Peter Brooker: General Introduction: Modernity, modernism, magazines
France
Peter Brooker: Introduction
1: Diana Schiau Botea: Performing writing: Le Chat Noir (1881-95), Le Courrier français (1884-1913), Gil Blas illustré (1891-1903), Les Quat'z'arts (1897-8)
2: Alexia Kalantzis: The 'little magazine' as publishing success : Le Scapin (1885-6), La Pleiade (1886-90), Le Mercure de France (1890-1965)
3: Elisa Grilli and Evanghelia Stead: Between symbolism and avant-garde poetics: La Plume (1889-1905), L'Ermitage (1890-1906), and La Revue blanche (1890-1905)
4: Anne-Rachel Hermetet: Modern classicism: La Nouvelle Revue française (1909-43) and Commerce (1924-32)
5: Willard Bohn: Apollinaire and 'the new spirit': Le Festin d'Esope (1903), Les Soirées de Paris (1912 -June 1913; Nov. 1913- July 1914), L'élan (1915-Feb 1916; Dec.1916)
6: Simon Dell: After Apollinaire: SIC (1916-19), Nord-Sud (1917-18) and L'Esprit Nouveau (1920-5)
7: David Hopkins: Proto-Dada. The New York connection: The Ridgefield Gazook (1915), The Blind Man (1917), Rongwrong (1917), 391 (1917), TNT (1919), New York Dada (1921)
8: Ruth Hemus: A Dada Season: 391 (1919-24), Cannibale (1920), Projecteur (1920), Dada (1920-1), Le Coeur à Barbe (1922)
9: John Attridge: Eclecticism and its discontents: Les Ecrits nouveaux (1917-22) and La Revue européenne (1923-31)
10: Raymond Spiteri: 'Que faire les surréalistes?': Littérature (1919-24), La Révolution surréaliste, (1925-9), Le Surréalisme au service de la révolution, (1930-3)
11: Eric Robertson: 'A shameless, indecent saintliness': Georges Bataille, Documents (1929-31), and Acéphale (1936-9)
12: Jed Rasula: Dangerous games and new mythologies: Cercle et Carré (1930), Art Concret (1930), Abstraction-Création (1932-5); Minotaure (1933-9)
The Low Countries
Sascha Bru: Introduction
13: Sascha Bru: 'The will to style': the Dutch contribution to the avant-garde: Leiden: De Stijl (1917-32), Mécano (1922-3), Amsterdam: Wendingen (1918-32), i10 (1927-9), Groningen: The Next Call (1923-6)
14: Daphné de Marneffe: Antwerp circles.Languages, locality, and internationalism: Ontwaking (1896, 1901-1910), De Boomgaard (1909-11), Résurrection (1917-18), Het Roode Zeil (1920), Sélection (1920-33), Ruimte (1920-1), Het Overzicht (1921-5), De Driehoek (1925-6), Lumière (1919-23), Ça Ira (1920-3)
15: Francis Mus and Hans Vandevoorde: 'Streetscape of new districts permeated by the fresh scent of cement'. Brussels, the avant-garde, and internationalism: La Jeune Belgique (1881-7), Van Nu en Straks (1893-1901), L'Art libre (1919-22), Le Disque Vert (1922-5), Variétés (1928-30), 7 Arts (1922-8)
Spain and Portugal
Peter Brooker: Introduction
16: Lori Cole: Madrid. Questioning the avant-garde: Helios (1903-4), El Nuevo Mercurio (1907), Prometeo (1908-12), Los Quijotes (1915-18), Cosmópolis (1919-1922), Grecia (1918-20), Ultra (1921-2), Ambos (1923), Litoral (1926-7,1929), Mediodía (1926-9), Carmen y Lola (1927-9), La Gaceta Literaria (1927-32), and Gallo (1928).
17: Geoff West: 'Noucentisme' and the avant-garde in Barcelona (1916-36) : La Revista. Quaderns de publicació quinzenal (1915-36) Vell i nou. Revista d'art (1915-19, 1920-1), Revista nova (1914, 1916-17), 391 (1917), Troços (1916, 1917-18) ; L'Instant. Revue franco-catalane d'art et littérature (1918-19), Un enemic del poble (1917-19), Arc-voltaic (1918), Proa (1921), L'Amic de les
arts (1926-8), Hèlix (1929-30), A.C. Documentos de actividad contemporánea (1931-7), D'ací i d'allà (1918-36).
18: Clara Rocha: Modernist magazines in Portugal. Orpheu and its legacy: Orpheu (1915), Exílio (1916), Centauro (1916), Portugal Futurista (1917), Contemporânea (1915, 1922-6), Athena (1924-5), Sudoeste (1935), Presença (1927-38; 1939-40).
Italy
Sascha Bru (MDRN): Introduction
19: Francesca Billiani: Political and aesthetic transgressions. Florentine reviews à la mode: Il Marzocco (1896-1932), Il Regno (1903-5), Il Leonardo (1903-7), Hermes (1904), and La Voce (1908-14)
20: Luca Somigli: Past-loving Florence and the temptations of futurism: Lacerba (1913-15), Quartiere Latino (1913-14), L'Italia futurista (1916-18), La Vraie Italie (1919-20)
21: Mariana Aguirre: The return to order in Florence: Il Selvaggio (1924-43), Il Frontespizio (1929-40), Pègaso (1929-33), Campo di Marte (1938-9)
22: Eric Bulson: Milan, the 'rivista', and the de-provincialization of Italy: Le Papyrus (1894-6), Poesia (1905-09), Il Convegno (1920-40), Pan (1933-5), Corrente di vita giovanile (1938-40)
23: Vivien Greene: Bizantium and emporium: fine-secolo magazines in Rome and Milan: Fanfulla della Domenica (1879-1919), Cronaca Bizantina (1881-6), Il Convito (1895-1907), Cronaca d'Arte (1890-2), Vita Moderna (1892-5), Emporium (1895-1964)
24: Chris Michaelides: Futurist Periodicals in Rome (1916-39). From effervescence to disillusionment: Avanscoperta (1916-17), Cronache d'attualità (1916-22), Noi (1917-25), Roma futurista (1918-20), Dinamo: Rivista futurista (1919), Le Futurisme (1922-31), La Ruota dentata (1927), 2000 Giornale della rivoluzione artistica (1929), Futurismo (May 1932- Nov. 1933), Sant'Elia (Oct. 1933-Sept. 1934),
Artecrazia (Oct. 1934- Jan. 1939).
25: Arianna Bove: 'The old was dying but the new could not be born'. Revolutionary magazines in Turin: Energie Nuove (1918-20), L'Ordine Nuovo (1919-20), Rivoluzione Liberale (1922-4), Il Baretti (1924-6)
Scandinavia
Peter Brooker: Introduction
26: Bjarne Søndergaard Bendtsen: Copenhagen. From the ivory tower to street activism: Ny Jord (1888-9), Taarnet (1893-4), Ungt Blod (1895-6), Vagten (1899-1900); Klingen (1917-20); Kværnen (1920), Buen (1924-25), Sirius (1924-25), Kritisk Revy (1926-8); Baalet (1921-2), Bjerget (1923), Pressen (1923-4), I Morgen (1925,1927); Clarté (1926-7),
Monde (1928-31); linien (1934-9), konkretion (1935-6)
27: Eirik Vassenden: Norway. The Province and its Metropolites: Impressionisten (1886-90), Exlex (1919-20), PLAN (1933-6)
28: Mats Jansson: Crossing borders. Modernism in Sweden and the Swedish-speaking part of Finland: Thalia (1909-13), Ny konst (1915), flamman (1917-21), Ultra (1922), Quosego (1928-9), kontakt (1931), Spektrum (1931-3) and Karavan (1934-5).
Germany, Austria, Switzerland
Christian Weikop: Introduction
29: Timothy W. Hiles: Reality and utopia in Munich's premier magazines: Simplicissimus (1896-1944) and Jugend (1896-1940).
30: Jessica Horsley: 'There you have Munich': Der Blaue Reiter (1912), Revolution (1913), Der Weg (1919)
31: Andreas Kramer: Between art and activism: Pan (1895-1900; 1910-15), Die weissen Blätter (1913-21), Das neue Pathos (1913-19); Marsyas (1917-19)
32: Douglas Brent McBride: A critical mass for modernism in Berlin: Der Sturm (1910-1932), Die Aktion (1911-1932), Sturm-Bühne (1918-1919)
33: Christian Weikop: Transitions: from Expressionism to Dada: Neue Jugend (1914; 1916-17), Die freie Strasse (1915-18), Club Dada (1918)
34: Christian Weikop: Berlin Dada and the carnivalesque: Jedermann sein eigner Fussball (1919) and Der Dada (1919-20)
35: Sabine T. Kriebel: Radical left magazines in Berlin: Die Pleite (1919, 1923-4); Der blutige Ernst (1919); Der Gegner (1919-22); Der Knüppel (1923-7); Eulenspiegel (1928-31); AIZ/VI (1924-38)
36: Stephen Bury: 'Not to adorn life but to organize it': Veshch. Gegenstand. Objet: Revue internationale de l'art moderne (1922), G (1923-6)
37: Erika Esau: 'The magazine of enduring value': Der Querschnitt (1921-36) in context
38: Kathleen Chapman: Dresden. 'Collectivity is dead, long live mankind': Der Komet (1918-19), Menschen (1918-21), Neue Blätter für Kunst und Dichtung (1918-21)
39: Timothy O. Benson: Hamburg and Kiel: Radical Bildungsbürgertum: Die Schöne Rarität (1917-1919), Die Rote Erde (1919-1923), Der Sturmreiter (1919-1920), Kündung
40: Lynette Roth: Cologne.The magazine as artistic and social imperative:Der Ventilator (1919); Bulletin D (1919); Die Schammade (1920); Stupid (1920); a bis z (1929-33)
41: Dorothea Dietrich: Hannover. 'True art' and 'true DADA': Das Hohe Ufer (1919-20), Der Zweemann (1919-20), Der Marstall (1920), and Merz (1923-32)
42: Patrick Rössler: Frankfurt, Leipzig, and Dessau. 'neue typographie' - the new face of a new world: das neue frankfurt and die neue linie
43: Diane Silverthorne: Vienna's 'Holy Spring' and beyond: Ver Sacrum (1898-1903), Almanach der Wiener Werkstätte (1911), Hohe Warte (1904-9), Deutsche Kunst und Dekoration (1897-1932)
44: Edward Timms: From the Hapsburg Empire to the Holocaust: Die Fackel (1899-1936) and Der Brenner (1910-54)
45: Debbie Lewer: The avant-garde in Swiss exile 1914-20: Der Mistral (1915), Sirius (1915-16), Cabaret Voltaire (1916), Dada (1917-19), 391 (No. 8, 1918), Der Zeltweg (1919), Almanach der Freien Zeitung (1918).
East-Central Europe
Peter Brooker: Introduction
46: Nicholas Sawicki: The view from Prague: Moderní revue (1894-1925), Volné sm%ery (1896-1949), Um%elecký m%esí%cník (1911-4), Revolu%cní sborník Dev%etsil (1922), %Zivot (1923), Disk (1923-5), Pásmo (1924-6), ReD (1927-31)
47: Laurel Seely and Tyrus Miller: Avant-garde journals in the Yugoslav crucible: Zenit (Zagreb 1921-3; Belgrade 1924-6); Zagreb: Dada-Jok (1922), Dada-Tank (1922), Dada Jazz (1922); Novi Sad: Út (1922-5); Ljubljana: Svetokret (1921), Rde%ci pilot (1922), Tank (1927)
48: Éva Forgács and Tyrus Miller: The avant-garde in Budapest and in exile in Vienna: A Tett (1915-6), Ma (Budapest 1916-9; Vienna 1920-6), Egység (1922-4), Akasztott Ember (1922), 2x2 (1922), Ék (1923-4), Is (1924), 365 (1925), Dokumentum (1926-7), RIMunka (1928-39).
49: Irina Livezeanu: Romania. 'Windows toward the West': new forms and the 'poetry of true life'. Revista celor l'alti (1908), Insula (1912), Chemarea (1912), Contimporanul (1922-32), 75 HP (1924), Punct (1924-5 ), Integral (1925-8), Urmuz ( 1925 ), Unu (1928-33)
50: Przemyslaw Strozek: Kraków and Warsaw. Becoming the avant-garde: Rydwan (first series 1912-14), Maski (1918-19), Wianki (1919-22), Formi'sci (1919-21), Nowa Sztuka (1921-2), Zwrotnica (1922-3), Blok (1924-6)
51: Lidia Gluchowska: Poznan and Lódz. Nationalist modernism and the international avant-garde: Zdrój (1917-22); Ing-Idysz (Jung Idysz) (1919), Tel-Awiw (1919-21)
Russia, the Soviet Union, and Ukraine
Peter Brooker: Introduction
52: Christina Lodder with Peter Hellyer: St. Petersburg / Petrograd/ Leningrad. From aesthetes to revolutionaries: Mir Iskusstva (1898-1904), Apollon (1909-17), Studiya Impressionistov (1910), Soyuz Molodezhii (1912-13), Iskusstvo Kommuny (1918-19)
53: Oleg Minin: Modernism upheld. Moscow journals of art and literature: Vesy (1904-9), Iskusstvo (1905), Zolotoe Runo (1906-9), and Mákovets (1922).
54: Christina Lodder: From futurist iconoclasm to socialist construction: Futuristy. Pervyi zhurnal russkikh futuristov (1914), Lef: Levyi front iskusstv (1923-5), Novyi Lef (1927-8), Internationatsional'naya literature (1933-45)
55: Emily Finer: 'A rift on the left front': Lef (1923-5) and Na postu (1923-5)
56: Oleh S. Ilnytzkyj: Under imperial eyes in Kyiv and Kharkiv magazines: Ukrains'ka khata (1909-14), Muzahet (1919), Mystetstvo (1919), Katafalk iskusstva (1922), Semafor u maibutnie (1922), Honh komunkul'ta (1924), Nova generatsiia (1927-30), Avangard: Al'manakh proletars'kykh myttsiv Novoi generatsii (1930).