Based on the author's thesis (doctoral)--Oxford University, 2000.

This book is a re-examination of the fertile years of early modernism immediately preceding the First World War. During this period, how, where, and under whose terms the avant-garde in Britain would be constructed and consumed were very much to play for. It is the first study to look in detail at two little magazines marginalised from many accounts of this competitive process: Rhythm and the Blue Review. By thoroughly examining not only the content but the interrelated networks that defined and surrounded these publications, Faith Binckes aims to provide a fresh and challenging perspective to the on-going reappraisal of modernism. Founded in 1911, and edited by John Middleton Murry with assistance from Michael Sadleir and subsequently from Katherine Mansfield, Rhythm and The Blue Review featured a series of pivotal moments. Rhythm was the arena for a challenge to Roger Fry's vision of Post-Impressionism, for the introduction of Picasso to a British audience, for early short stories and reviews by Lawrence, and for Mansfield's discovery of a voice in which to frame her breakthrough writing on New Zealand. A further context for many of these experiments was the extended and acrimonious debate Rhythm conducted with A.R. Orage's New Age, in which issues of the proper gender, generation, and formulation of modernity were debated month by month. However, reading magazines as vehicles for avant-garde development can only provide half the story. The book also pays close attention to their dialogic, reproductive, and periodical nature, and explores the strategies at work within the terminology of the new. Crucially, it argues that they offer compelling material evidence for the consistently mobile and multiple boundaries of the modern, and puts forward a compelling case for focusing upon the specificity of magazines as a medium for literary and artistic innovation.

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.

New perspectives on women's contributions to periodical culture in the era of modernismThis collection highlights the contributions of women writers, editors and critics to periodical culture in the late nineteenth and early twentieth centuries. It explores women's role in shaping conversations about modernism and modernity across varied aesthetic and ideological registers, and foregrounds how such participation was shaped by a wide range of periodical genres. The essays focus on well-known publications and introduce those as yet obscure and understudied - including middlebrow and popular magazines, movement-based, radical papers, avant-garde titles and classic Little Magazines. Examining neglected figures and shining new light on familiar ones, the collection enriches our understanding of the role women played in the print culture of this transformative period.Key FeaturesHelps recover neglected women writers and cast new light on canonical onesHighlights the geographical diversity of modern British print cultureEmphasises the interdisciplinary nature of modernism, including essays on modernist dance, music, cinema, drama and architecture Includes a section on social movement periodicals

This book explores responses to the strangeness and pleasures of modernism and modernity in four commercial British women’s magazines of the interwar period. Through extensive study of interwar Vogue (UK), Eve, Good Housekeeping (UK), and Harper’s Bazaar (UK), Wood uncovers how modernism was received and disseminated by these fashion and domestic periodicals and recovers experimental journalism and fiction within them by an array of canonical and marginalized writers, including Storm Jameson, Rose Macaulay, Gertrude Stein, and Virginia Woolf. The book’s analysis is attentive to text and image and to interactions between editorial, feature, and advertising material. Its detailed survey of these largely neglected magazines reveals how they situated radical aesthetics in relation to modernity’s broader new challenges, diversions, and opportunities for women, and how they approached high modernist art and literature through discourses of fashion and celebrity. Modernism and Modernity in British Women’s Magazines extends recent research into modernism’s circulation through diverse markets and publication outlets and adds to the substantial body of scholarship concerned with the relationship between modernism and popular culture. It demonstrates that commercial women’s magazines subversively disrupted and sustained contemporary hierarchies of high and low culture as well as actively participating in the construction of modernism’s public profile.

The third of three volumes devoted to the cultural history of the modernist magazine in Britain, North America, and Europe, this collection contains fifty-six original essays on the role of 'little magazines' and independent periodicals in Europe in the period 1880-1940. It demonstrates how these publications were instrumental in founding and advancing developments in European modernism and the avant-garde. Expert discussion of approaching 300 magazines, accompanied by an illuminating variety of cover images, from France, Italy, Germany, Spain and Portugal, Scandinavia, Central and Eastern Europe will significantly extend and strengthen the understanding of modernism and modernity. The chapters are organised into six main sections with contextual introductions specific to national, regional histories, and magazine cultures. Introductions and chapters combine to elucidate the part played by magazines in the broader formations associated with Symbolism, Expressionism, Futurism, Dada, Surrealism, and Constructivism in a period of fundamental social and geo-political change. Individual essays, situated in relation to metropolitan centres bring focussed attention to a range of celebrated and less well-known magazines, including Le Chat Noir, La Revue blanche, Le Festin d'Esope, La Nouvelle Revue Francaise, La Revolution Surrealiste, Documents,De Stijl, Ultra, Lacerba, Energie Nouve, Klingen, Exlex, flamman, Der Blaue Reiter, Der Sturm, Der Dada, Ver Sacrum, Cabaret Voltaire, 391, ReD, Zenit, Ma, Contemporanul, Formisci, Zdroj, Lef ,and Novy Lef . The magazines disclose a world where the material constraints of costs, internal rivalries, and anxieties over censorship ran alongside the excitement of new work, collaboration on a new manifesto and the birth of a new movement. This collection therefore confirms the value of magazine culture to the expanding field of modernist studies, providing a rich and hitherto under-examined resource which helps bring to life the dynamics out of which the modernist avant-garde evolved.

This volume contains 44 original essays on the role of periodicals in the United States and Canada. Over 120 magazines are discussed by expert contributors, completely reshaping our understanding of the construction and emergence of modernism.