Drawing on a vast archive of world history, anthropology, geography, cultural theory, postcolonial studies, gender studies, literature, and art, Susan Stanford Friedman recasts modernity as a networked, circulating, and recurrent phenomenon producing multiple aesthetic innovations across millennia. Considering cosmopolitan as well as nomadic and oceanic worlds, she radically revises the scope of modernist critique and opens the practice to more integrated study. Friedman moves from large-scale instances of pre-1500 modernities, such as Tang Dynasty China and the Mongol Empire, to small-scale instances of modernisms, including the poetry of Du Fu and Kabir and Abbasid ceramic art. She maps the interconnected modernisms of the long twentieth century, pairing Joseph Conrad with Tayeb Salih, E. M. Forster with Arundhati Roy, Virginia Woolf with the Tagores, and Aimé Césaire with Theresa Hak Kyung Cha. She reads postcolonial works from Sudan and India and engages with the idea of Négritude. Rejecting the modernist concepts of marginality, othering, and major/minor, Friedman instead favors rupture, mobility, speed, networks, and divergence, elevating the agencies and creative capacities of all cultures not only in the past and present but also in the century to come.

The Oxford Handbook of Global Modernisms expands the scope of modernism beyond its traditional focus on English and Irish literature to explore the contributions of artists from countries and regions like the US, Cuba, Spain, the Balkans, China, Japan, India, Vietnam, and Nigeria.

This innovative text examines the development of modernist writing in four European cities: London, Paris, Berlin and Vienna.

Africa -- Asia -- The Caribbean -- Ireland -- Australia/New Zealand -- Canada

This book takes its cue from the annus miabilis for French culture to outline French modernism and to situate it on the map of global modernism. Essays on specific works in various media present the first narrative of French modernism as a critical category and establish its position in the thriving field of modernist studies.

This book focuses on previously unexplored gaps, limitations and avenues of inquiry within the canon and scholarship of Irish modernism to develop a more attentive and fluid theoretical account of this conceptual field. Foregrounding interfaces between literary, visual, musical, dramatic, cinematic, epistolary and journalistic media, these essays introduce previously peripheral writers, artists and cultural figures to debates about Irish modernism: Hannah Berman, Ethel Colburn Mayne, Mary Devenport O'Neill, Sheila Wingfield, Freda Laughton, Rhoda Coghill, Elizabeth Bowen, Máirtín Ó Cadhain, Joseph Plunkett, Liam O'Flaherty, Edward Martyn, Jane Barlow, Seosamh Ó Torna, Jack B. Yeats and Brian O'Nolan all feature here to interrogate the term's implications. Probing Irish modernism's responsiveness to contemporary theory beyond postcolonial and Irish studies, Irish Modernisms: Gaps, Conjectures, Possibilities uses diverse paradigms, including weak theory, biopolitics, posthumanism and the nonhuman turn, to rethink Irish modernism's organising themes: the material body, language, mediality, canonicity, war, state violence, prostitution, temporality, death, mourning. Across the volume, cutting-edge work from queer theory and gender studies draws urgent attention to the too-often marginalized importance of women's writing and queer expression to the Irish avant-garde, while critical reappraisals of the coordinates of race and national history compel us to ask not only where and when Irish modernism occurred, but also whose modernism it was?

This book explores the conceptualization of time in early twentieth-century literature and thought, based on a transnational and translational model of literary history, focusing on Turkish, French and German literary traditions. Each from different cultural backgrounds, these modernists provide a radical critique of modern time regimes, which calibrate time in singular temporal narratives. The book traces the philosophical strand of this critical chronometry from Henri Bergson’s theory of time, through Walter Benjamin’s ambivalence towards decay of tradition, and finally to A.H. Tanpınar and Robert Walser’s modernist fiction. Negotiating regionally marked concepts and topoi of temporality, it discusses networks of cultural circulations and maps a revised intersection of Turkish and Western European literary histories. It is an essential read for scholars and students of comparative and world literature, modernist studies, and cultural history.

The first detailed, student-focused introduction to modernist avant-garde performanceThis textbook introduces the reader to modernist avant-garde theatre. It clearly explains the key terms as well as the major movements, including Expressionism, Dadaism, Futurism, Workers theatres, Constructivism and the Living Newspaper, and Mass Performance, using a case study approach. It introduces the important innovations of the modernist avant-garde, reassesses theatrical techniques, and provides examples of plays and performances from across Europe and America. There are also chapters on The Modernist Body and on Interdisciplinary Performance. The book approaches the modernist avant-garde both as an area of academic study and as potential raw material for contemporary performance. Key Features:nbsp;The first introductory guide to the modernist theatrical avant-garde nbsp;Includes case studies, practical exercises at the end of each chapter, an annotated bibliography and a glossary of performance termsnbsp;Includes links to performance-based explorations of theatrical techniquesnbsp;Provides a springboard for further independent study, both theoretical and practicalClaire Warden is Senior Lecturer in Drama at the University of Lincoln. Her research focuses primarily on constructing new, fluid narratives for modernist performance. She is the author of British Avant-Garde Theatre (Palgrave MacMillan 2012), and multiple journal articles and book chapters on modernism, interdisciplinarity, theatre, art and cultural studies.

A Planetary Avant-Garde explores how experimental poetics and literature networks have aesthetically and politically responded to the legacy of Iberian colonialism across the world. The book examines avant-garde responses to Spanish and Portuguese imperialism across Europe, Latin America, West Africa, and Southeast Asia between 1909 and 1929. Ignacio Infante critically traces the hegemony and resistance to the colonial regimes of Spain and Portugal across particular avant-garde networks, expanding our understanding of Western colonial and imperial ideologies of the early twentieth century. The book extends geopolitical dimensions of the historical avant-garde into a wider transnational and planetary framework, including divergent experiences of modernity, forms of experimental poetics, and understandings of history. It sheds light on topics, such as the relation between Portuguese futurism and European colonialism in West Africa, the Latin American avant-garde’s critique of European historicism, the development of Brazilian modernism in relation to the European avant-garde, the comparative poetics of modernism in the Philippines, and the 1929 Barcelona World’s Fair. Grounded in extensive archival research, A Planetary Avant-Garde provides a new understanding of the historical avant-garde from a global and multilingual perspective.

This book interrogates anew the phenomenon of tradition in a dialogical debate with a host of Western thinkers and critical minds. In contrast to the predominantly Western approaches, which look at traditions (Western and non-Western) from a predominantly (Western) modernist perspective, this book interrogates, from an intercultural perspective, the transnational and transcultural consecration, translation, (re)invention, and displacement of traditions (theatrical and cultural) in the aesthetic-political movement of twentieth-century theatre and performance, as exemplified in the case studies of this book. It looks at the question of traditions and modernities at the centre of this aesthetic-political space, as modernities interculturally evoke and are haunted by traditions, and as traditions are interculturally refracted, reconstituted, refunctioned, and reinvented. It also looks at the applicability of its intercultural perspective on tradition to the historical avant-garde in general, postmodern, postcolonial, and postdramatic theatre and performance and to the twentieth-century "classical" intercultural theatre and the twenty-first-century "new interculturalisms" in theatre and performance. To conclude, it looks at the future of tradition in the ecology of our globalized theatrum mundi and considers two important interrelated concepts, future tradition and intercultural tradition. This book will be of great interest to students and scholars in performance studies.