Abstract
Abstract The “fallacy” Spender attributes to Ezra Pound and Wyndham Lewis turns on the paradox he finds in these “revolutionary traditionalists.” How does a state-of-the-art technique, Spender is asking, lend its timely energy to the art of an antique State? Archly experimental, the artistic temperament of the modernists promised to be progressive, forward-looking, liberal in a conventional sense, but this aesthetic intelligence colluded with social attitudes manifestly backward, reactionary, indeed atavistic. How can the radical inventions of Pound and Lewis, those ultramodernists, locate the root of their attraction to Nazi Germany and fascist Italy—societies they praised explicitly for recovering an ancient hierarchy?
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
