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Jonathan Atkin

him roundly condemned and he had been forced to step down from the two committees of the Society of Authors and resign both his membership of the Dramatists’ Club and his directorship of the New Statesman in 1916. Although he was also struck off a list of proposed names for a post-war Reconstruction Committee by Lloyd George, Shaw continued his chairmanship of the Fabian Research Department throughout the war. In January 1915, Leonard Woolf had been engaged as secretary of a subcommittee of this research department to formulate Fabian policy on peace and the future

in A war of individuals
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Towards an archaeology of modernism
Jay Bernstein

of high modernism, post-stutter so to speak. Modernist art is autonomous art, but autonomous art must always be understood as possessing a ‘double character’: ‘something that severs itself from empirical reality and thereby from society’s functional context and yet is at the same time part of empirical reality and society’s functional context’.6 Hence aesthetic phenomena are directly both purely aesthetic, phenomena that have their gravity and meaning as ingredients in an autonomous practice, and social facts, although these two aspects are never experientially

in The new aestheticism
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Jonathan Atkin

shared certain Christian and Socialist presuppositions, but neither Christianity nor Socialism was the substance of their pacifism’.6 From an early age, ‘his desire to serve humanity was strong’, E.M. Forster declared in his 1934 biography of Dickinson, though pointing out, in a statement tinged with Forster’s own post-war regret, that ‘love of humanity’ did not now (in the 1930s) carry with it the same promise that it had done in the previous century. In 1887, three years after obtaining a First in Classics, Dickinson was elected to a Fellowship at King’s College, his

in A war of individuals