The Oxford Critical and Cultural History of Modernist Magazines

Volume III: Europe 1880 - 1940
Erscheinungsjahr 2013
ISBN: 978-0-19-965958-6
Verlag: Hurst & Co.

Buch, Englisch, 1528 Seiten, 2-volume set, Format (B × H): 180 mm x 308 mm, Gewicht: 3392 g

Reihe: Oxford Critical Cultural History of Modernist Magazines

The third of three volumes devoted to the cultural history of the modernist magazine in Britain, North America, and Europe, this collection contains fifty-six original essays on the role of 'little magazines' and independent periodicals in Europe in the period 1880-1940. It demonstrates how these publications were instrumental in founding and advancing developments in European modernism and the avant-garde.

Expert discussion of approaching 300 magazines, accompanied by an illuminating variety of cover images, from France, Italy, Germany, Spain and Portugal, Scandinavia, Central and Eastern Europe will significantly extend and strengthen the understanding of modernism and modernity. The chapters are organised into six main sections with contextual introductions specific to national, regional histories, and magazine cultures. Introductions and chapters combine to elucidate the part played by magazines in the broader formations associated with Symbolism, Expressionism, Futurism, Dada, Surrealism, and Constructivism in a period of fundamental social and geo-political change. Individual essays, situated in relation to metropolitan centres bring focussed attention to a range of celebrated and less well-known magazines, including Le Chat Noir, La Revue blanche, Le Festin d'Esope, La Nouvelle Revue Française, La Révolution Surréaliste, Documents,De Stijl, Ultra, Lacerba, Energie Nouve, Klingen, Exlex, flamman, Der Blaue Reiter, Der Sturm, Der Dada, Ver Sacrum, Cabaret Voltaire, 391, ReD, Zenit, Ma, Contemporanul, Formisci, Zdroj, Lef ,and Novy Lef.

The magazines disclose a world where the material constraints of costs, internal rivalries, and anxieties over censorship ran alongside the excitement of new work, collaboration on a new manifesto and the birth of a new movement. This collection therefore confirms the value of magazine culture to the expanding field of modernist studies, providing a rich and hitherto under-examined resource which helps bring to life the dynamics out of which the modernist avant-garde evolved.

Zielgruppe

Students and scholars of literary and artistic modernism; cultural historians of the twentieth century.

Autoren/Hrsg.

Brooker, Peter

Bru, Sascha

Thacker, Andrew

Weikop, Christian

Fachgebiete

• Sozialwissenschaften Medien- und Kommunikationswissenschaften Medienwissenschaften Medientheorie, Medienanalyse
• Sozialwissenschaften Medien- und Kommunikationswissenschaften Medienwissenschaften Journalismus & Presse
• Interdisziplinäres Wissenschaften Wissenschaft und Gesellschaft | Kulturwissenschaften Kulturwissenschaften

Inhaltsverzeichnis

Peter Brooker: General Introduction: Modernity, modernism, magazines
France
Peter Brooker: Introduction
1: Diana Schiau Botea: Performing writing: Le Chat Noir (1881-95), Le Courrier français (1884-1913), Gil Blas illustré (1891-1903), Les Quat'z'arts (1897-8)
2: Alexia Kalantzis: The 'little magazine' as publishing success : Le Scapin (1885-6), La Pleiade (1886-90), Le Mercure de France (1890-1965)
3: Elisa Grilli and Evanghelia Stead: Between symbolism and avant-garde poetics: La Plume (1889-1905), L'Ermitage (1890-1906), and La Revue blanche (1890-1905)
4: Anne-Rachel Hermetet: Modern classicism: La Nouvelle Revue française (1909-43) and Commerce (1924-32)
5: Willard Bohn: Apollinaire and 'the new spirit': Le Festin d'Esope (1903), Les Soirées de Paris (1912 -June 1913; Nov. 1913- July 1914), L'élan (1915-Feb 1916; Dec.1916)
6: Simon Dell: After Apollinaire: SIC (1916-19), Nord-Sud (1917-18) and L'Esprit Nouveau (1920-5)
7: David Hopkins: Proto-Dada. The New York connection: The Ridgefield Gazook (1915), The Blind Man (1917), Rongwrong (1917), 391 (1917), TNT (1919), New York Dada (1921)
8: Ruth Hemus: A Dada Season: 391 (1919-24), Cannibale (1920), Projecteur (1920), Dada (1920-1), Le Coeur à Barbe (1922)
9: John Attridge: Eclecticism and its discontents: Les Ecrits nouveaux (1917-22) and La Revue européenne (1923-31)
10: Raymond Spiteri: 'Que faire les surréalistes?': Littérature (1919-24), La Révolution surréaliste, (1925-9), Le Surréalisme au service de la révolution, (1930-3)
11: Eric Robertson: 'A shameless, indecent saintliness': Georges Bataille, Documents (1929-31), and Acéphale (1936-9)
12: Jed Rasula: Dangerous games and new mythologies: Cercle et Carré (1930), Art Concret (1930), Abstraction-Création (1932-5); Minotaure (1933-9)
The Low Countries
Sascha Bru: Introduction
13: Sascha Bru: 'The will to style': the Dutch contribution to the avant-garde: Leiden: De Stijl (1917-32), Mécano (1922-3), Amsterdam: Wendingen (1918-32), i10 (1927-9), Groningen: The Next Call (1923-6)
14: Daphné de Marneffe: Antwerp circles.Languages, locality, and internationalism: Ontwaking (1896, 1901-1910), De Boomgaard (1909-11), Résurrection (1917-18), Het Roode Zeil (1920), Sélection (1920-33), Ruimte (1920-1), Het Overzicht (1921-5), De Driehoek (1925-6), Lumière (1919-23), Ça Ira (1920-3)
15: Francis Mus and Hans Vandevoorde: 'Streetscape of new districts permeated by the fresh scent of cement'. Brussels, the avant-garde, and internationalism: La Jeune Belgique (1881-7), Van Nu en Straks (1893-1901), L'Art libre (1919-22), Le Disque Vert (1922-5), Variétés (1928-30), 7 Arts (1922-8)
Spain and Portugal
Peter Brooker: Introduction
16: Lori Cole: Madrid. Questioning the avant-garde: Helios (1903-4), El Nuevo Mercurio (1907), Prometeo (1908-12), Los Quijotes (1915-18), Cosmópolis (1919-1922), Grecia (1918-20), Ultra (1921-2), Ambos (1923), Litoral (1926-7,1929), Mediodía (1926-9), Carmen y Lola (1927-9), La Gaceta Literaria (1927-32), and Gallo (1928).
17: Geoff West: 'Noucentisme' and the avant-garde in Barcelona (1916-36) : La Revista. Quaderns de publicació quinzenal (1915-36) Vell i nou. Revista d'art (1915-19, 1920-1), Revista nova (1914, 1916-17), 391 (1917), Troços (1916, 1917-18) ; L'Instant. Revue franco-catalane d'art et littérature (1918-19), Un enemic del poble (1917-19), Arc-voltaic (1918), Proa (1921), L'Amic de les arts (1926-8), Hèlix (1929-30), A.C. Documentos de actividad contemporánea (1931-7), D'ací i d'allà (1918-36).
18: Clara Rocha: Modernist magazines in Portugal. Orpheu and its legacy: Orpheu (1915), Exílio (1916), Centauro (1916), Portugal Futurista (1917), Contemporânea (1915, 1922-6), Athena (1924-5), Sudoeste (1935), Presença (1927-38; 1939-40).
Italy
Sascha Bru (MDRN): Introduction
19: Francesca Billiani: Political and aesthetic transgressions. Florentine reviews à la mode: Il Marzocco (1896-1932), Il Regno (1903-5), Il Leonardo (1903-7), Hermes (1904), and La Voce (1908-14)
20: Luca Somigli: Past-loving Florence and the temptations of futurism: Lacerba (1913-15), Quartiere Latino (1913-14), L'Italia futurista (1916-18), La Vraie Italie (1919-20)
21: Mariana Aguirre: The return to order in Florence: Il Selvaggio (1924-43), Il Frontespizio (1929-40), Pègaso (1929-33), Campo di Marte (1938-9)
22: Eric Bulson: Milan, the 'rivista', and the de-provincialization of Italy: Le Papyrus (1894-6), Poesia (1905-09), Il Convegno (1920-40), Pan (1933-5), Corrente di vita giovanile (1938-40)
23: Vivien Greene: Bizantium and emporium: fine-secolo magazines in Rome and Milan: Fanfulla della Domenica (1879-1919), Cronaca Bizantina (1881-6), Il Convito (1895-1907), Cronaca d'Arte (1890-2), Vita Moderna (1892-5), Emporium (1895-1964)
24: Chris Michaelides: Futurist Periodicals in Rome (1916-39). From effervescence to disillusionment: Avanscoperta (1916-17), Cronache d'attualità (1916-22), Noi (1917-25), Roma futurista (1918-20), Dinamo: Rivista futurista (1919), Le Futurisme (1922-31), La Ruota dentata (1927), 2000 Giornale della rivoluzione artistica (1929), Futurismo (May 1932- Nov. 1933), Sant'Elia (Oct. 1933-Sept. 1934), Artecrazia (Oct. 1934- Jan. 1939).
25: Arianna Bove: 'The old was dying but the new could not be born'. Revolutionary magazines in Turin: Energie Nuove (1918-20), L'Ordine Nuovo (1919-20), Rivoluzione Liberale (1922-4), Il Baretti (1924-6)
Scandinavia
Peter Brooker: Introduction
26: Bjarne Søndergaard Bendtsen: Copenhagen. From the ivory tower to street activism: Ny Jord (1888-9), Taarnet (1893-4), Ungt Blod (1895-6), Vagten (1899-1900); Klingen (1917-20); Kværnen (1920), Buen (1924-25), Sirius (1924-25), Kritisk Revy (1926-8); Baalet (1921-2), Bjerget (1923), Pressen (1923-4), I Morgen (1925,1927); Clarté (1926-7), Monde (1928-31); linien (1934-9), konkretion (1935-6)
27: Eirik Vassenden: Norway. The Province and its Metropolites: Impressionisten (1886-90), Exlex (1919-20), PLAN (1933-6)
28: Mats Jansson: Crossing borders. Modernism in Sweden and the Swedish-speaking part of Finland: Thalia (1909-13), Ny konst (1915), flamman (1917-21), Ultra (1922), Quosego (1928-9), kontakt (1931), Spektrum (1931-3) and Karavan (1934-5).
Germany, Austria, Switzerland
Christian Weikop: Introduction
29: Timothy W. Hiles: Reality and utopia in Munich's premier magazines: Simplicissimus (1896-1944) and Jugend (1896-1940).
30: Jessica Horsley: 'There you have Munich': Der Blaue Reiter (1912), Revolution (1913), Der Weg (1919)
31: Andreas Kramer: Between art and activism: Pan (1895-1900; 1910-15), Die weissen Blätter (1913-21), Das neue Pathos (1913-19); Marsyas (1917-19)
32: Douglas Brent McBride: A critical mass for modernism in Berlin: Der Sturm (1910-1932), Die Aktion (1911-1932), Sturm-Bühne (1918-1919)
33: Christian Weikop: Transitions: from Expressionism to Dada: Neue Jugend (1914; 1916-17), Die freie Strasse (1915-18), Club Dada (1918)
34: Christian Weikop: Berlin Dada and the carnivalesque: Jedermann sein eigner Fussball (1919) and Der Dada (1919-20)
35: Sabine T. Kriebel: Radical left magazines in Berlin: Die Pleite (1919, 1923-4); Der blutige Ernst (1919); Der Gegner (1919-22); Der Knüppel (1923-7); Eulenspiegel (1928-31); AIZ/VI (1924-38)
36: Stephen Bury: 'Not to adorn life but to organize it': Veshch. Gegenstand. Objet: Revue internationale de l'art moderne (1922), G (1923-6)
37: Erika Esau: 'The magazine of enduring value': Der Querschnitt (1921-36) in context
38: Kathleen Chapman: Dresden. 'Collectivity is dead, long live mankind': Der Komet (1918-19), Menschen (1918-21), Neue Blätter für Kunst und Dichtung (1918-21)
39: Timothy O. Benson: Hamburg and Kiel: Radical Bildungsbürgertum: Die Schöne Rarität (1917-1919), Die Rote Erde (1919-1923), Der Sturmreiter (1919-1920), Kündung
40: Lynette Roth: Cologne.The magazine as artistic and social imperative:Der Ventilator (1919); Bulletin D (1919); Die Schammade (1920); Stupid (1920); a bis z (1929-33)
41: Dorothea Dietrich: Hannover. 'True art' and 'true DADA': Das Hohe Ufer (1919-20), Der Zweemann (1919-20), Der Marstall (1920), and Merz (1923-32)
42: Patrick Rössler: Frankfurt, Leipzig, and Dessau. 'neue typographie' - the new face of a new world: das neue frankfurt and die neue linie
43: Diane Silverthorne: Vienna's 'Holy Spring' and beyond: Ver Sacrum (1898-1903), Almanach der Wiener Werkstätte (1911), Hohe Warte (1904-9), Deutsche Kunst und Dekoration (1897-1932)
44: Edward Timms: From the Hapsburg Empire to the Holocaust: Die Fackel (1899-1936) and Der Brenner (1910-54)
45: Debbie Lewer: The avant-garde in Swiss exile 1914-20: Der Mistral (1915), Sirius (1915-16), Cabaret Voltaire (1916), Dada (1917-19), 391 (No. 8, 1918), Der Zeltweg (1919), Almanach der Freien Zeitung (1918).
East-Central Europe
Peter Brooker: Introduction
46: Nicholas Sawicki: The view from Prague: Moderní revue (1894-1925), Volné sm%ery (1896-1949), Um%elecký m%esí%cník (1911-4), Revolu%cní sborník Dev%etsil (1922), %Zivot (1923), Disk (1923-5), Pásmo (1924-6), ReD (1927-31)
47: Laurel Seely and Tyrus Miller: Avant-garde journals in the Yugoslav crucible: Zenit (Zagreb 1921-3; Belgrade 1924-6); Zagreb: Dada-Jok (1922), Dada-Tank (1922), Dada Jazz (1922); Novi Sad: Út (1922-5); Ljubljana: Svetokret (1921), Rde%ci pilot (1922), Tank (1927)
48: Éva Forgács and Tyrus Miller: The avant-garde in Budapest and in exile in Vienna: A Tett (1915-6), Ma (Budapest 1916-9; Vienna 1920-6), Egység (1922-4), Akasztott Ember (1922), 2x2 (1922), Ék (1923-4), Is (1924), 365 (1925), Dokumentum (1926-7), RIMunka (1928-39).
49: Irina Livezeanu: Romania. 'Windows toward the West': new forms and the 'poetry of true life'. Revista celor l'alti (1908), Insula (1912), Chemarea (1912), Contimporanul (1922-32), 75 HP (1924), Punct (1924-5 ), Integral (1925-8), Urmuz ( 1925 ), Unu (1928-33)
50: Przemyslaw Strozek: Kraków and Warsaw. Becoming the avant-garde: Rydwan (first series 1912-14), Maski (1918-19), Wianki (1919-22), Formi'sci (1919-21), Nowa Sztuka (1921-2), Zwrotnica (1922-3), Blok (1924-6)
51: Lidia Gluchowska: Poznan and Lódz. Nationalist modernism and the international avant-garde: Zdrój (1917-22); Ing-Idysz (Jung Idysz) (1919), Tel-Awiw (1919-21)
Russia, the Soviet Union, and Ukraine
Peter Brooker: Introduction
52: Christina Lodder with Peter Hellyer: St. Petersburg / Petrograd/ Leningrad. From aesthetes to revolutionaries: Mir Iskusstva (1898-1904), Apollon (1909-17), Studiya Impressionistov (1910), Soyuz Molodezhii (1912-13), Iskusstvo Kommuny (1918-19)
53: Oleg Minin: Modernism upheld. Moscow journals of art and literature: Vesy (1904-9), Iskusstvo (1905), Zolotoe Runo (1906-9), and Mákovets (1922).
54: Christina Lodder: From futurist iconoclasm to socialist construction: Futuristy. Pervyi zhurnal russkikh futuristov (1914), Lef: Levyi front iskusstv (1923-5), Novyi Lef (1927-8), Internationatsional'naya literature (1933-45)
55: Emily Finer: 'A rift on the left front': Lef (1923-5) and Na postu (1923-5)
56: Oleh S. Ilnytzkyj: Under imperial eyes in Kyiv and Kharkiv magazines: Ukrains'ka khata (1909-14), Muzahet (1919), Mystetstvo (1919), Katafalk iskusstva (1922), Semafor u maibutnie (1922), Honh komunkul'ta (1924), Nova generatsiia (1927-30), Avangard: Al'manakh proletars'kykh myttsiv Novoi generatsii (1930).

Über Autor(innen)

Peter Brooker is Emeritus Professor in the Department of Culture, Film and Media, the University of Nottingham. He has written widely on contemporary writing, theory, and film is the author of Bertolt Brecht: Dialectics, Poetry, Politics (1989), New York Fictions (1996), Modernity and Metropolis (2004), Bohemia in London (2004, 2007) and A Glossary of Cultural Theory (1999, 2002). He has co-edited The Geographies of Modernism (2005), and was Co-Director of the AHRC funded Modernist Magazine Project (2005-2010). Most recently he is co-editor of Vols. 1 and 2 of The Oxford Critical and Cultural History of Modernist Magazines (2009) and of The Oxford Handbook of Modernisms (2010). He was a Professorial Fellow at the Centre for Modernist Studies at the University of Sussex (2008-10) and a Visiting Professor at the University of Birmingham (2009). He served between 2005 -2011 as Chair of the Raymond Williams Society.

Sascha Bru (MDRN) is Professor of literary theory at the University of Leuven. He has written extensively on the poetics and politics of the modernist avant-gardes, including Democracy, Law and the Modernist Avant-Gardes: Writing in the State of Exception (2009) and the co-edited volumes, The Invention of Politics in the European Avant-Garde - 1906-1940 (2006), Europa! Europa? The Avant-Garde, Modernism and the Fate of a Continent (2009) and Regarding the Popular: High and Low Culture in Modernism and the Avant-Garde (2011). He is a founder of EAM (The European Network for Avant-Garde and Modernist Studies)

Andrew Thacker is currently Professor of Twentieth Century Literature and Director of the Centre for Textual Studies at De Montfort University, Leicester. He co-founded the Northern Modernism seminar and is an editor of the journal Literature & History. He has published widely upon modernism, including Moving Through Modernity: Space and Geography in Modernism (2003), The Imagist Poets (2011), and the co-edited The Oxford Handbook of Modernisms (2010). He is currently Chair of the British Association for Modernist Studies.

Christian Weikop is Chancellor's Fellow in the History of Art at the University of Edinburgh and has held research fellowships in the United Kingdom, United States, and Germany. He has written widely on twentieth-century German art for international art journals and museum publications, as well as for the projects ARTIST ROOMS (Tate/National Galleries of Scotland) and the Image of the Black in Western Art series (Harvard University). He is editor of the volume New Perspectives on Brücke Expressionism: Bridging History (2011) and founder of the Research Forum for German Visual Culture at the University of Edinburgh.