European Modernism

Despite a European training and an early career working with Peter Behrens, a migration from Vienna to the Australian state of Queensland positioned the architect Karl Langer (1903-1969) at the very edge of both European and Australian modernism. Confronted by tropical heat and glare, the economics of affordable housing, fiercely proud and regional architectural practices, and a suspicion of the foreign, Langer moulded the European language of international modernism to the unique climatic and social conditions of tropical Australia.

Five years since Michelangelo Antonioni’s death, the groundbreaking Italian director’s films occupy an increasingly important but odd position. Exemplifying serious ‘art cinema’ at the peak of its European expression – or, as recent scholarship often prefers to locate it, post-war film modernism – his most famous work continues to compel yet also cause problems for critical reception. How to write about such demanding and endlessly rewarding films without falling back on what we are often told are the old clichés of ‘alienation’ and chilly modernist formalism? A welcome addition to the slowly percolating appreciations of the filmmaker in English, Antonioni: Centenary Essays quite visibly, if not perhaps intentionally, struggles with and exemplifies this challenge.

The first institutional history of European avant-garde cinema in the 1920s. Through the lens of the Stuttgart "Film and Foto" exhibition, the film portion curated by Hans Richter, this essay intertwines the history of European avant-cinema, both as a mode of production and exhibition practice, with contemporary film theory. The result are the beginnings of film culture in Europe before 1930.

Une histoire globale des avant-gardes picturales se doit d’expliquer pourquoi celles-ci apparurent en certains endroits et pas en d’autres, comment elles circulaient entre les pays et les capitales, ce qui les portait et si elles rompaient réellement avec leur temps, sachant que la plupart finirent par connaître une véritable canonisation.
Les avant-gardes lièrent leur sort au développement des journaux et des revues, c’est-à-dire à celui des techniques d’impression et de reproduction en série. Elles profitèrent également d’un vaste mouvement de circulation des idées, des hommes et des objets avec le développement des réseaux ferrés et des transports maritimes.
Dans le même temps se forgeaient les identités nationales, férues de tradition et de préservation des cultures. L’approche géopolitique met au jour ce processus par lequel les plasticiens novateurs recoururent à la référence étrangère pour s’opposer aux institutions nationales, travaillèrent à internationaliser leurs réputations pour mieux s’imposer contre le refus de l’innovation porté par le nationalisme, ou, au contraire, se laisser récupérer par des partis nationalistes et révolutionnaires.
Mais à côté des stratégies, réseaux et marchés, place est faite à l’analyse du contexte culturel et moral, économique et politique, matériel et social, affectif et spirituel des artistes des avant-gardes à partir de 1848. Jusqu’à la rupture de 1920, quand ces avant-gardes deviennent politiques, plaçant l’avenir de l’art dans celui de la Révolution.

Die Studie unternimmt den Versuch einer Gesamtdarstellung von Denken und Dichten des vielgestaltigen Fernando Pessoa (1888-1935). Anhand der Leitbegriffe des Bewußtseins und der Erzählungen wird der gegenwärtig wohl bekannteste portugiesische Autor im geistes- und literaturgeschichtlichen Kontext seiner Zeit betrachtet. Dabei werden die literarischen wie auch die bisher wenig bekannten theoretischen Werkteile nicht nur interpretiert, sondern auch beschrieben. Die Betrachtung seiner Faustfragmente schließt einen Abriß der Stoffgeschichte ein, in die Pessoa sowie die modernen Bearbeitungen Thomas Manns und Paul Valérys eingeordnet werden. Die heteronymische und Bewußtseinskunst Pessoas werden sodann mit ausgewählten Texten Carl Einsteins, Luigi Pirandellos und James Joyces verglichen bzw. kontrapunktiert. Ziel der Arbeit ist es, Pessoa als einen Genotyp der Moderne zu etablieren und seine ästhetischen Bewußtseinsstrukturen faßbar zu machen.

В статията се разглежда есето „Тайната. Окултни съждения на един непосветен в окултизма“ (1922) – слабо позната и неизследвана до този момент публикация на Гео Милев, която се появява за пръв път в редактирания от Николай Райнов вестник „Анхира“. Целта  е да се подскаже значимостта този текст за българската литературна история не само защото с него се представя по-различно лице на  българския класик, но и защото позволява да поставят в по-широка перспектива окултните основания на българския авангард от началото на 20-те години на ХХ век. „Тайната“ се разглежда в контекста на характерни публикации от „Анхира“, както и в контекста на някои преводни текстове от списанието на Гео Милев „Везни“.

O presente número procura oferecer assim tanto ferramentas como reflexões específicas que permitam uma nova aferição da relação entre vida e obra no caso de Fernando Pessoa, contrariando a mitologia ainda preponderante do autor sem biografia, desinteressado do futuro da sua obra e, em última instância, ausente após a morte. Uma leitura que entende que a figuração de uma autoria, ou de várias, é parte integrante do tipo específico de literatura que Pessoa cultivou de forma
paradigmática poderá então contribuir para a ligação dos estudos pessoanos a linhas atuais da crítica, para as quais as questões éticas e socio-históricas, assim como a análise das materialidades da obra
literária, são focos primordiais da análise.

« Η αργοπορημένη έλευση και αποδοχή του Μοντερνισμού στην Ελλάδα πιθανώς να οφείλεται και στο γεγονός ότι εις το μεταξύ είχε αρχίσει να διαφαίνεται ξεκάθαρα το βασικό δίλημμα στην καρδιά του κινήματος: εννοώ πως οι δύο βασικές φιλοδοξίες του μοντερνισμού αποδείχθηκαν εν τέλει ασυμβίβαστες η μια με την άλλη.»

Meine Abschlussarbeit ist zum größten Teil eine kulturelle Analyse der verschiedenen Kunststile der avantgardistischen bildenden Kunst. Es wird beschrieben, wie diese zu einer ganz neuen Stilrichtung während der Nazizeit wurden, der sogenannten ‚entarteten‘ Kunst, nach der auch die Ausstellung in München 1937 benannt wurde. Aus den verfolgten Stilrichtungen wurden am 19. Juli 1937 in München die Werke der deutschen Moderne vereint und zu einer ‚entarteten Stilrichtung‘ gemacht als Kontrast zu der „Großen deutschen Kunstausstellung“ im neuen Haus der Deutschen Kunst welches einen Tag davor eingeweiht wurde. Für die historisch-kulturelle Analyse werden unter anderen Kunstwerke in Betracht gezogen, die genau in dieser ersten Ausstellung der „Entarteten Kunst“ (1937) verwendet wurden.
Als die Nationalsozialisten Anfang der Dreißiger Jahre an die Macht kamen, war eine ihrer energischsten Kampagnen die, die sie gegen die Kunst der deutschen Moderne aufnahmen. Weltbekannte Kunstwerke wurden aus verschiedenen deutschen Museen entfernt und in der Ausstellung „Entartete Kunst“ gezeigt. Das wiederum macht diese Werke, die grundlegend verschieden waren, zu einem Teil eines neuen Ganzen, was während der Nazizeit verfolgt wurde. Künstler wie Max Beckmann, Marc Chagall, Otto Dix, Wassilly Kandinsky oder Paul Klee wurden somit entartete Künstler.
Was mich an der Arbeit am meisten interessiert, ist, die künstlerischen Konzepte zu erklären, die hinter diesen Werken stecken. Beginnend mit einer kurzen Einführung über drei der bekanntesten verfolgten Kunstrichtungen, die es in Deutschland in dieser Zeit gab. Dazu gehören die Dada-Bewegung, der Expressionismus und die Neue Sachlichkeit.
Einer der Gründe, mich mit diesem Thema zu beschäftigen, ist, diese Arbeit als kleines Tribut für die verfolgten und teilweise vergessenen Künstler zu sehen und zweitens, das Konzept der künstlerischen Freiheit zu verstehen, das in dieser Zeit Aufschwung und Niedergang erfuhr. Betrachtet man es vom künstlerischen Standpunkt, ist diese dunkle Epoche der deutschen Geschichte faszinierend, um die Rolle des Staates
in der künstlerischen Produktion zu analysieren. Es ist sehr interessant zu sehen, dass in der Nazizeit die Kunst und Stilrichtungen angegriffen wurden, die auch heute noch für
Laien Gegenstand des Unverständnisses sind. Entscheidend ist hier letztlich die Frage, ob der Mensch wirklich mit echter Freiheit umgehen kann oder ob er bevorzugt, tief im
Inneren, dass jemand oder etwas die Führung oder Verantwortung für ihn übernimmt. Warum ist es so, dass der Mensch es so schwer findet, mit dem ,Ungewöhnlichen,‘
‚Seltsamen‘ umzugehen? Und warum fühlt sich das Kollektiv attackiert, wenn ein Künstler sich wirklich sein Recht der Freiheit nimmt und seine Visionen zum Ausdruck
bringt?

"This essay is based on my analysis of three famous novels written in Malayalam - The Legends of Khasak and The Saga of Dharmapuri by O.V Vijayan, and On the Banks of the Mayyazhi by M. Mukundan.

The dreams of a ‘community/society’ are related to their homeland. The importance of a particular ‘place’ has been of great importance in Malayalam literature ever since novel, as a genre, started taking the paths of Modernism. Here, in most of these novels, the importance of ‘place’ is asserted using certain myths and legends. The novelists created specific ‘landscapes’ to moor the idea that we are all finally rooted to our definite ‘locations’. Of course, this was influenced by the Modernist writings in Europe, like Franz Kafka, Thomas Mann, and James Joyce etc. As most literary historians agree, late nineteenth century fiction marks the beginning of European Modernism . If 'place' is an element of space, narrative space can be defined as the fictional universe presented by the narrative discourse. "

Pessoa concebeu e projectou a edição e a publicação daquele que seria o livro de poemas do seu mestre Alberto Caeiro, projecto este que nunca concluiu. A partir da análise dos planos de edição e de publicação dos poemas de Caeiro, reflicto sobre a posição de destaque desta obra no universo literário pessoano, apontando algumas das dificuldades fundamentais inerentes ao projecto de a publicar em livro.
Na base do problema da publicação encontra-se a questão mais profunda da impossibilidade de constituir aquele que seria o livro de Caeiro. O caso de Caeiro revela-se como manifestação particular de três problemas fundamentais implicados na questão do livro: a totalidade, por oposição ao fragmento, a materialidade, por oposição à idealidade, e o problema da autoria.

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The collection of essays 'The Avant-garde and the Margin: New Territories of the Modernist Avant-garde' refigures the critical and historical picture of the modernist avant-garde by introducing a variety of less-commonly discussed geo-artistic sites and dynamics. The contributors explore the multifaceted relations established between the avant-garde 'centers' (France, Germany, England, and others) and their counterparts in the cultural 'periphery' (Greece, India, Japan, Poland, Quebec, Romania, and the former Yugoslavia), as well as the unique artistic and literary dialogues which these encounters engendered. The primary concern of the anthology is the set of relations established between the center and the margin, the redefinition of which was pivotal for the formulation of the modernist avant-garde aesthetic project itself. While enriching the kaleidoscopic picture of modernism, the essays in this collection also offer new methodological approaches to this polychrome cultural image. In this way, the collection avoids the pitfalls of both the traditional diffusionist/Eurocentric model of the world and the more recent over-relativization of the positions of the margin and the center. In their stead, the anthology proposes a hermeneutics of encounter that is simultaneously 'spatial' and 'historical,' aware of its limits but convinced of its own necessity.

Review
"The anthology The Avant-garde and the Margin: New Territories of Modernism has been long awaited. This exemplary series of essays proposes novel ways of looking at the dynamic of the center and the margin while performatively and theoretically targeting the most pressing issue in modernist studies - namely, the geographical and temporal expansion of its scope of inquiry." "The collection provides a fresh look at the geocultural spaces of Central and Eastern Europe, Asia, and Americas in the extended epoch of modernism and offers multiple surprising insights into the hidden dynamics of modernist intercultural relating, in particular, those pertaining to the studies of Slavic literatures in comparative context. Finally, this multifaceted inquiry into the neglected "territories of modernism" goes beyond a simple disclosure of the previously unattended aesthetic achievements of "marginal" modernisms: it moves the boundaries of the present theoretical conceptualizations of the dynamic of centers and margins, opening a set of new questions and theoretical frameworks. I recommend this anthology strongly not only to modernist scholars, but also to any serious student of aesthetic interculturality." Novica Milic, Professor of Comparative Literature and Theory, University of Belgrade "The collection of essays The Avant-garde and the Margin: New Territories of Modernism offers an insightful discussion of the dialogue, in modernism, between the so-called "centers" of aesthetic production and their counterparts in the cultural "periphery," questioning the very existence of centers and margins and proposing a theory that argues for fruitful bi-directional (rather than only uni-directional) intercultural encounters in specific historical contexts. While much has been written on modernism in Western Europe and England, this volume breaks new ground in its concentration on modernism practiced in locations ranging from Romania, Poland, and the former Yugoslavia to Greece, French Canada, Japan, and India. Shedding light on the genres of poetry and drama; movements such as Surrealism, DADA, and other avant-gardes; and issues such as gender, modernity, and nationalism, it demonstrates that the concepts of center and margin are useful in the study of intercultural interactions and that the study of modernism practiced from the periphery reveals important truths about the routes of cultural transfer. The volume contributes to the ongoing discussion of cultural trafficking across boundaries and borders in the twentieth century." Janet A. Walker, Professor of Comparative Literature, Rutgers University "Avoiding the predictable poles of center and margin, metropolitan and colonized, the west and the east, The Avant Garde and the Margin looks at the modernist traditions in forgotten and often uncelebrated places: Quebec, Greece, Poland, Romania, India, the former Yugoslavia. Wide-ranging in subject matter and comprehensive in theoretical approach, this collection of essays broadens our understanding of cultural interaction. In so doing, it challenges our conception of world literature by forcing us to think about modes of literary and cultural exchange that both traditional and poststructuralist discourses have neglected." Gregory Jusdanis, Humanities Distinguished Professor, The Ohio State University"

This article concerns the complex nature of post-war European film modernism’s historicity. According to András Bálint Kovács, this cinema rose in an arc starting from the mid-1950s, peaking in the 1960s, and slowly petering out by 1980. At its best such historicizing produces precise contextual detailing, rather than romantic, hermetic affirmation or subsequent backlash dismissal, in the process creating room for new accounts of films and filmmakers beyond their role in the heated politics of then-contemporary critical taste and the competitive linear regime of vanguard innovation. But we also need to look closely at the peculiarities of this particular modernist cinema’s apparent ‘past-ness’ as revealing crucial elements of modernism’s perennial (if variously contested or disavowed) power, challenge and attraction. This article explores the uncanny, untimely return of such cinema’s 1960s apogee, embedded in a very real past while also emerging from virtual
futures, as it complicates anew our unstable present.

http://estranharpessoa.com/revista) N.º 2 Caderno do Orpheu Editor Pedro Sepúlveda Lisboa, outubro de 2015 Criado em 2011, o Projeto Estranhar Pessoa destina-se a uma revisão exaustiva da discussão em torno da obra de Fernando Pessoa e nasce da colaboração entre diversas entidades, estando sediado na Faculdade de Ciências Sociais e Humanas da Universidade Nova de Lisboa. Desde 2013 é financiado pela Fundação para a Ciência e a Tecnologia (PTDC/CPC-ELT/4587/2012).

This article maps some of Scandinavian modernism' complexity in order to challenge the still relatively common equation of modernism with narrow formalist aesthetic experi mentation. With respect to both periodization and geography, Scandinavian modernism can be seen as unusually long and expansive, and the approach here consequently em phasizes both discontinuity and transnationality; it also focuses on neglected issues of class and gender. Modernism in Scandinavia emerges both early and late, through starts and stops, in intermittent and localized forms, as well as in tension with ideologies of margin and center, import and export, and nation and cosmopolitanism.

“Scandinavian Modernism: Stories of the Transnational and the Discontinuous.” The Oxford Handbook of Global Modernisms. Ed. Mark Wollaeger. Oxford University Press, 2012. 478-499.

West 86th V 27 N 1 second decade of the twenty-first century, van de Velde presents a model of adaptability in uncertain times. Moreover, he was an international figure who rose to prominence in the media environment of international exhibitions and illustrated periodicals that he used cannily to promote his brand. But perhaps what makes his work compelling is, as Kuenzli suggests, that his notion of art "elicits in the viewer a sense of connection to vital forces that lie beyond the self" (197). Cambridge, MA: MIT Press, 2019. 296 pp.; 55 color and 26 b/w ills. Cloth $34.95 ISBN 9780262043298

includes information about the inhabitants of speci c countries, for example, the people of an unidenti ed country referred to as Lukeguo are described as 'savage and cunning [.. .] up to now we have been unable to trade with them' (p.17). No doubt there exists much more buried Korean treasure in Oxford's libraries and museums, and it is to be hoped that further funding will allow for research that will yield future publications.

Entretien avec Albert Camus
Colloque organisé par l;Union Culturelle Gréco-Française e Grèce, a l'occasion de la visite d'Albert Camus en Grèce portant sur l'Avenir de la Civilisation Européenne
Invités a participer a la discussion qui a eu lieu sous la présidence du professeur A. Catacouzinos:  MM Papanoutsos, Tsatsos, Theotocas, Vegleris.
Athènes 1956

Este ensaio pretende confrontar a influência de John Milton com a de William Shakespeare na obra de Fernando Pessoa. Tanto um como outro foram autores que Pessoa privilegiou enquanto leitor, desde a juventude até à idade adulta, e que tiveram um papel crucial na construção da identidade autoral do poeta português. A presença de ambos trespassa o pensamento crítico de Pessoa, que regressará frequentemente a Paradise Lost e às grandes tragédias de Shakespeare, nomeadamente a King Lear e a Hamlet, à procura da chave para a elaboração de uma possível obra. As suas leituras de ambos são frequentemente comparativas, mas as avaliações que faz da qualidade de cada um deles levam-nos à constatação de que, no fundo, representam para si influências complementares e não concorrentes. Pessoa, dada a sua propensão para juízos estéticos, também exibe, na avaliação que faz destas obras, a sua tendência para accionar esses juízos de valor com o intuito de promover a própria escrita.

This essay intends to compare the influence of John Milton with that of William Shakespeare on the work of Fernando Pessoa. Both were authors that Pessoa favored as a reader from a young age to adulthood and played a crucial role in the Portuguese poet’s construction of an authorial identity. Their presence permeates Pessoa’s critical thinking and the Portuguese poet will return regularly to Paradise Lost and to Shakespeare’s tragedies, namely King Lear and Hamlet, in search of the key to the construction of a possible oeuvre. Pessoa’s interpretations of both are frequently comparative and his analysis of the value of their works makes us realize that, in fact, their influences are not conflicting but complementary. Pessoa, given his tendency to make comparative evaluations, also exposes in them his propensity to activate those evaluations with the intent of promoting his own writing.

RAKUŠANOVÁ, Marie. Mocná čára. Gombrichovy Icones Symbolicae v rozšířeném interpretačním poli, in: Richard Biegel – Lubomír Konečný – Michaela Ottová – Roman Prahl, Ikonografie: Témata, motivy, interpretace. Kniha k poctě Jana Royta. Praha: Karolinum, 2016, s. 268-283.ISBN 978-80-246-2513-3.

Studie se zabývá možností aplikování koncepce Icones Symbolicae Ernsta Hanse Gombricha na moderní a raně avantgardní umění.

Powerful Line. Gombrich's Icones Symbolicae in the expanded interpretative field

The paper addresses the question of interpretative potential of Gombrich's concept of Icones Symbolicae for modern and avant-garde art.

Apesar de a obra de Fernando Pessoa estar contida principalmente nos quase 30000 papéis que compõem o arquivo hoje à guarda da Biblioteca Nacional de Portugal, é possível demonstrar como este arquivo é composto por materiais de cariz bibliográfico, que o associam ao suporte do livro. Contrariamente a uma ideia corrente de Pessoa como alguém que não escreveu livros e deixou apenas papéis avulsos, esta evidência material mostra que o poeta concebia uma ideia de livro e de conjunto de livros que condicionava o seu modo de escrita. Este artigo tem como propósito contextualizar e precisar as preocupações de Pessoa com a materialidade de um suporte distinto daquele em que se encontra a maior parte da sua obra, analisando diversos testemunhos desta dimensão bibliográfica da sua escrita. Palavras-Chave: Fernando Pessoa; Arquivo; Livro; Edição; Poesia; Modernismo.

Although Fernando Pessoa’s work is contained mainly in the almost 30000 pieces of paper that form the archive held by the Portuguese National Library, it is possible to show how this archive is composed by bibliographic materials, which link it to the book as a medium. Against the common idea of Pessoa as someone who didn’t write books and left only individual pieces of paper, this material evidence shows that the poet conceived an idea of book and of a set of books, which conditioned his way of writing.
This article follows the purpose of contextualizing and determining Pessoa’s concerns with the materiality of a medium different than the one which contains the greater part of his work, by analyzing several evidences of this bibliographic dimension of his writing. Keywords: Fernando Pessoa, Archive, Book, Edition, Poetry, Modernism

Precederam a publicação de Orpheu vários projetos pessoanos de lançamento de revistas literárias. Menos conhecido é, no entanto, o plano de lançamento, com contornos internacionais, da obra de Alberto Caeiro, dada a conhecer parcialmente ao público apenas dez anos mais tarde, na revista Athena.
Através da análise destes planos, assim como dos propósitos de exposição pública a eles associados, este artigo mostra como o lançamento de Orpheu veio, por um lado, concretizar o propósito pessoano de fixação de uma nova corrente literária, ocultando, por outro, fundamentos dessa mesma corrente. Renunciando quer a textos programáticos, que planeava publicar no contexto de outras revistas, quer à apresentação da obra do mestre Caeiro, Pessoa segue em Orpheu um preceito de exposição pública parcial e alusiva, que permanecerá determinante em publicações posteriores. Este preceito é explicitado pelo poeta no contexto de considerações em torno da visibilidade pública, em particular no seu último poema publicado, Conselho, não por acaso em número dedicado a Orpheu.

O espólio de Fernando Pessoa alberga inúmeros papéis que não chegaram a ser integrados em livros, mas que na maioria dos casos foram concebidos com esse propósito. É o que acontece no caso do Livro do Desassossego, onde uma aparente desordem dos materiais legados contrasta com uma persistente ideia estruturante de livro. Para além dos textos concebidos explicitamente como parte integrante do mesmo, numerosas listas editoriais testemunham a presença de uma ideia de edição constantemente modificada e adiada. Estas listas, entre as quais importa distinguir listas de projetos editoriais e planos de estruturação do livro, não só possuem um propósito prático, como lhe conferem um sentido e uma posição no conjunto da obra. Através da análise deste corpus procurar-se-á traçar a história deste planeamento e mostrar o modo como a conceção do Livro dele depende.

A VI. és VII. fejezet a könyvből. Az utolsó békeév (1913) és az I. világháború kezdetének időszaka (1914-1916): a Nyolcak végnapjai, a párizsi magyar kubista-kör formálódása; miként változtatta meg a magyar modernizmus lehetőségeit az a tény, hogy ellenséges hadviselő félként szembekerültünk Franciaországgal, a magyar kubista csoport szétesése, a Nyolcak és a hadifestészet, Kassák művészetszervező aktivitásának indulása, a modern képzőművészek kapcsolata Bartókkal és Adyval e periódusban.

Between 1918 and 1933, the masses became a decisive preoccupation of European culture, fueling modernist movements in art, literature, architecture, theater, and cinema, as well as the rise of communism, fascism, and experiments in radical democracy. Spanning aesthetics, cultural studies, intellectual history, and political theory, this volume unpacks the significance of the shadow agent known as "the mass" during a critical period in European history. It follows its evolution into the preferred conceptual tool for social scientists, the ideal slogan for politicians, and the chosen image for artists and writers trying to capture a society in flux and a people in upheaval. This volume is the second installment in Stefan Jonsson's epic study of the crowd and the mass in modern Europe, building on his work in A Brief History of the Masses, which focused on monumental artworks produced in 1789, 1889, and 1989.

This paper examines the poetics of Bojić's play Autumn of the King, posing the question of genre of the "historical drama" in a theoretical context and looking at the function of the historical realia of the play in aesthetic terms, as a means of stylization of the historical themes and characters. By analyzing the language of the play as a vehicle for expressive, affective contents, the conclusion is reached that the play is a staging of the structure of language as finitude, and an embodiment of metaphor as a living performance. The linguistic analysis is informed by psychoanalytic and post-structural theories of desire, transgression, the gaze, and finitude. Finally, the plot of the play, centring on the Wagnerian love-death motif of modernism, is seen as the ultimate key to the poetics of Bojić's lyrical drama of the fin-de-siècle, which makes Bojić an innovator of the Serbian poetics of modernism.

Debora Vogel (1900-1942) wrote in Yiddish unlike anyone else. Yiddish, her fourth language after Polish, Hebrew, and German, became the central vehicle for her modernist experiments in poetry and prose. This ground-breaking collection presents the work of a strikingly original yet overlooked author, art critic, and intellectual, and resituates Vogel as an important figure in the constellation of European modernity. Vogel’s astute observations on art, literature, and psychology in her essays, her bold prose experiments inspired by photography and film, and Cubist poetry that both challenges and captivates invite the reader on a journey of discovery—into the microcosm of the talented thinker marked by tragic fate and the macrocosm of Jewish history and Poland’s turbulent twentieth century.

Wenn innerhalb der Literaturwissenschaft von männlicher Schwangerschaft oder männlicher Reproduktion die Rede ist, so wird damit meist auf die Schwangerschaft als Metapher und Kunstschöpfungsanalogie angespielt. Geburt markiert dann den Beginn von etwas völlig Neuem im kreativen, geistigen Bereich, steht etwa für einen ästhetischen Durchbruch, poetischen Neuanfang oder die Schaffung eines Werks per se.

Le Mépris (1963, France-Italy dir. Jean-Luc Godard) is a highly self-conscious, ‘modernist’ example of European Art Cinema. This essay discusses how the narrative embodies the quest of subjectivity in the "Modern Man" through Renaissance, Enlightenment, and Industrialisation.

The most striking constant in the political orientation of European modernism in the first decades of the rwentieth century was its antagonism for parliament, the instirutior.r that embodied the democratic ideals of nineteenth-century liberalism. Iralian Futurism and German Expressionism were especially vocal ir.r their antipathy for parliamentary institutions in the half-decade before 1914, and rhis opposition ro rhe liberal model of representative democracy has caused both movements to be condemned as antidemocratic itr recent literature. As I have argued in an analysis of debates in the most widely-read periodicals of Futurism ar.rd Expressionism, this conclusion fails to acknowledge how each movement critiqued the parliamentary regime of its more or less liberal democracy for failing to respond to demands For access and participatiou. In other words, for not being democratic enoughr. In this regard, Futurists and Expressionists were remarkably consistent in using a single rhetorical trope, the metaphor of politics as stage, to critique parliament as a political forum that calls on a limited number of professional actors to represent a body oF constituer-rts who act as passive sPectators. Futurist and Expressionist periodicals are rife with texts that critique liberal democrary for its Focus on procedure and promote the extra-parliamentary methods of revolutionary syndicalism theorized by Georges Sorel 2. Debates recorded in these Douqlas Brent McBnror, "Expressionism, Futurism, and the Drearn of Mass Dettrocracy," irt Surdies in 20th and 2lst Century Literature, 30.2,2006,333-353. Sorel developed his idees on syndicalist concepts like the general srrike itr a series of essays first prinred in the Itdian journal Il diuenire sociale (Social -ltansfornrarion) in 1905-1906 ancl collectecl in Rifzxioru sur la uiolence (Reflections on Violence) in '1908. For a concise overview,