The Little Review
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==I. Introduction== | ==I. Introduction== | ||
| − | '''''The Little Review''''' was a literary magazine founded in 1914, very shortly before World War 1 broke out. Founded by Margaret Anderson, it labeled itself as a platform for experimental writing and international art. One of the most defining traits of '''''The Little Review''''' was the refusal to compromise for the general public, including eventually adding the motto "Making No Compromise with the Public Taste", and leaving pages blank to protest a lack of publicly supported material. Eventually, an organization known as the Society for the Suppression of Vice would charge the magazine with obscenity | + | '''''The Little Review''''' was a literary magazine founded in 1914, very shortly before World War 1 broke out. Founded by Margaret Anderson, it labeled itself as a platform for experimental writing and international art. One of the most defining traits of '''''The Little Review''''' was the refusal to compromise for the general public, including eventually adding the motto "Making No Compromise with the Public Taste", and leaving pages blank to protest a lack of publicly supported material. Eventually, an organization known as the Society for the Suppression of Vice would charge the magazine with obscenity. The magazine's greatest achievement was its serialization of James Joyce's '''''Ulysses'''''. |
The sudden outbreak of World War 1 during the early months of publication caused a huge shift in the tone of the magazine. The war would cause a shift toward more discussions of anarchy, and the end of the war was followed by a marked upswing in more feminist dialog. | The sudden outbreak of World War 1 during the early months of publication caused a huge shift in the tone of the magazine. The war would cause a shift toward more discussions of anarchy, and the end of the war was followed by a marked upswing in more feminist dialog. | ||
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<b>Socialism & War by Louis B. Boudin</b><br><br> | <b>Socialism & War by Louis B. Boudin</b><br><br> | ||
Page two of Volume 3 of <b><i>The Little Review</i></b> features a full page ad for a book By Louis B. Boudin named: “Socialism and War.” According to the ad, this book features ideas about Socialism and Imperialism. World War I, known as the “Great War” in this ad, was a consequence of Imperialism. “Socialism collapsed” says Boudin, but he also claims that socialist thought is what eventually caused Imperialism to arise in Europe. Socialist thoughts began as countries wanted to trade and distribute goods to other countries. However Imperialism was eventually introduced as countries wanted more control over goods and attempted to take over other countries. The secret society that assassinated Archduke Franz Ferdinand wanted to break off Austria-Hungary’s control of the South Slav provinces which later sparked the beginning of World War I. <br> <br> | Page two of Volume 3 of <b><i>The Little Review</i></b> features a full page ad for a book By Louis B. Boudin named: “Socialism and War.” According to the ad, this book features ideas about Socialism and Imperialism. World War I, known as the “Great War” in this ad, was a consequence of Imperialism. “Socialism collapsed” says Boudin, but he also claims that socialist thought is what eventually caused Imperialism to arise in Europe. Socialist thoughts began as countries wanted to trade and distribute goods to other countries. However Imperialism was eventually introduced as countries wanted more control over goods and attempted to take over other countries. The secret society that assassinated Archduke Franz Ferdinand wanted to break off Austria-Hungary’s control of the South Slav provinces which later sparked the beginning of World War I. <br> <br> | ||
| − | This ties into the anarchy theme, as <b><i>The Little Review</i></b> often ties socialism to anarcho-communism, or an anarchist society with free cooperation and no power structure, as opposed to a socialist state. The ad is blaming imperialism and, by extension, capitalism for the existence of war, which ties into the anarcho-communist views of the magazine. | + | This ties into the anarchy theme, as <b><i>The Little Review</i></b> often ties socialism to anarcho-communism, or an anarchist society with free cooperation and no power structure, as opposed to a socialist state. The ad is blaming imperialism and, by the author's extension, capitalism for the existence of war, which ties into the anarcho-communist views of the magazine. |
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This passage is all about feminine painters and their achievements in the art field. It begins with the painter Sophonisba Angussola. The passage praises her work for being in famous museums and sought after by Kings. The excelled her master and made a career for herself in portrait painting. Even when she was old and blind, she was an amazing teacher of the fine arts. The next featured painter is Mille Marie Laurencin who was known for her feminine aesthetic. Her paintings were put on the same level as Picasso except her paintings were filled with emotion and charm. The third painter is a man, Le Douanier Rosseau. His art often featured feminine features and he was praised for his harmonious shades of the same color. He used delicate tones and his art was also considered to have charm. <br><br> | This passage is all about feminine painters and their achievements in the art field. It begins with the painter Sophonisba Angussola. The passage praises her work for being in famous museums and sought after by Kings. The excelled her master and made a career for herself in portrait painting. Even when she was old and blind, she was an amazing teacher of the fine arts. The next featured painter is Mille Marie Laurencin who was known for her feminine aesthetic. Her paintings were put on the same level as Picasso except her paintings were filled with emotion and charm. The third painter is a man, Le Douanier Rosseau. His art often featured feminine features and he was praised for his harmonious shades of the same color. He used delicate tones and his art was also considered to have charm. <br><br> | ||
Towards the end of its life, <b><i>The Little Review</i></b> shifted drastically the to the feminist side of things. This article is an example of that. The word “feminine” is used often to describe these painters in some way. For example, the article states that Sophonisba Angussola is “the most notable example of feminine glory achieved in the plastic arts.” For Laurencin, “she has known to express, in the major art of painting, an entirely feminine aesthetic” and for Rosseau, again, his arts “featured feminine features.” Not only was “feminine” used to describe the painter in some way, but other words such as “charm” and “delicate” were also used. These words are traditionally feminine, especially at this time, so it’s clear that the article is putting emphasis on the feminist side of things. Furthering this, the article speaks nothing but praise for these artists. In particular, it puts Laurencin on the same level as Picasso, a very famous artist, stating that this female artist was just as good as this male one. This passage seems to be a sort of inspiration for feminist readers, encouraging them toward pursuing further artistic endeavors. | Towards the end of its life, <b><i>The Little Review</i></b> shifted drastically the to the feminist side of things. This article is an example of that. The word “feminine” is used often to describe these painters in some way. For example, the article states that Sophonisba Angussola is “the most notable example of feminine glory achieved in the plastic arts.” For Laurencin, “she has known to express, in the major art of painting, an entirely feminine aesthetic” and for Rosseau, again, his arts “featured feminine features.” Not only was “feminine” used to describe the painter in some way, but other words such as “charm” and “delicate” were also used. These words are traditionally feminine, especially at this time, so it’s clear that the article is putting emphasis on the feminist side of things. Furthering this, the article speaks nothing but praise for these artists. In particular, it puts Laurencin on the same level as Picasso, a very famous artist, stating that this female artist was just as good as this male one. This passage seems to be a sort of inspiration for feminist readers, encouraging them toward pursuing further artistic endeavors. | ||
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==V. Conclusion== | ==V. Conclusion== | ||
| + | After this, it is clear that World War 1 had a large impact on the content and theme of the magazine. During the war, the magazine was much more inclined to promote anarchy, while afterwards seemed to nearly drop the subject, preferring to discuss feminism. The reason anarchy is discussed during the war becomes obvious when you read through the magazine: the editor clearly feels that the atrocities going on around the world are the direct responsibility of the state. The largest anarchy peak occurs right after the execution of three Irish poets whom the author clearly admires. These poets were part of rebellion against Britain, and were executed for treason against the state, an action which an anarchist would clearly admire. The editor also blames the war on imperialism, which she associates with capitalism. These all work together to promote the editor's feelings of anarchy across that span of the magazine. | ||
==References== | ==References== | ||
http://modjourn.org/render.php?view=mjp_object&id=LittleReviewCollection | http://modjourn.org/render.php?view=mjp_object&id=LittleReviewCollection | ||
