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.

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.

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.

'Modern European thought' describes a wide range of philosophies, cultural programmes, and political arguments developed in Europe in the period following the French Revolution. This handbook charts and explores recurring themes and approaches to this broad and complex topic, particularly with regard to Theology.

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.

This is the first comprehensive, multi-author survey of German history that features cutting-edge syntheses of major topics by an international team of leading scholars. Emphasizing demographic, economic, and political history, this Handbook places German history in a denser transnational context than any other general history of Germany. It underscores the centrality of war to the unfolding of German history, and shows how it dramatically affected the development of German nationalism and the structure of German politics. It also reaches out to scholars and students beyond the field of history with detailed and cutting-edge chapters on religious history and on literary history, as well as to contemporary observers, with reflections on Germany and the European Union, and on 'multi-cultural Germany'. Covering the period from around 1760 to the present, this Handbook represents a remarkable achievement of synthesis based on current scholarship. It constitutes the starting point for anyone trying to understand the complexities of German history as well as the state of scholarly reflection on Germany's dramatic, often destructive, integration into the community of modern nations. As it brings this story to the present, it also places the current post-unification Federal Republic of Germany into a multifaceted historical context. It will be an indispensable resource for scholars, students, and anyone interested in modern Germany.

What exactly is “modernism”? And how and why has its definition changed over time? Modernism: Evolution of an Idea is the first book to trace the development of the term “modernism” from cultural debates in the early twentieth century to the dynamic contemporary field of modernist studies. Rather than assuming and recounting the contributions of modernism's chief literary and artistic figures, this book focuses on critical formulations and reception through topics such as: - The evolution of “modernism” from a pejorative term in intellectual arguments, through its condemnation by Pope Pius X in 1907, and on to its subsequent centrality to definitions of new art by T. S. Eliot, Laura Riding and Robert Graves, F. R. Leavis, Edmund Wilson, and Clement Greenberg - New Criticism and its legacies in the formation of the modernist canon in anthologies, classrooms, and literary histories - The shifting conceptions of modernism during the rise of gender and race studies, French theory, Marxist criticism, postmodernism, and more - The New Modernist Studies and its contemporary engagements with the politics, institutions, and many cultures of modernism internationally With a glossary of key terms and movements and a capacious critical bibliography, this is an essential survey for students and scholars working in modernist studies at all levels.