The Oxford Critical and Cultural History of Modernist Magazines Volume III: Europe 1880 - 1940

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  • Format: Hardcover
  • Copyright: 2013-05-19
  • Publisher: Oxford University Press
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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, includingLe Chat Noir,La Revue blanche,Le Festin d'Esope,La NouvelleRevue Francaise,La Revolution Surrealiste,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 ,andNovy 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.

Author Biography

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 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.

Table of Contents

General Introduction: Modernity, modernism, magazines, Peter Brooker
Introduction, Peter Brooker
1. Performing writing: Le Chat Noir (1881-95), Le Courrier francais (1884-1913), Gil Blas illustre (1891-1903), Les Quat'z'arts (1897-8), Diana Schiau Botea
2. The 'little magazine' as publishing success : Le Scapin (1885-6), La Pleiade (1886-90), Le Mercure de France (1890-1965), Alexia Kalantzis
3. Between symbolism and avant-garde poetics: La Plume (1889-1905), L'Ermitage (1890-1906), and La Revue blanche (1890-1905), Elisa Grilli and Evanghelia Stead
4. Modern classicism: La Nouvelle Revue francaise (1909-43) and Commerce (1924-32), Anne-Rachel Hermetet
5. Apollinaire and 'the new spirit': Le Festin d'Esope (1903), Les Soirees de Paris (1912 -June 1913; Nov. 1913- July 1914), L'elan (1915-Feb 1916; Dec.1916), Willard Bohn
6. After Apollinaire: SIC (1916-19), Nord-Sud (1917-18) and L'Esprit Nouveau (1920-5), Simon Dell
7. Proto-Dada. The New York connection: The Ridgefield Gazook (1915), The Blind Man (1917), Rongwrong (1917), 391 (1917), TNT (1919), New York Dada (1921), David Hopkins
8. A Dada Season: 391 (1919-24), Cannibale (1920), Projecteur (1920), Dada (1920-1), Le Coeur a Barbe (1922), Ruth Hemus
9. Eclecticism and its discontents: Les Ecrits nouveaux (1917-22) and La Revue europeenne (1923-31), John Attridge
10. 'Que faire les surrealistes?': Litterature (1919-24), La Revolution surrealiste, (1925-9), Le Surrealisme au service de la revolution, (1930-3), Raymond Spiteri
11. 'A shameless, indecent saintliness': Georges Bataille, Documents (1929-31), and Acephale (1936-9), Eric Robertson
12. Dangerous games and new mythologies: Cercle et Carre (1930), Art Concret (1930), Abstraction-Creation (1932-5); Minotaure (1933-9), Jed Rasula
The Low Countries
Introduction, Sascha Bru
13. 'The will to style': the Dutch contribution to the avant-garde: Leiden: De Stijl (1917-32), Mecano (1922-3), Amsterdam: Wendingen (1918-32), i10 (1927-9), Groningen: The Next Call (1923-6), Sascha Bru
14. Antwerp circles.Languages, locality, and internationalism: Ontwaking (1896, 1901-1910), De Boomgaard (1909-11), Resurrection (1917-18), Het Roode Zeil (1920), Selection (1920-33), Ruimte (1920-1), Het Overzicht (1921-5), De Driehoek (1925-6), Lumiere (1919-23), Ca Ira (1920-3), Daphne de Marneffe
15. '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), Varietes (1928-30), 7 Arts (1922-8), Francis Mus and Hans Vandevoorde
Spain and Portugal
Introduction, Peter Brooker
16. Madrid. Questioning the avant-garde: Helios (1903-4), El Nuevo Mercurio (1907), Prometeo (1908-12), Los Quijotes (1915-18), Cosmopolis (1919-1922), Grecia (1918-20), Ultra (1921-2), Ambos (1923), Litoral (1926-7,1929), Mediodia (1926-9), Carmen y Lola (1927-9), La Gaceta Literaria (1927-32), and Gallo (1928)., Lori Cole
17. 'Noucentisme' and the avant-garde in Barcelona (1916-36) : La Revista. Quaderns de publicacio quinzenal (1915-36) Vell i nou. Revista d'art (1915-19, 1920-1), Revista nova (1914, 1916-17), 391 (1917), Trocos (1916, 1917-18) ; L'Instant. Revue franco-catalane d'art et litterature (1918-19), Un enemic del poble (1917-19), Arc-voltaic (1918), Proa (1921), L'Amic de les arts (1926-8), Helix (1929-30), A.C. Documentos de actividad contemporanea (1931-7), D'aci i d'alla (1918-36)., Geoff West
18. Modernist magazines in Portugal. Orpheu and its legacy: Orpheu (1915), Exilio (1916), Centauro (1916), Portugal Futurista (1917), Contemporanea (1915, 1922-6), Athena (1924-5), Sudoeste (1935), Presenca (1927-38; 1939-40)., Clara Rocha
Introduction, Sascha Bru
19. Political and aesthetic transgressions. Florentine reviews a la mode: Il Marzocco (1896-1932), Il Regno (1903-5), Il Leonardo (1903-7), Hermes (1904), and La Voce (1908-14), Francesca Billiani
20. 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), Luca Somigli
21. The return to order in Florence: Il Selvaggio (1924-43), Il Frontespizio (1929-40), Pegaso (1929-33), Campo di Marte (1938-9), Mariana Aguirre
22. 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), Eric Bulson
23. 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), Vivien Greene
24. Futurist Periodicals in Rome (1916-39). From effervescence to disillusionment: Avanscoperta (1916-17), Cronache d'attualita (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)., Chris Michaelides
25. '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), Arianna Bove
Introduction, Peter Brooker
26. 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); Kvaernen (1920), Buen (1924-25), Sirius (1924-25), Kritisk Revy (1926-8); Baalet (1921-2), Bjerget (1923), Pressen (1923-4), I Morgen (1925,1927); Clarte (1926-7), Monde (1928-31); linien (1934-9), konkretion (1935-6), Bjarne Sondergaard Bendtsen
27. Norway. The Province and its Metropolites: Impressionisten (1886-90), Exlex (1919-20), PLAN (1933-6), Eirik Vassenden
28. 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)., Mats Jansson
Germany, Austria, Switzerland
Introduction, Christian Weikop
29. Reality and utopia in Munich's premier magazines: Simplicissimus (1896-1944) and Jugend (1896-1940)., Timothy W. Hiles
30. 'There you have Munich': Der Blaue Reiter (1912), Revolution (1913), Der Weg (1919), Jessica Horsley
31. Between art and activism: Pan (1895-1900; 1910-15), Die weissen Blatter (1913-21), Das neue Pathos (1913-19); Marsyas (1917-19), Andreas Kramer
32. A critical mass for modernism in Berlin: Der Sturm (1910-1932), Die Aktion (1911-1932), Sturm-Buhne (1918-1919), Douglas Brent McBride
33. Transitions: from Expressionism to Dada: Neue Jugend (1914; 1916-17), Die freie Strasse (1915-18), Club Dada (1918), Christian Weikop
34. Berlin Dada and the carnivalesque: Jedermann sein eigner Fussball (1919) and Der Dada (1919-20), Christian Weikop
35. Radical left magazines in Berlin: Die Pleite (1919, 1923-4); Der blutige Ernst (1919); Der Gegner (1919-22); Der Knuppel (1923-7); Eulenspiegel (1928-31); AIZ/VI (1924-38), Sabine T. Kriebel
36. 'Not to adorn life but to organize it': Veshch. Gegenstand. Objet: Revue internationale de l'art moderne (1922), G (1923-6), Stephen Bury
37. 'The magazine of enduring value': Der Querschnitt (1921-36) in context, Erika Esau
38. Dresden. 'Collectivity is dead, long live mankind': Der Komet (1918-19), Menschen (1918-21), Neue Blatter fur Kunst und Dichtung (1918-21), Kathleen Chapman
39. Hamburg and Kiel: Radical Bildungsburgertum: Die Schone Raritat (1917-1919), Die Rote Erde (1919-1923), Der Sturmreiter (1919-1920), Kundung, Timothy O. Benson
40. Cologne.The magazine as artistic and social imperative:Der Ventilator (1919); Bulletin D (1919); Die Schammade (1920); Stupid (1920); a bis z (1929-33), Lynette Roth
41. Hannover. 'True art' and 'true DADA': Das Hohe Ufer (1919-20), Der Zweemann (1919-20), Der Marstall (1920), and Merz (1923-32), Dorothea Dietrich
42. Frankfurt, Leipzig, and Dessau. 'neue typographie' - the new face of a new world: das neue frankfurt and die neue linie, Patrick Rossler
43. Vienna's 'Holy Spring' and beyond: Ver Sacrum (1898-1903), Almanach der Wiener Werkstatte (1911), Hohe Warte (1904-9), Deutsche Kunst und Dekoration (1897-1932), Diane Silverthorne
44. From the Hapsburg Empire to the Holocaust: Die Fackel (1899-1936) and Der Brenner (1910-54), Edward Timms
45. 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)., Debbie Lewer
East-Central Europe
Introduction, Peter Brooker
46. The view from Prague: Moderni revue (1894-1925), Volne smery (1896-1949), Umelecky mesicnik (1911-4), Revolucni sbornik Devetsil (1922), Zivot (1923), Disk (1923-5), Pasmo (1924-6), ReD (1927-31), Nicholas Sawicki
47. 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: Ut (1922-5); Ljubljana: Svetokret (1921), Rdeci pilot (1922), Tank (1927), Laurel Seely and Tyrus Miller
48. The avant-garde in Budapest and in exile in Vienna: A Tett (1915-6), Ma (Budapest 1916-9; Vienna 1920-6), Egyseg (1922-4), Akasztott Ember (1922), 2x2 (1922), Ek (1923-4), Is (1924), 365 (1925), Dokumentum (1926-7), RIMunka (1928-39)., Eva Forgacs and Tyrus Miller
49. 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), Irina Livezeanu
50. Krakow and Warsaw. Becoming the avant-garde: Rydwan (first series 1912-14), Maski (1918-19), Wianki (1919-22), Formisci (1919-21), Nowa Sztuka (1921-2), Zwrotnica (1922-3), Blok (1924-6), Przemyslaw Strozek
51. Poznan and Lodz. Nationalist modernism and the international avant-garde: Zdroj (1917-22); Ing-Idysz (Jung Idysz) (1919), Tel-Awiw (1919-21), Lidia Gluchowska
Russia, the Soviet Union, and Ukraine
Introduction, Peter Brooker
52. 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), Christina Lodder with Peter Hellyer
53. Modernism upheld. Moscow journals of art and literature: Vesy (1904-9), Iskusstvo (1905), Zolotoe Runo (1906-9), and Makovets (1922)., Oleg Minin
54. 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), Christina Lodder
55. 'A rift on the left front': Lef (1923-5) and Na postu (1923-5), Emily Finer
56. 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)., Oleh S. Ilnytzkyj

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