Analysis of information sources in references of the Wikipedia article "Модернізм" in Ukrainian language version.
The ground motive of modernism, Graff asserts, was criticism of the nineteenth-century bourgeo Pergolesi and Glinka. He incorporated Debussy and Webern into his own idiom. In each instance the listener was meant to recognize the source, to grasp the intent of a transformation which left salient aspects of the original intact. The history of Picasso is marked by retrospection. The explicit variations on classical pastoral themes, the citations from and pastiches of Rembrandt, Goya, Velázquez, Manet, are external products of a constant revision, a 'seeing again' in the light of technical and cultural shifts. Had we only Picasso's sculptures, graphics, and paintings, we could reconstruct a fair portion of the development of the arts from the Minoan to Cézanne. In 20th-century literature, the elements of reprise have been obsessive, and they have organized precisely those texts which at first seemed most revolutionary. The Waste Land[en], Ulysses, Pound's Cantos[en] are deliberate assemblages, in-gatherings of a cultural past felt to be in danger of dissolution. The long sequence of imitations, translations, masked quotations, and explicit historical paintings in Robert Lowell's[en] History has carried the same technique into the 1970s. [...] In Modernism collage has been the representative device. The new, even at its most scandalous, has been set against an informing background and framework of tradition. Stravinsky, Picasso, Braque, Eliot, Joyce, Pound—the 'makers of the new'—have been neo-classics, often as observant of canonic[en] precedent as their 17th-century forebears.
