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 like the US, Cuba, Spain, the Balkans, China, Japan, India, Vietnam, and Nigeria.

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.

Bringing together leading critics and literary scholars, A New Vocabulary for Global Modernism argues for new ways of understanding the nature and development of twentieth-century literature and culture. Scholars have largely understood modernism as an American and European phenomenon. Those parameters have expanded in recent decades, but the incorporation of multiple origins and influences has often been tied to older conceptual frameworks that make it difficult to think of modernism globally. Providing alternative approaches, A New Vocabulary for Global Modernism introduces pathways through global archives and new frameworks that offer a richer, more representative set of concepts for the analysis of literary and cultural works. In separate essays each inspired by a critical term, this collection explores what happens to the foundational concepts of modernism and the methods we bring to modernist studies when we approach the field as a global phenomenon. Their work transforms the intellectual paradigms we have long associated with modernism, such as tradition, antiquity, style, and translation. New paradigms, such as context, slum, copy, pantomime, and puppets emerge as the archive extends beyond its European center. In bringing together and reexamining the familiar as well as the emergent, the contributors to this volume offer an invaluable and original approach to studying the intersection of world literature and modernist studies.

The Oxford Handbook of Modernisms is an unparalleled resource. It extends the scope and depth of previous synoptic guides, bringing together new approaches to the more obvious themes of modernist studies as well as new research on the variety of cultural, aesthetic, and geographical factors that were intrinsic to the creation of modernism.

'Modern European thought' describes a wide range of philosophies, cultural programmes, and political arguments developed in Europe in the period following the French Revolution. Throughout this period, many of the wide range of 'modernisms' (and anti-modernisms) had a distinctly religious and even theological character-not least when religion was subjected to the harshest criticism. Yet for all the breadth and complexity of modern European thought and, in particular, its relations to theology, a distinct body of themes and approaches recurred in each generation. Moreover, many of the issues that took intellectual shape in Europe are now global, rather than narrowly European, and, for good or ill, they form part of Europe's bequest to the world-from colonialism and the economic theories behind globalisation through to democracy to terrorism. This volume attempts to identify and comment on some of the most important of these. The thirty chapters are grouped into six thematic parts, moving from questions of identity and the self, through discussions of the human condition, the age of revolution, the world (both natural and technological), and knowledge methodologies, concluding with a section looking explicitly at how major theological themes have developed in modern European thought. The chapters engage with major thinkers including Kant, Hegel, Kierkegaard, Heidegger, Schleiermacher, Nietzsche, Dostoevsky, Barth, Rahner, Tillich, Bonhoeffer, Sartre, de Beauvoir, Wittgenstein, and Derrida, amongst many others. Taken together, these new essays provide a rich and reflective overview of the interchange between theology, philosophy and critical thought in Europe, over the past two hundred years.

The Oxford Handbook of Modernisms situates literary modernisms and the modernist arts in a series of unfolding relations with mass society and popular culture in both national and transnational settings. An unparalleled resource containing over fifty specially commissioned essays, the Handbook updates and extends the scope and depth of previous synoptic guides, bringing together new approaches to the more obvious themes of modernist studies as well as new research on the variety of cultural, aesthetic, and geographical factors that were intrinsic to the creation of modernism. The contributors draw upon a variety of interdisciplinary approaches and new methodologies in order to take account of the development of revisionist modernist studies over the past three decades. Two particularly innovative features of the Handbook are its focus upon the cross media and international character of modernism. A number of the essays examine visual culture and other media in order to delineate the aesthetic, intellectual, and cultural formations linking the innovations and experiments of literary modernism with work in other arts and media. Others seek to analyze how Anglo-American and European models were inflected in a different temporal frame and in quite distinct geographical contexts. The Handbook is divided into six sections in order to reflect changed critical perspectives upon modernism's formal innovation and experiment, to foreground the relation of literature and the other arts, and to understand these in appropriate intellectual, social, and geocultural settings. The received canon is therefore revisited and "made new" as the varying aspects of metropolitan, regional, national, and transnational modernisms come into view.

The first full study of the role of 'little magazines' and their contribution to the making of artistic modernism. A major scholarly achievement of immense value to teachers, researchers and students interested in the material culture of the first half of the 20th century and the relation of the arts to social modernity.

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 the Literature of the U.S. South brings together contemporary views of the literature of the region in a series of chapters employing critical tools not traditionally used in approaching Southern literature. It assumes ideas of the South--global, multicultural, plural: more Souths than South--that would not have been embraced two or three decades ago, and it similarly expands the idea of literature itself. Representative of the current range of activity in the field of Southern literary studies, it challenges earlier views of antebellum Southern literature, as well as, in its discussions of twentieth-century writing, questions the assumption that the Southern Renaissance of the 1920s, 1930s, and 1940s was the supreme epoch of Southern expression, that writing to which all that had come before had led and by which all that came afterward was judged. As well as canonical Southern writers, it examines Native American literature, Latina/o literature, Asian American as well as African American literatures, Caribbean studies, sexuality studies, the relationship of literature to film, and a number of other topics which are relatively new to the field.

This Handbook offers a comprehensive examination of Gabriel García Márquez's life, oeuvre, and legacy, the first such work since his death in 2014. It incorporates ongoing critical approaches such as feminism, ecocriticism, Marxism, and ethnic studies, while elucidating key aspects of his work, such as his Caribbean-Colombian background; his use of magical realism, myth, and folklore; and his left-wing political views. Thirty-two wide-ranging chapters coverthe bulk of the author's writings, giving special attention to the global influence of García Márquez.