This materialist study of the short story's development in three
diverse magazines reveals how, at the dawn of modernism, commercial
pressures prompted modernist formal innovation in popular
magazines, whilst anti-commercial opacity paradoxically formed the
basis of an effective marketing strategy that appealed to elitism.
Integrating methods of cultural studies with formal analyses, this
study builds upon recent work challenging Andreas Huyssen's
provocative formation, the "great divide" of modernism.
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