Download Beloved Community: The Cultural Criticism of Randolph by Casey Nelson Blake PDF

By Casey Nelson Blake

The "Young American" critics—Randolph Bourne, Van Wyck Brooks, Waldo Frank, and Lewis Mumford—are renowned as principal figures within the Greenwich Village "Little Renaissance" of the 1910s and within the postwar debates approximately American tradition and politics. In cherished neighborhood, Casey Blake considers those intellectuals as a coherant staff and assesses the relationship among thier cultural criticisms and their makes an attempt to forge a communitarian replacement to liberal and socialist poitics.Blake attracts on biography to stress the intersection of questions of self, tradition, and society of their demands a tradition of "personality" and "self-fulfillment." not like the tendency of prior analyses to split those critics' cultural and autobiographical writings from their politics, Blake argues that their cultural feedback grew out of an intensive imaginative and prescient of self-realization via participation in a democratic tradition and polity. He additionally examines the younger American writers' interpretations of such turn-of-the-century radicals as William Morris, Henry George, John Dewey, and Patrick Geddes and indicates that this adversary culture nonetheless bargains vital insights into modern matters in American politics and culture.Beloved group reestablishes the democratic content material of the younger american citizens' excellent of "personality" and argues opposed to viewing a monolithic healing tradition because the sole successor to a Victorian "culture of character." The politics of selfhood that was once so severe to the younger americans' undertaking has remained a contested terrain in the course of the 20th century.

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Additional resources for Beloved Community: The Cultural Criticism of Randolph Bourne, Van Wyck Brooks, Waldo Frank, and Lewis Mumford

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Bourne, Brooks, Page 3 Frank, and Mumford were undeniably advocates of an indigenous modern culture, but they viewed such a development as one component of a far broader assault on the culture of industrialism. In their writings, calls for cultural renewal were joined with attacks on the factory system, which by undermining craftsmanship had deprived men and women of the cultural resources necessary to participation in a democratic community. Their generous ideal of a revitalized American culture could only be realized, they argued, in a society that returned aesthetic experience to the center of everyday life by reversing the industrial division of labor.

In the twentieth century, John Dewey would emerge as the preeminent heir to this tradition and the foremost republican critic of American social and political institutions. What marked both of these traditions off from conventional progressivismwhether of the liberal or Marxist varietywas their relative inattention to the public sphere as an arena of conflict and their subordination of questions of class or rights to an ideal of community. Both the romantic and the republican indictments of modern industrial society stressed the need for personal fulfillment in smallscale communities knit together by shared cultural traditions, mutual aid, and a sense of the common good.

In the twentieth century, John Dewey would emerge as the preeminent heir to this tradition and the foremost republican critic of American social and political institutions. What marked both of these traditions off from conventional progressivismwhether of the liberal or Marxist varietywas their relative inattention to the public sphere as an arena of conflict and their subordination of questions of class or rights to an ideal of community. Both the romantic and the republican indictments of modern industrial society stressed the need for personal fulfillment in smallscale communities knit together by shared cultural traditions, mutual aid, and a sense of the common good.

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