New Jersey: A. S. Barnes, 1980.

18.
Allen Guttman,
The Olympics: A History of the Modern Games,
Urbana and Chicago: University of Illinois Press, 1992, pages 67ff.

19.
Riefenstahl was allowed to pick from other cameramen’s footage. See: Audrey Salkeld,
A Portrait of Leni Riefenstahl,
London: Jonathan Cape, 1996, page 173.

20.
Riefenstahl says in her memoirs that Hitler did not refuse to shake hands with Owen on racial grounds, as was widely reported, but ‘because it was against Olympic protocol.’ See: Leni Riefenstahl,
The Sieve of Time: The Memoirs of Leni Riefenstahl,
London: Quartet, 1992, page 193.

21.
Salkeld,
Op. cit.,
page 186.

22.
Knight, Op.
cit.,
page 213.

23.
Ibid.,
page 216.

24.
Thompson and Bordwell,
Op. cit.,
page 294.

25.
Knight, Op.
cit.,
page 217.

26.
Ibid.,
page 218.

27.
Thompson and Bordwell, Op.
cit.,
page 298. Knight,
Op. cit.,
page 218.

28.
Knight, Op.
cit.,
page 218.

29.
See Momme Broderson,
Walter Benjamin: A Biography,
London: Verso, 1996, pages 184ff for his friendship with Brecht, Kraus and a description of life in Berlin.

30.
Bernd Witte,
Walter Benjamin: An Intellectual Biography,
Detroit: Wayne State University Press, 1991, pages 159–160.

31.
Ibid.,
page 161. In his account of their friendship, Gershom Scholem describes his reactions to this essay, claiming that Benjamin’s use of the concept of ‘aura’ was ‘forced’. Gershom Scholem,
Walter Benjamin: The Story of a Friendship,
London and Boston: Faber & Faber, 1982, page 207.

32.
Stanislaus von Moos,
Le Corbusier: Elements of a Synthesis,
Cambridge, Massachusetts, MIT Press, 1979, pages 210–213.

33.
Ibid.,
page 191.

34.
Ibid.,
pages 17, 49–50.

35.
Robert Furneaux Jordan,
Le Corbusier,
London: J. M. Dent, 1972, page 36 and plate 5; see also Von Moos, Op.
cit.,
page 75.

36.
Jordan, Op
cit.,
page 33.

37.
Ibid.,
page 36 and plate 5.

38.
Von Moos, Op
cit.,
page 154; see also Jordan, Op.
cit.,
pages 56–57.

39.
Von Moos, Op.
cit.,
pages 302–303.

40.
See Von Moos,
Ibid.,
pages 296–297 for Le Corbusier’s thinking on colour and how it changed over time. In Jordan,
Op. cit.,
page 45, Le Corbusier describes the process in the following way: ‘One must take every advantage of modern science.’

41.
Humphrey Carpenter,
W. H. Auden: A Biography,
London: George Allen & Unwin, 1981, pages 12–13. See the discussion of ‘Audenesque’ in Bernard Bergonzi,
Reading the Thirties,
London: Macmillan, 1978, pages 40–41.

42.
Grevel Lindop, ‘Poetry in the 1930s and 1940s,’ in Martin Dodsworth (editor),
The Twentieth Century
; volume 7 of
The Penguin History of Literature,
London, 1994, page 268.

43.
Ian Hamilton (editor), The Oxford Companion to Twentieth-Century Poetry, Op. cit., page 21.

44.
‘VII’, July 1932, from ‘Poems 1931–1936’, in Edward Mendelsohn (editor).
Op. cit.,
page 120.

45.
‘VII’, August 1932, in
ibid.,
page 120.

46.
G. Rostrevor Hamilton,
The Tell-Tale Article,
quoted in Bergonzi,
Op. cit,
page 43.

47.
Ibid.,
page 52.

48.
Poem XXIX, in Mendelsohn (editor),
Op. cit.

49.
Bergonzi,
Op. cit.,
page 51. See also Carpenter, Op.
cit.,
for the writing of ‘Spain’ and Auden’s direction of the royalties. Lindop, Op.
cit.,
page 273.

50.
Quoted in Frederick R. Benson,
Writers in Arms: The Literary Impact of the Spanish Civil War,
London: University of London Press; New York: New York University Press, 1968, page 33.

51.
Carpenter, Op.
cit.,
page 219. See also: Bernard Crick,
George Orwell: A Life,
London: Secker & Warburg, 1980, chapter 10, ‘Spain and “necessary murder”,’ pages 207ff

52.
Benson,
Op. cit.,
pages xxii and 88ff.

53.
Ibid.,
pages xxii and 27.

54.
André Malraux,
L’Espoir,
Paris: Gallimard, 1937.

55.
Curtis Cate,
André Malraux: A Biography,
London: Hutchinson, 1995, pages 259ff.

56.
Benson, Op.
cit.,
pages 240 and 295. At times Hemingway’s book was sold under the counter in Spain. See José Luis Castillo-Duche,
Hemingway in Spain,
London: New England Library, 1975, page 96.

57.
John Berger, The Success and Failure of Picasso, Op. cit., page 164.

58.
Arianna Stassinopoulos, Op.
cit.,
page 231.

59.
Berger, Op.
cit.,
page 102.

60.
Stassinopoulos,
Op. cit.,
page 232.

61.
Herbert Read, ‘Picasso’s
Guernica’, London Bulletin,
No. 6, October 1938, page 6.

62.
Robert Hughes, The Shock of the New, Op. cit., page 110.

63.
Ibid.,
pages 110–111.

64.
Stassinopoulos, Op.
cit.,
page 256.

65.
Herbert Rutledge Southworth,
Guernica! Guernica!,
Berkeley: University of California Press, 1977, pages 277–279, shows how many Spaniards took a long time to forgive Picasso. See also Benson, Op.
cit.,
page 64 for Orwell’s reactions to the war.

66.
George Orwell,
Homage to Catalonia,
London: Martin Secker & Warburg, 1938.

67.
J. E. Morpurgo,
Allen Lane: King Penguin,
London: Hutchinson, 1979, page 80.

68.
Ibid.,
pages 81–84.

69.
Ibid.,
pages 92–93.

70.
W. A. Williams,
Allen Lane, A Personal Portrait,
London: The Bodley Head, 1973, page 45.

71.
J. B. Priestley,
English Journey,
London: Heinemann, 1934; Penguin, 1977.

72.
F. R. Leavis,
Mass Civilisation and Minority Culture,
London: Minority Press, 1930. (Actually issued by Gordon Fraser.)

73.
Ian MacKillop,
F. R. Leavis: A Life in Criticism,
London: Allen Lane, The Penguin Press, 1995, pages 74–75. I. A. Richards, whose 1929
Practical Criticism
embodied this view, and became very influential, later moved to Harvard, where this approach became known as the ‘new criticism.’

74.
Q. D. Leavis,
Fiction and the Reading Public,
London: Chatto & Windus, 1932; Re-issued: Bellew, 1990.

75.
Ibid.,
pages 199–200.

76.
Williams, Op.
cit.,
52ff compares them with the BBC’s Third Programme. He says it was the most decisive event of the company, linking it also with the Council for the Encouragement of Music and the Arts, the forerunner of Britain’s Arts Council.

77.
Morpurgo, Op.
cit.,
pages 114–116.

78.
Ibid.,
page 116.

79.
Williams, Op.
cit.,
page 54.

80.
Morpurgo, Op.
cit.,
page 131.

81.
Ibid.,
page 135.

82.
J. K. Galbraith,
The Age of Uncertainty,
London: BBC/André Deutsch, 1977, page 203.

83.
Ibid.,
page 204.

84.
Ibid.,
page 211.

85.
Robert Lekachman,
The Age of Keynes,
London: Allen Lane, The Penguin Press, 1967; Pelican Books, 1969, page 72.

86.
Ibid.,
pages 80–84.

87.
The phrase is Robert Skidelsky’s in his biography of Keynes: Skidelsky, Op.
cit.,
volume 2, chapter 13, page 431.

88.
Galbraith, Op.
cit.,
page 214.

89.
According to Skidelsky, publication of
The General Theory
was followed by ‘a war of opinion’ among economists. Skidelsky, Op.
cit.,
page 572.

90.
Galbraith,
Op. cit.,
page 218.

91.
Lekachman, Op.
cit.,
page 120.

92.
Galbraith, Op.
cit.,
page 221.

93.
Bergonzi, Op.
cit.,
pages 112–114, and 126–127.

94.
Bergonzi, Op.
cit.,
pages 61 and 112.

95.
Cole Porter, ‘You’re the Tops’, 1934. This was ‘quasi-Marxist’ on Porter’s part, according to Bergonzi, Op.
cit.,
page 127.

96.
See John Gloag,
Plastic and Industrial Design,
London: George Allen & Unwin, 1945, page 86, for a basic introduction; also polythene.

97.
Stephen Fenichell,
Plastic, Op. cit.,
page 106.

98.
Burr W. Leyson,
Plastics in the World of Tomorrow,
London: Elek, 1946, page 17, underlines how rapid the acceptance of cellophane was.

99.
Farben also produced a synthetic emerald in 1934. See: David Fishlock,
The New Materials,
London: John Murray, 1967, page 49.

100.
Fenichell, Op.
cit.,
pages 152–153.

101.
Ibid.,
page 161.

102.
Ibid
., pages 150–151.