{"title":"Art and Criticism in the Machine Age: The Tyro","authors":"Nathan O’Donnell","doi":"10.3828/liverpool/9781789621662.003.0003","DOIUrl":"https://doi.org/10.3828/liverpool/9781789621662.003.0003","url":null,"abstract":"This chapter explores Lewis’s second editorial venture, The Tyro, a magazine which formed one component of a much broader – though largely unfinished – satirical science-fiction project, postulating a future society of ‘Tyros’, living in caste formation on a distant planet. This chapter examines this distinctly professionalist critical project in relation to Harold Perkin’s sociohistoric analysis of the ‘professionalisation’ of British society in the late nineteenth and early twentieth centuries. For Perkin, the professional project is bound up with the processes of industrial rationalisation, the corporatisation of state and business interests, and the evolution of a ‘professional ideal’ (privileging knowledge, expertise, and human resources). Across the Tyro project, Lewis reflected upon these processes and transformations. This chapter considers the influence of the scientific management movement, and the already mythologised figure of Henry Ford, upon Lewis’s thought, casting the world of the Tyros as a professional utopia (or dystopia), organised along syndicalist lines. In this respect, the Tyro anticipates The Art of Being Ruled, in which Lewis went on to formulate a proposal for a particularly noxious societal system, an occupational caste system; a disquieting vision which is explored and traced here – in varying ways – across the work of a number of contemporary critics.","PeriodicalId":120269,"journal":{"name":"Wyndham Lewis's Cultural Criticism and the Infrastructures of Patronage","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130068287","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘I am planning a small review’: The Enemy and the General Strike","authors":"Nathan O’Donnell","doi":"10.3828/liverpool/9781789621662.003.0004","DOIUrl":"https://doi.org/10.3828/liverpool/9781789621662.003.0004","url":null,"abstract":"Lewis’s ideas about authoritarianism and the ‘masses’ changed significantly after the publication of The Art of Being Ruled in March 1926.This chapter focuses upon the events of the months succeeding this, during which time Lewis’s articulates certain revisions to his argument. In the appendix to ‘The Revolutionary Simpleton,’ published in the first issue of The Enemy, January 1927, Lewis revealed the first signs of a more humanist criticism which would gradually effect a reverse in his attitude to the rational-industrial project, to mass-production, and to the status of the subject in a corporatised society. The genesis of this reversal is tracked over a specific chronology, examining Lewis’s interactions with the Parisian avant-garde, his changing attitude to the concept of ‘revolution,’ and his response to the General Strike of May 1926, which Lewis later referred to as the summit of his ‘political education.’ This chapter maps these interrelated subjects within the ‘Appendix’ and then examines further intersections in The Apes of God, a novel that features the General Strike as a thematic centrepiece. This chapter aims to reframe some of the trajectory of Lewis’s politics, in line with the increasingly nuanced scholarly analysis of Lewis’s thought within recent modernist studies.","PeriodicalId":120269,"journal":{"name":"Wyndham Lewis's Cultural Criticism and the Infrastructures of Patronage","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125191016","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘Public Money is Private Money’: Paying for the Arts in the 1930s","authors":"Nathan O’Donnell","doi":"10.3828/liverpool/9781789621662.003.0005","DOIUrl":"https://doi.org/10.3828/liverpool/9781789621662.003.0005","url":null,"abstract":"This chapter considers developments in Lewis’s criticism of the 1930s, in particular his writing on patronage and the economic status of the artist, during an era of reduced opportunities for artists in England. In a sequence of essays published in 1934-5, written in response to a series of exhibitions of ‘modern’ interior and furniture design, and in the editorial materials for the 1938 edition of his collected writings on art, Lewis assessed the place of machine aesthetics in poetry and painting. In these texts, Lewis asked probing questions about how modern art was being evaluated, pointing to what he saw as the failure of the state to foster and protect art from the irresponsible and unaccountable demands of commercial interests, with artists (in the absence of any state support) increasingly operating as advertisers for corporations. Here Lewis made clear some of the modifications in his thinking, his increasingly inclination toward state intervention, and his continued opposition to the commercial imperatives of what he calls the ‘Bankers Olympia’ of contemporary capitalism, to which, in his view, the artists of the international style were openly and readily capitulating.","PeriodicalId":120269,"journal":{"name":"Wyndham Lewis's Cultural Criticism and the Infrastructures of Patronage","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-05-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123007792","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Afterword","authors":"Sian Lazar","doi":"10.1017/9781139565981.020","DOIUrl":"https://doi.org/10.1017/9781139565981.020","url":null,"abstract":"This chapter summarizes the findings on authorship controversies. It highlights the extent to which false or not genuine attributions without intent to deceive has been made or claimed. It also explains the three categories of attribution: genuine attribution, false attribution with intent to deceive, and false attribution without intent to deceive. The chapter analyzes the basic principles for authorship studies and compares similarities in the types of arguments used by the defenders of the traditional attributions to Ivan IV, Andrei Kurbskii, and William Shakespeare. It also concentrates on issues of attribution and misattribution, which involve accusations of forgery and plagiarism, as well as the question of who the author was.","PeriodicalId":120269,"journal":{"name":"Wyndham Lewis's Cultural Criticism and the Infrastructures of Patronage","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115688852","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}