Despite the brevity of its run and the diminutive size of its audience, The English Intelligencer is a key publication in the history of literary modernism in the British Isles. Emerging in the mid-1960s from a dissatisfaction with the prevailing norms of 'Betjeman's England', the young writers associated with it were catalysed by the example of Donald Allen's The New American Poetry as they sought to establish a revitalised modernist poetics. Late Modernism and The English Intelligencer gives the first full account of the extraordinary history of this publication, bringing to light extensive new archival material to establish an authoritative contextualisation of its operation and its relationship with post-war British poetry. This material provides compelling new insights into the work of the Intelligencer poets themselves and, more broadly, the continued presence of an international poetic modernism as a vital force in Britain in the second half of the twentieth century.

Between the 1890s and the 1920s, mass consumer culture and modernism grew up together, by most accounts as mutual antagonists. This provocative work of cultural history tells a different story. By delving deeply into the publishing and promotional practices of the modernists in Britain and America, however, Mark Morrisson reveals that their engagements with the commercial mass market were in fact extensive and diverse. The phenomenal successes of new advertising agencies and mass market publishers did elicit what Morrisson calls a "crisis of publicity" for some modernists and for many concerned citizens in both countries. But, as Morrisson demonstrates, the vast influence of these industries on consumers also had a profound and largely overlooked effect upon many modernist authors, artists, and others. By exploring the publicity and audience reception of several of the most important modernist magazines of the period, The Public Face of Modernism shows how modernists, far from lamenting the destruction of meaningful art and public culture by the new mass market, actually displayed optimism about the power of mass-market technologies and strategies to transform and rejuvenate contemporary culture--and, above all, to restore a public function to art. This reconstruction of the "public face of modernism" offers surprising new perceptions about the class, gender, racial, and even generational tensions within the public culture of the early part of the century, and provides a rare insight into the actual audiences for modernist magazines of the period. Moreover, in new readings of works by James Joyce, George Bernard Shaw, Wyndham Lewis, Ford Madox Ford, T. S. Eliot, William Carlos Williams, and many others, Morrisson shows that these contexts also had an impact on the techniques and concerns of the literature itself.

This inventive and lucid book sheds new light on topics as diverse as crime, authority, and retailing in eighteenth-century Britain, and makes a major contribution to broader debates around consumerism, popular culture, and material life. The material lives of ordinary English men and women were transformed in the years following the restoration of Charles II in 1660. Tea and sugar, the fruits of British mercantile and colonial expansion, altered their diets. Pendulum clocks and Staffordshire pottery, the products of British manufacturing ingenuity, enriched their homes. But it was in their clothing that ordinary people enjoyed the greatest change in their material lives. This book retrieves the unknown story of ordinary consumers in eighteenth-century England and provides a wealth of information about what they wore. John Styles reveals that ownership of new fabrics and new fashions was not confined to the rich but extended far down the social scale to the small farmers, day laborers, and petty tradespeople who formed a majority of the population. The author focuses on the clothes ordinary people wore, the ways they acquired them, and the meanings they attached to them, shedding new light on all types of attire and the occasions on which they were worn.

Vols. for 1969- include ACTFL annual bibliography of books and articles on pedagogy in foreign languages 1969-

This book collects a number of essays on the relationship between music, cultural history and musicology in Ireland which, taken together, comprise a natural progression from the author's widely acclaimed monograph, The Keeper's Recital (1998). The progress of music in Ireland contains essays on contemporary music and musical infrastructures in Ireland; on Irish musical nationalism in the context of German and Czech traditions; on the presence of music in the work of Brian Friel and Samuel Beckett; on Joyce and music; on university education and Irish musical education; on the discourse of musicology in Ireland; and on the work of Brian Boydell and Aloys Fleischmann as pioneers in Irish musical scholarship.