The author explores the role of journalism in Egypt in effecting and promoting the development of modern Arabic literature from its inception in the mid-nineteenth century to the present day. Remapping the literary scene in Egypt over recent decades, Kendall focuses on the independent, frequently dissident, journals that were the real hotbed of innovative literary activity and which made a lasting impact by propelling Arabic literature into the post-modern era.

The Poetics of the Avant-garde in Literature, Arts, and Philosophy presents a range of chapters written by a highly international group of scholars from disciplines such as literary studies, arts, theatre, and philosophy to analyze the ambitions of avant-garde artists. Together, these essays highlight the interdisciplinary scope of the historic avant-garde and the interconnectedness of its artists. Contributors analyze topics such as abstraction and estrangement across the arts, the imaginary dialogue between Lev Yakubinsky and Mikhail Bakhtin, the problem of the “masculine ethos” in the Russian avant-garde, the transformation of barefoot dancing, Kazimir Malevich’s avant-garde poetic experimentations, the ecological imagination of the Polish avant-garde, science-fiction in the Russian avant-garde cinema, and the almost forgotten history of the avant-garde children’s literature in Germany. The chapters in this collection open a new critical discourse about the avant-garde movement in Europe and reshape contemporary understandings of it.

Multimedia Modernism explores the complex effects of a new media environment on avant-garde literary production in the early twentieth century. During this period, the likes of Gertrude Stein, Ezra Pound and Louis Zukofsky wrote works which, in one way or another, attest to the immense effect that photography, cinematography, mechanical print technology and visual advertising had on the established arts. Re-reading modernism's technological origins through the lens of media theory, this innovative study proposes a serious new methodological approach to modernism in general. Examining a wide range of literature that includes Gertrude Stein's contributions to Camera Work, Louis Zukofsky's groundbreaking poem 'A' and Wyndham Lewis's celebrated Blast, this book embeds literary revolution within media evolution to show that literary criticism and media history have a lot to learn from each other.

Accounts of the 'historical avant-garde' and of 'high modernism' often celebrate the former for its revolutionary aesthetics or denigrate the latter for its 'proto-fascist' politics. In Literature, Politics and the English Avant-Garde, Paul Peppis shows how neither interpretation explains the writings of avant-gardists in early twentieth-century England. Peppis reads texts by writers such as Ford Madox Ford, Wyndham Lewis, Dora Marsden, and Ezra Pound alongside English political discourse between the death of Victoria and the end of the Great War. He traces the impact of nation and empire on the avant-garde, arguing that Vorticism, England's foremost avant-garde movement, used nationalism to advance literature and avant-garde literature to advance empire. Peppis's study demonstrates that these ambitions were enabled by a period conception of nationality as an essence and construct. By recovering these neglected aspects of avant-garde politics, Peppis's book opens important avenues for assessing modernist politics after the war.

The Avant-Garde and Geopolitics in Latin America examines the canonical Latin American avant-garde texts of the 1920s and 1930s in novels, travel writing, journalism, and poetry, and presents them in a new light as formulators of modern Western culture and precursors of global culture. Particular focus is placed on the work of Roberto Arlt and Mario de Andrade as exemplars of the movement. Fernando J. Rosenberg provides a theoretical historiography of Latin American literature and the role that modernity and avant-gardism played in it. He finds significant parallels between the cultural battles of the interwar years in Latin America and current debates over the role of the peripheral nation-state within the culture of globalization. Rosenberg establishes that the Latin American avant-garde evolved on its own terms, in polemic dialogue with the European movements, critiquing modernity itself and developing a global geopolitical awareness. In the process these writers created a bridge between postcolonial and postmodern culture, forming a distinct movement that continues its influence today.

In postrevolutionary Russia, as the Soviet government was initiating a program of rapid industrialization, avant-garde artists declared their intent to serve the nascent state and to transform life in accordance with their aesthetic designs. In spite of their professed utilitarianism, however, most avant-gardists created works that can hardly be regarded as practical instruments of societal transformation. Exploring this paradox, Vaingurt claims that the artists’ investment of technology with aesthetics prevented their creations from being fully conscripted into the arsenal of political hegemony. The purposes of avant-garde technologies, she contends, are contemplative rather than constructive. Looking at Meyerhold’s theater, Tatlin’s and Khlebnikov’s architectural designs, Mayakovsky’s writings, and other works from the period, Vaingurt offers an innovative reading of an exceptionally complex moment in the formation of Soviet culture.

During the 1920s and 1930s, American minority artists and writers collaborated extensively with the Soviet avant-garde, seeking to build a revolutionary society that would end racial discrimination and advance progressive art. Making what Claude McKay called "the magic pilgrimage" to the Soviet Union, these intellectuals placed themselves at the forefront of modernism, using radical cultural and political experiments to reimagine identity and decenter the West. Shining rare light on these efforts, The Ethnic Avant-Garde makes a unique contribution to interwar literary, political, and art history, drawing extensively on Russian archives, travel narratives, and artistic exchanges to establish the parameters of an undervalued "ethnic avant-garde." These writers and artists cohered around distinct forms that mirrored Soviet techniques of montage, fragment, and interruption. They orbited interwar Moscow, where the international avant-garde converged with the Communist International. The book explores Vladimir Mayakovsky's 1925 visit to New York City via Cuba and Mexico, during which he wrote Russian-language poetry in an "Afro-Cuban" voice; Langston Hughes's translations of these poems while in Moscow, which he visited to assist on a Soviet film about African American life; a futurist play condemning Western imperialism in China, which became Broadway's first major production to feature a predominantly Asian American cast; and efforts to imagine the Bolshevik Revolution as Jewish messianic arrest, followed by the slow political disenchantment of the New York Intellectuals. Through an absorbing collage of cross-ethnic encounters that also include Herbert Biberman, Sergei Eisenstein, Paul Robeson, and Vladimir Tatlin, this work remaps global modernism along minority and Soviet-centered lines, further advancing the avant-garde project of seeing the world anew.

The surprising story of the relationship between experimental poetry and literary studies. In The Academic Avant-Garde, Kimberly Quiogue Andrews makes a provocative case for the radical poetic possibilities of the work of literary scholarship and lays out a foundational theory of literary production in the context of the university. In her examination of the cross-pollination between the analytic humanities and the craft of poetry writing, Andrews tells a bold story about some of today's most innovative literary works. This pathbreaking intervention into contemporary American literature and higher education demonstrates that experimental poetry not only reflects nuanced concern about creative writing as a discipline but also uses the critical techniques of scholarship as a cornerstone of poetic practice. Structured around the concepts of academic labor (such as teaching) and methodological work (such as theorizing), the book traces these practices in the works of authors ranging from Claudia Rankine to John Ashbery, providing fresh readings of some of our era's most celebrated and difficult poets.

This book examines the works of three leading writers-Su Tong, Yu Hua, and Ge Fei-and their significant contributions to the genre of Chinese avant-garde fiction.

Race and the Avant-Garde investigates the relationship between identity and poetic form in contemporary American literature, focusing on Asian American and experimental poets, including Allen Ginsberg, Ron Silliman, Theresa Hak Kyung Cha, and John Yau.