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Arie L. Molendijk

Introduction It will come as no surprise that theological modernism and Abraham Kuyper do not sit together easily. Famously, Kuyper spoke of modernism as “a fata morgana in the Christian domain” and in his critique did not spare this—in his view—transient, not to so say ephemeral


Edited by Erik Tonning, Matthew Feldman and David Addyman

Modernism, Christianity and Apocalypse stages an encounter between the fields of ‘Modernism and Christianity’ and ‘Apocalypse Studies’. The modernist impulse to ‘make it new’, to transform and reform culture, is an incipiently apocalyptic one, poised between imaginative representations of an Old Era or civilization and the experimental promise of the New. Christianity figures in formative tension with the ‘new’, but its apocalyptic paradigms continued to impact modernist visions of cultural revitalization.

In three sections tracing a rough chronology from the late nineteenth century fin de siècle, via interwar conflicts and the rise of ‘political religions’, to post-1945 anxieties such as the Bomb, this thematic is explored in nineteen far-ranging scholarly contributions, outlining a distinctive and fresh interdisciplinary field of study.


Maria Todorova

Like culture and civilization, imperialism and orientalism, or nations and nationalism, modernity and modernism are concepts that suffer from overuse. Some scholars despair about the impossibility to reach a consensus about their meaning and use, and call on entirely abandoning them. Yet, they are


Jorge Sacido

This essay discusses the different approaches to modernism and postmodernism together with the development of the modern short story in English and its theorisations. Drawing on Dominic Head’s The Modernist Short Story (1992), the essay highlights the genre’s importance in the genesis of modernism as a significant instance of artistic and personal autonomy, a key modernist issue which is linked to a mode of subjectivity in conflict with social totality to which the literary text gives formal expression. The abandonment of previous realist models meant the problematisation of representation and interpretation in modernism and their abrogation in postmodernism along with the evanescence of modernist autonomy and subjectivity. These issues re-emerge at later stages in answer to the need of accounting for the experience of the Other, a re-politisation of postmodernism that links it in some way to the historical avant-garde (Huyssen). The essay tackles in passing the controversial distinction between the avant-garde, modernism and postmodernism, sees in recent approaches to the postmodern short story a reformulation of a previously theorised association between the short story and the marginal, and closes by stating that postmodernism continues nowadays in the works of some talented innovators of the genre.


Pavlina Radia

This book traces the artistic trajectories of Djuna Barnes and Jane Bowles, examining their literary representations of the nomadic ethic pervading the twentieth-century expatriate movements in and out of America. The book argues that these authors contribute to the nomadic aesthetic of American modernism: its pastoral ideographies, (post)colonial ecologies, as well as regional and transcultural varieties. Mapping the pastoral moment in different temporalities and spaces (Barnes representing the 1920s expatriation in Europe while Bowles comments on the 1940s exodus to Mexico and North Africa), this book suggests that Barnes and Bowles counter the critical trend associating American modernity primarily with urban spaces, and instead locate the nomadic thrust of their times in the (post)colonial history of the American frontier.

Fragmenting Modernisms

Chinese Wartime Literature, Art, and Film, 1937-49


Carolyn FitzGerald

In Fragmenting Modernisms, Carolyn FitzGerald traces the evolution of Chinese modernism during the War of Resistance against Japan (1937-45) and Chinese Civil War (1945-49) through a series of close readings of works of fiction, poetry, film, and visual art, produced in various locations throughout wartime China.

Showing that the culture of this period was characterized by a high degree of formal looseness, she argues that such aesthetic fluidity was created in response to historical conditions of violence and widespread displacement. Moreover, she illustrates how the innovative formal experiments of uprooted writers and artists expanded the geographic and aesthetic boundaries of Chinese modernism far beyond the coastal cities of Shanghai and Beijing.

Modernism Revisited

Transgressing Boundaries and Strategies of Renewal in American Poetry


Edited by Viorica Patea and Paul Scott Derrick

Offering essays from some of the leading academic writers and younger scholars in the field of American studies from both the United States and Europe, this volume constitutes a rich and varied reconsideration of Modernist American poetry. Its contributions fall into two general categories: new and original discussions of many of the principal figures of the movement (Frost, Pound, Eliot, Williams, Cummings and Stevens) and reflections on the phenomenon of Modernism within a broader cultural context (the influence of Haiku, parallels and connections with Surrealism, responses to the Modernist accomplishment by later American poets). Because of its mixture of European and American perspectives, Modernism Revisited will be of vital interest to students and scholars of American literature and Modernism in general and of twentieth-century comparative literature and art.


The Byzantine as Method in Modernity


Edited by Roland Betancourt and Maria Taroutina

Byzantium/Modernism features contributions by fourteen international scholars and brings together a diverse range of interdisciplinary essays on art, architecture, theatre, film, literature, and philosophy, which examine how and why Byzantine art and image theory can contribute to our understanding of modern and contemporary visual culture. Particular attention is given to intercultural dialogues between the former dominions of the Byzantine Empire, with a special focus on Greece, Turkey, and Russia, and the artistic production of Western Europe and America. Together, these essays invite the reader to think critically and theoretically about the dialogic interchange between Byzantium and modernism and to consider this cross-temporal encounter as an ongoing and historically deep narrative, rather than an ephemeral or localized trend.
Contributors are Tulay Atak, Charles Barber, Elena Boeck, Anthony Cutler, Rico Franses, Dimitra Kotoula, Marie-José Mondzain, Myroslava M. Mudrak, Robert S. Nelson, Robert Ousterhout, Stratis Papaioannou, Glenn Peers, Jane A. Sharp and Devin Singh.


Edited by Sjef Houppermans, Peter Liebregts, Jan Baetens and Otto Boele

This book manifests at least four recent shifts and tendencies within Modernist studies in general that point at the expansion of this increasingly interdisciplinary field. First, Modernist studies has seen a temporal expansion, to the extent that scholars in the field have come to turn to both the pre- and posterior history of Modernism. Second, the field has witnessed a spatial expansion, in that increasingly so researchers have also come to scrutinize the Modernisms of regions at the fringes of Europe, and beyond. Thirdly, a vertical expansion too has marked Modernist studies in recent decades, not only by further expanding the canon of women writers and exploring the continuum between high- and lowbrow, but also by looking at the artistic and mediatized hierarchies and cross-fertilizations operative in the period. A fourth conceptual expansion of the field shows that whereas concepts such as “middlebrow”, “arrière-garde”, and to some extent even “avant-garde”, were once exotic notions of at best marginal importance in European Modernist studies, they now form part and parcel of the field, complicating and expanding it conceptually.

Roger Griffin

* This article is a modified version of the English original of ‘La revolución modernista del fascismo: un nuevo paradigma para el estudio de las dictaduras de derechos,’ in Fascismo y modernism: Política y cultura en la Europa de entreguerras (1919–1945) , ed. Francisco Cobo, Miguel Á. Del Arco