This book explores the role of periodicals in the negotiation of modernity during the late 19th and early 20th centuries and considers diverse materials from both sides of the Atlantic, including modernist magazines, advertising campaigns, comics, and scrapbooks.

The late nineteenth and early twentieth centuries witnessed the emergence of colonial modernity in Odisha through the genre of the periodical press. How did the modernity project evolve in colonial Odisha? What were its contours? Was this modernity entirely consensual, or was it contested in the pages of the periodicals through an alternative modernity? This book addresses these and other questions about a forgotten chapter of India's intellectual history. Tracing the growth and decline of the Odia periodical press, the book studies its interface with colonial/alternative modernity in the region. It explores various aspects of two pioneering Odia magazines--the newspaper journal Utkal Dipika and the literary journal Utkal Sahitya--their economic and political bases, their patronage systems, the cultural and ideological backgrounds of their editors, and the role these journals played in shaping the Odia literary sensibility and identity. It shows how the periodical press shaped ideas and the material culture of the region and, in turn, got metamorphosed by the play of contemporary cultural and ideological forces.

In this major new collection, an international team of scholars examine the relationship between the Chinese women's periodical press and global modernity in the late nineteenth and twentieth centuries. The essays in this richly illustrated volume probe the ramifications for women of two monumental developments in this period: the intensification of China's encounters with foreign powers and a media transformation comparable in its impact to the current internet age. The book offers a distinctive methodology for studying the periodical press, which is supported by the development of a bilingual database of early Chinese periodicals. Throughout the study, essays on China are punctuated by transdisciplinary reflections from scholars working on periodicals outside of the Chinese context, encouraging readers to rethink common stereotypes about lived womanhood in modern China, and to reconsider the nature of Chinese modernity in a global context.

American novelists and poets who came of age in the early twentieth century were taught to avoid journalism "like wet sox and gin before breakfast." It dulled creativity, rewarded sensationalist content, and stole time from "serious" writing. Yet Willa Cather, W. E. B. Du Bois, Jessie Fauset, James Agee, T. S. Eliot, and Ernest Hemingway all worked in the editorial offices of groundbreaking popular magazines and helped to invent the house styles that defined McClure's, The Crisis, Time, Life, Esquire, and others. On Company Time tells the story of American modernism from inside the offices and on the pages of the most successful and stylish magazines of the twentieth century. Working across the borders of media history, the sociology of literature, print culture, and literary studies, Donal Harris draws out the profound institutional, economic, and aesthetic affiliations between modernism and American magazine culture. Starting in the 1890s, a growing number of writers found steady paychecks and regular publishing opportunities as editors and reporters at big magazines. Often privileging innovative style over late-breaking content, these magazines prized novelists and poets for their innovation and attention to literary craft. In recounting this history, On Company Time challenges the narrative of decline that often accompanies modernism's incorporation into midcentury middlebrow culture. Its integrated account of literary and journalistic form shows American modernism evolving within as opposed to against mass print culture. Harris's work also provides an understanding of modernism that extends beyond narratives centered on little magazines and other "institutions of modernism" that served narrow audiences. And for the writers, the "double life" of working for these magazines shaped modernism's literary form and created new models of authorship.

Little magazines made modernism. These unconventional, noncommercial publications may have brought writers such as James Joyce, T. S. Eliot, Ezra Pound, Marianne Moore, Mina Loy, and Wallace Stevens to the world but, as Eric Bulson shows in Little Magazine, World Form, their reach and importance extended far beyond Europe and the United States. By investigating the global and transnational itineraries of the little-magazine form, Bulson uncovers a worldwide network that influenced the development of literature and criticism in Africa, the West Indies, the Pacific Rim, and South America. In addition to identifying how these circulations and exchanges worked, Bulson also addresses equally formative moments of disconnection and immobility. British and American writers who fled to Europe to escape Anglo-American provincialism, refugees from fascism, wandering surrealists, and displaced communists all contributed to the proliferation of print. Yet the little magazine was equally crucial to literary production and consumption in the postcolonial world, where it helped connect newly independent African nations. Bulson concludes with reflections on the digitization of these defunct little magazines and what it means for our ongoing desire to understand modernism's global dimensions in the past and its digital afterlife.

In Periodicals, Readers and the Making of a Modern Literary Culture: Bengal at the Turn of the Twentieth Century Samarpita Mitra studies literary periodicals as a particular print form, and reveals how their production and circulation were critical to the formation of a Bengali public sphere during the turn of the twentieth century. Given its polyphonic nature, capacity for sustaining debates and adaptability by readers with diverse reading competencies, periodicals became the preferred means for dispensing modern education and entertainment through the vernacular. The book interrogates some of the defining debates that shaped readers’ perspectives on critical social issues and explains how literary culture was envisioned as an indicator of the emergent nation. Finally it looks at the Bengali-Muslim and women’s periodicals and their readerships and argues that the presence of multiple literary voices make it impossible to speak of Bengali literary culture in any singular terms.

This wide-ranging and innovative book develops an original theory of the media and their impact on the modern world, from the emergence of printing to the most recent developments in the media industries.

Since the beginning of 2nd half of 20th century various critical theories came into existence and every student and teacher of literature was influenced by those theories which were basically addressing the demands of other social sciences. But theoretical schools of western part of the world also inspired colonial and postcolonial reimagining. The present book employs many of those theories without being obscure or ambiguous. The book gets a wider value because the writer expresses his views, reviews, interviews and critical essays which are theory oriented. An extra value of the book is that author here also plays the role of a translator. And last but not the least the robust language plays a great job here and the domain is world literature.

This book explores women’s editorial and salon activities in Southern Europe and provides a comparative view of their practices. It argues that women in Spain, Italy, Portugal and Greece used their double role as editors and salonnières to engage with foreign cultures, launch the careers of promising young authors and advocate for modernization and social change. By examining a neglected body of periodicals edited between 1860 and 1920, this book sets out to explore women’s editorial agendas and their interest in creating a connection between salon life and the print press. What purpose did this connection serve? How did women editors use their periodicals and their salons to create opportunities for cross-cultural exchange? In what ways did women use their double role as editors and salonnières to promote modernization and social progress in Southern Europe? By addressing these questions, this monograph contributes to the recent expansion of scholarship on nineteenth and twentieth-century periodicals and opens new avenues for theoretical reflection on European modernity. It also invites scholars and non-specialist readers to question the center vs. periphery model and to consider Southern European counties as cultural hubs in their own right.