Vassiliki Kolocotroni – författare

Modernism is the movement which attempts to redefine the relationship between art and life, seeking to establish a mode of thought to account for new and radical practices in both realms. This anthology is a guide to the Modernist movement in literature and it aims to provide students, researchers and teachers of Modernism with a comprehensive documentary resource. Covering a wide range of intellectual concerns of the period 1850-1940 in Britain, Europe and America the anthology draws on contemporary essays, reviews, articles and manifestos of the political and aesthetic avant-garde. The material selected comprises a concrete expression of the culture of modernity, providing insights into the origins, contexts and various manifestations of the Modernist movement.

An interdisciplinary reference source of the critical, cultural and political practices associated with modernismMuch of the literary and cultural theory developed throughout the twentieth century relied on modernist texts and artefacts as both example and paradigm. This Dictionary collects, categorises and intersects literary, aesthetic, political and cultural terms that in one way or another came into being through the debates, conflicts, co-operations, experiments individual and collective that characterised modernism. In concise entries from international experts, it presents the terms, categories, concepts, tropes, movements, forged through the modernist upheavals (at once aesthetic and political), highlighting their genealogy, their modernist 'newness', and their historical longevity.Key FeaturesProvides new and authoritative definitions of the revolutionary art, thinking and intellectual culture which flourished in the opening decades of the last centuryDemonstrates the ways in which modernism reconceptualised and realigned all twentieth- century art forms while also formulating the critical and cultural languages of that centuryShows that modernism, in unique ways, already entailed its self-definition and articulated its own critique

An interdisciplinary reference source of the critical, cultural and political practices associated with modernismMuch of the literary and cultural theory developed throughout the twentieth century relied on modernist texts and artefacts as both example and paradigm. This Dictionary collects, categorises and intersects literary, aesthetic, political and cultural terms that in one way or another came into being through the debates, conflicts, co-operations, experiments – individual and collective – that characterised modernism. In concise entries from international experts, it presents the terms, categories, concepts, tropes, movements, forged through the modernist upheavals (at once aesthetic and political), highlighting their genealogy, their modernist ‘newness’, and their historical longevity.Key FeaturesProvides new and authoritative definitions of the revolutionary art, thinking and intellectual culture which flourished in the opening decades of the last centuryDemonstrates the ways in which modernism reconceptualised and realigned all twentieth- century art forms while also formulating the critical and cultural languages of that centuryShows that modernism, in unique ways, already entailed its self-definition and articulated its own critique

This collection of essays explores the hotel as a site of modernity, a space of mobility and transience that shaped the transnational and transcultural modernist activity of the first half of the twentieth century. As a trope for social and cultural mobility, transitory and precarious modes of living, and experiences of personal and political transformation, the hotel space in modernist writing complicates binaries such as public and private, risk and rootedness, and convention and experimentation. It is also a prime location for modernist production and the cross-fertilization of heterogeneous, inter- and trans- literary, cultural, national, and affective modes. The study of the hotel in the work of authors such as E. M. Forster, Katherine Mansfield, Kay Boyle, and Joseph Roth reveals the ways in which the hotel nuances the notions of mobilities, networks, and communities in terms of gender, nation, and class. Whereas Mary Butts, Djuna Barnes, Anaïs Nin, and Denton Welch negotiate affective and bodily states which arise from the alienation experienced at liminal hotel spaces and which lead to new poetics of space, Vicki Baum, Georg Lukács, James Joyce, and Elizabeth Bishop explore the socio-political and cultural conflicts which are manifested in and by the hotel. This volume invites us to think of “hotel modernisms” as situated in or enabled by this dynamic space. Including chapters which traverse the boundaries of nation and class, it regards the hotel as the transcultural space of modernity par excellence.

This collection of essays explores the hotel as a site of modernity, a space of mobility and transience that shaped the transnational and transcultural modernist activity of the first half of the twentieth century. As a trope for social and cultural mobility, transitory and precarious modes of living, and experiences of personal and political transformation, the hotel space in modernist writing complicates binaries such as public and private, risk and rootedness, and convention and experimentation. It is also a prime location for modernist production and the cross-fertilization of heterogeneous, inter- and trans- literary, cultural, national, and affective modes. The study of the hotel in the work of authors such as E. M. Forster, Katherine Mansfield, Kay Boyle, and Joseph Roth reveals the ways in which the hotel nuances the notions of mobilities, networks, and communities in terms of gender, nation, and class. Whereas Mary Butts, Djuna Barnes, Anaïs Nin, and Denton Welch negotiate affective and bodily states which arise from the alienation experienced at liminal hotel spaces and which lead to new poetics of space, Vicki Baum, Georg Lukács, James Joyce, and Elizabeth Bishop explore the socio-political and cultural conflicts which are manifested in and by the hotel. This volume invites us to think of “hotel modernisms” as situated in or enabled by this dynamic space. Including chapters which traverse the boundaries of nation and class, it regards the hotel as the transcultural space of modernity par excellence.