Global Literary Modernisms

ISSN: 2504-1533

The Global Literary Modernisms series provides a platform for literary scholarship on modernism across genres and geographies. The concept of the global today carries with it new ideas about time and historical development, as well as new theories about national literary traditions and new models of social belonging that extend beyond national borders. Without sacrificing our interest in national traditions, we invite studies that link those traditions to more extensive global and transnational contexts. The series also invites studies that reconsider the temporalities and formal and aesthetic praxes of modernism—not only its historical development, but the peculiar rhythms and pacing of its narratives, its dramatic literatures, its poetry, its song. While respecting the contemporary elasticity of the term, this series understands modernism not simply as a synonym for the ‘modern’ but as a movement that responds to the modern wherever it finds it. We invite English-language submissions on all aspects of literary modernism. Proposals are invited for monographs and edited volumes that engage transnational and postcolonial, canonical and marginal modernisms, and the legacies of modernism. We welcome single- and multiple-author studies from a variety of approaches and frameworks, literary-historical and/or theoretical.

1 publications

Studies in Modern German Literature

This series is continued as Studies in Modern German and Austrian Literature, edited by Robert Vilain. This series is continued as Studies in Modern German and Austrian Literature, edited by Robert Vilain. This series is continued as Studies in Modern German and Austrian Literature, edited by Robert Vilain.

91 publications

The Modernist Revolution in World Literature

ISSN: 1528-9672

In the stormy time period approximately between the Paris Commune in 1871 and the revolutionary events in May 1968, or between the conclusion of the American Civil War and the withdrawal of American troops from Vietnam, the rise and fall of international modernism was crucial to all historical, political, and intellectual de-velopments around the world. By the time the United States had emerged from its military involvement in Indo-China, the modernist movement had given way to postmodernism. This series investigates the development of international modern-ism in the half century leading up to World War I and its disintegration in the fol-lowing fifty years. High modernism claimed that it represented a break with corrupt values of previous cultural traditions, but we now think that this very drive to “make it new” is itself derivative. What are the roots and characteristics of modernism? How did the philosophical and pedagogical system supporting modernism develop? Is mod-ernism, perhaps, not a liberating movement but a device to shield high culture from rising democratic vulgarization? What is the role of modernism in postcolonial struggles? Where does feminism fall in the modernist agenda? How do changing systems of patronage and the economy of art influence modernism as an enor-mously expanded reading public becomes augmented by cinema, radio, and televi-sion? Such questions on a worldwide stage, in the century approximately from 1870 to 1970, in all manifestations of literature, art, politics, and culture, represent the scope of this series In the stormy time period approximately between the Paris Commune in 1871 and the revolutionary events in May 1968, or between the conclusion of the American Civil War and the withdrawal of American troops from Vietnam, the rise and fall of international modernism was crucial to all historical, political, and intellectual de-velopments around the world. By the time the United States had emerged from its military involvement in Indo-China, the modernist movement had given way to postmodernism. This series investigates the development of international modern-ism in the half century leading up to World War I and its disintegration in the fol-lowing fifty years. High modernism claimed that it represented a break with corrupt values of previous cultural traditions, but we now think that this very drive to “make it new” is itself derivative. What are the roots and characteristics of modernism? How did the philosophical and pedagogical system supporting modernism develop? Is mod-ernism, perhaps, not a liberating movement but a device to shield high culture from rising democratic vulgarization? What is the role of modernism in postcolonial struggles? Where does feminism fall in the modernist agenda? How do changing systems of patronage and the economy of art influence modernism as an enor-mously expanded reading public becomes augmented by cinema, radio, and televi-sion? Such questions on a worldwide stage, in the century approximately from 1870 to 1970, in all manifestations of literature, art, politics, and culture, represent the scope of this series In the stormy time period approximately between the Paris Commune in 1871 and the revolutionary events in May 1968, or between the conclusion of the American Civil War and the withdrawal of American troops from Vietnam, the rise and fall of international modernism was crucial to all historical, political, and intellectual de-velopments around the world. By the time the United States had emerged from its military involvement in Indo-China, the modernist movement had given way to postmodernism. This series investigates the development of international modern-ism in the half century leading up to World War I and its disintegration in the fol-lowing fifty years. High modernism claimed that it represented a break with corrupt values of previous cultural traditions, but we now think that this very drive to “make it new” is itself derivative. What are the roots and characteristics of modernism? How did the philosophical and pedagogical system supporting modernism develop? Is mod-ernism, perhaps, not a liberating movement but a device to shield high culture from rising democratic vulgarization? What is the role of modernism in postcolonial struggles? Where does feminism fall in the modernist agenda? How do changing systems of patronage and the economy of art influence modernism as an enor-mously expanded reading public becomes augmented by cinema, radio, and televi-sion? Such questions on a worldwide stage, in the century approximately from 1870 to 1970, in all manifestations of literature, art, politics, and culture, represent the scope of this series

3 publications

Studies in Modern German and Austrian Literature

ISSN: 2235-3488

Studies in Modern German and Austrian Literature is a broadly conceived series that aims to publish significant research and scholarship devoted to German and Austrian literature of all forms and genres from the eighteenth century to the present day. The series promotes the analysis of intersections of literature with thought, society and other art forms, such as film, theatre, autobiography, music, painting, sculpture and performance art. It includes monographs on single authors or works, focused historical periods, and studies of experimentation with form and genre. Wider ranging explorations of literary, cultural or socio-political phenomena in the German-speaking lands or among writers in exile and analyses of national, ethnic and cultural identities in literature are also welcome topics. Proposals are invited for monographs, high-quality doctoral dissertations revised for book publication, focused collections of essays (including selectively edited conference proceedings), annotated editions and bibliographies. Senior figures in the academic profession as well as early career or independent scholars are encouraged to submit proposals. All proposals and manuscripts will be peer reviewed. We publish in both German and English. This series is a successor to Studies in Modern German Literature, edited by Peter D.G. Brown.

16 publications