Benedikt Hjartarson

Harri Veivo

David Ayers

Tomi Huttunen

Utopian hope and dystopian despair are characteristic features of modernism and the avant-garde. Readings of the avant-garde have frequently sought to identify utopian moments coded in its works and activities as optimistic signs of a possible future social life, or as the attempt to preserve hope against the closure of an emergent dystopian present. The fourth volume of the EAM series, European Avant-Garde and Modernism Studies, casts light on the history, theory and actuality of the utopian and dystopian strands which run through European modernism and the avant-garde from the late 19th to the 21st century. The book’s varied and carefully selected contributions, written by experts from around 20 countries, seek to answer such questions as: · how have modernism and the avant-garde responded to historical circumstance in mapping the form of possible futures for humanity? · how have avant-garde and modernist works presented ideals of living as alternatives to the present? · how have avant-gardists acted with or against the state to remodel human life or to resist the instrumental reduction of life by administration and industrialisation?

The Avant-Garde, Modernism and (Im)possible Life

Utopia

Joana Cunha Leal

Margarida Brito Alves

How has the process of globalization shaped artistic practices on the one hand, and art history and theory on the other? The contributions in this volume approach this question from a range of perspectives, taking into account the role of travel, for example, or practitioners’ increasing knowledge of other cultures, art’s increasing awareness of itself as existing on a global level, literary translation, the advance of technology, and the ever-changing grand narratives of art history. As well as reflections on European avant-gardes and neo-avant-gardes, the collection features discussions of Japan, Latin America, Africa, Asia and the Pacific. As a whole, the volume engages with broader current discourses about cultural globalization, and features input from leading scholars around the world as well as some important novel interventions by early-career researchers. The authors not only make a major contribution to the evolution of avant-garde studies, but also offer valuable, original points of view to art history and to the cultural theory of globalization more broadly.

Globalizing the Avant-Garde

Elisabeth Oxfeldt

Thor J. Mednick

Anna Lena Sandberg

Lis Møller

Gísli Magnússon

Kim Simonsen

“Romantik. Journal for the Study of Romanticisms” is a multidisciplinary journal dedicated to the study of romantic-era cultural productions and concepts. The journal promotes innovative research across disciplinary borders. It aims to advance new historical discoveries, forward-looking theoretical insights and cutting-edge methodological approaches. The articles range over the full variety of cultural practices, including the written word, visual arts, history, philosophy, religion, and theatre during the romantic period (c. 1780–1840). But contributions to the discussion of pre- or post-romantic representations are also welcome. Since the romantic era was characterized by an emphasis on the vernacular, the title of journal has been chosen to reflect the Germanic root of the word. But the journal is interested in all European romanticisms – and not least the connections and disconnections between them – hence, the use of the plural in the subtitle. Romantik is a peer-reviewed journal supported by the Nordic Board for Periodicals in the Humanities and Social Sciences (NOP-HS).

Romantik 2020

Moritz Baßler

Sascha Bru

Ursula Frohne

The historical avant-gardes defined themselves largely in terms of their relationship to various versions of realism. At first glance modernism primarily seems to take a counter-position against realism, yet a closer investigation reveals that these relations are more complex. This book is dedicated to the links between realism, modernism and the avant-garde in their international context from the late 19th century up to the present day.

Realisms of the Avant-Garde

Françoise Nicol

Jean-Pierre Montier

The effort to go beyond given knowledge in different domains – artistic, scientific, political, metaphysical – is a characteristic driving force in modernism and the avant-gardes. Since the late 19th century, artists and writers have frequently investigated their medium and its limits, pursued political and religious aims, and explored hitherto unknown physical, social and conceptual spaces, often in ways that combine these forms of critical inquiry into one and provoke further theoretical and methodological innovations. The fifth volume of the EAM series casts light on the history and actuality of investigations, quests and explorations in the European avant-garde and modernism from the late 19th century to the present day. The authors seek to answer questions such as: How have modernism and the avant-garde appropriated scientific knowledge, religious dogmas and social conventions, pursuing their investigation beyond the limits of given knowledge and conceptions? How have modernism and avant-garde created new conceptual models or representations where other discourses have allegedly failed? In what ways do practises of investigation, quest or exploration shape artistic work or the formal and thematic structures of artworks?

Investigation, Quest and Exploration in Modernism and the Avant-Gardes

Beyond Given Knowledge

Per Bäckström

Decentring the Avant-Garde presents a collection of articles dealing with the topography of the avant-garde. The focus is on different responses to avant-garde aesthetics in regions traditionally depicted as cultural, geographical and linguistic peripheries. Avant-garde activities in the periphery have to date mostly been described in terms of a passive reception of new artistic trends and currents originating in cultural centres such as Paris or Berlin. Contesting this traditional view, Decentring the Avant-Garde highlights the importance of analysing the avant-garde in the periphery in terms of an active appropriation of avant-garde aesthetics within different cultural, ideological and historical settings. A broad collection of case studies discusses the activities of movements and artists in various regions in Europe and beyond. The result is a new topographical model of the international avant-garde and its cultural practices.

Decentring the Avant-Garde

Sarah Posman

Anne Reverseau

It has often been argued that the arrival of the early-20th-century avant-gardes and modernisms coincided with an in-depth exploration of the materiality of art and writing. The European historical avant-gardes and modernisms excelled in their attempts to establish the specificity of media and art forms as well as in experimenting with the hybridity of the materials of their multiple disciplines. This third volume of the series European Avant-Garde and Modernism Studies sheds light on the full range and import of this aspect in avant-garde and modernist aesthetics across all art forms and throughout the 19th and 20th centuries. The book’s contributions, written by experts from some 20 countries, seek to answer the following questions: What sort of objects and material, works and media help us to properly grasp the avant-garde and modernist “aesthetics of matter”? How were affects, emotions and sensory and bodily experiences transferred and transformed in the experiment with matter? How were “immaterial” things such as concepts of time changed in this aesthetic moment? What “material meanings” were disseminated in the cultural transfer and translation of objects? How did subsequent avant-gardes deal with the “aesthetics of matter” in their response to historical predecessors?

Modernism, the Avant-Garde and Material Exchange

The Aesthetics of Matter

Peter Nicholls

Tania Ørum

Hubert Berg

Laurence Nuijs

Regarding the Popular charts the complex relationship between the avant-gardes and modernisms on the one hand and popular culture on the other. Covering (neo-)avant-gardists and modernists from various European countries, this second volume in the series European Avant-Garde and Modernism Studies explores the nature of so-called “low” culture, dealing with aspects as diverse as the everyday and the folkloric. Regarding the Popular charts the many ways in which the allegedly “high” modernists and avant-gardists looked at and represented the “low”. As such, this book will appeal to all those with an interest in the dynamic of modern experimental arts and literatures.

Modernism, the Avant-Garde and High and Low Culture

Regarding the Popular

Jan Baetens

The first volume of the new series “European Avant-Garde and Modernism Studies” focuses on the relation between the avant-garde, modernism and Europe. It combines interdisciplinary and intermedial research on experimental aesthetics and poetics. The essays, written by experts from more than fifteen countries, seek to bring out the complexity of the European avant-garde and modernism by relating it to Europe’s intricate history, multiculturalism and multilingualism. They aim to inquire into the divergent cultural views on Europe taking shape in avant-garde and modernist practices and to chart a composite image of the “other Europe(s)” that have emerged from the (contemporary) avant-garde and experimental modernism. How did the avant-garde and modernism in (and outside) Europe give shape to local, national and pan-European forms of identity and community? To what extent does the transnational exchange and cross-fertilisation of aesthetic tendencies illustrate the well-rehearsed claim that the avant-gardes form a typically European phenomenon? Dealing with canonised as well as lesser known exponents of modernism and the avant-garde throughout Europe, this book will appeal to all those interested in European cultural, literary and art history.

The Avant-Garde, Modernism and the Fate of a Continent

Europa! Europa?

Benedikt Hjartarson

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