General Introduction: Modernity, modernism, magazines, Peter Brooker
France
Introduction, Peter Brooker
1. Performing writing: Le Chat Noir (1881-95), Le Courrier francais (1884-1913), Gil Blas illustre (1891-1903), Les Quat'z'arts (1897-8), Diana Schiau Botea
2. The 'little magazine' as publishing success : Le Scapin (1885-6), La Pleiade (1886-90), Le Mercure de France (1890-1965), Alexia Kalantzis
3. Between symbolism and avant-garde poetics: La Plume (1889-1905), L'Ermitage (1890-1906), and La Revue blanche (1890-1905), Elisa Grilli and Evanghelia Stead
4. Modern classicism: La Nouvelle Revue francaise (1909-43) and Commerce (1924-32), Anne-Rachel Hermetet
5. Apollinaire and 'the new spirit': Le Festin d'Esope (1903), Les Soirees de Paris (1912 -June 1913; Nov. 1913- July 1914), L'elan (1915-Feb 1916; Dec.1916), Willard Bohn
6. After Apollinaire: SIC (1916-19), Nord-Sud (1917-18) and L'Esprit Nouveau (1920-5), Simon Dell
7. Proto-Dada. The New York connection: The Ridgefield Gazook (1915), The Blind Man (1917), Rongwrong (1917), 391 (1917), TNT (1919), New York Dada (1921), David Hopkins
8. A Dada Season: 391 (1919-24), Cannibale (1920), Projecteur (1920), Dada (1920-1), Le Coeur a Barbe (1922), Ruth Hemus
9. Eclecticism and its discontents: Les Ecrits nouveaux (1917-22) and La Revue europeenne (1923-31), John Attridge
10. 'Que faire les surrealistes?': Litterature (1919-24), La Revolution surrealiste, (1925-9), Le Surrealisme au service de la revolution, (1930-3), Raymond Spiteri
11. 'A shameless, indecent saintliness': Georges Bataille, Documents (1929-31), and Acephale (1936-9), Eric Robertson
12. Dangerous games and new mythologies: Cercle et Carre (1930), Art Concret (1930), Abstraction-Creation (1932-5); Minotaure (1933-9), Jed Rasula
The Low Countries
Introduction, Sascha Bru
13. 'The will to style': the Dutch contribution to the avant-garde: Leiden: De Stijl (1917-32), Mecano (1922-3), Amsterdam: Wendingen (1918-32), i10 (1927-9), Groningen: The Next Call (1923-6), Sascha Bru
14. Antwerp circles.Languages, locality, and internationalism: Ontwaking (1896, 1901-1910), De Boomgaard (1909-11), Resurrection (1917-18), Het Roode Zeil (1920), Selection (1920-33), Ruimte (1920-1), Het Overzicht (1921-5), De Driehoek (1925-6), Lumiere (1919-23), Ca Ira (1920-3), Daphne de Marneffe
15. '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), Varietes (1928-30), 7 Arts (1922-8), Francis Mus and Hans Vandevoorde
Spain and Portugal
Introduction, Peter Brooker
16. Madrid. Questioning the avant-garde: Helios (1903-4), El Nuevo Mercurio (1907), Prometeo (1908-12), Los Quijotes (1915-18), Cosmopolis (1919-1922), Grecia (1918-20), Ultra (1921-2), Ambos (1923), Litoral (1926-7,1929), Mediodia (1926-9), Carmen y Lola (1927-9), La Gaceta Literaria (1927-32), and Gallo (1928)., Lori Cole
17. 'Noucentisme' and the avant-garde in Barcelona (1916-36) : La Revista. Quaderns de publicacio quinzenal (1915-36) Vell i nou. Revista d'art (1915-19, 1920-1), Revista nova (1914, 1916-17), 391 (1917), Trocos (1916, 1917-18) ; L'Instant. Revue franco-catalane d'art et litterature (1918-19), Un enemic del poble (1917-19), Arc-voltaic (1918), Proa (1921), L'Amic de les arts (1926-8), Helix (1929-30), A.C. Documentos de actividad contemporanea (1931-7), D'aci i d'alla (1918-36)., Geoff West
18. Modernist magazines in Portugal. Orpheu and its legacy: Orpheu (1915), Exilio (1916), Centauro (1916), Portugal Futurista (1917), Contemporanea (1915, 1922-6), Athena (1924-5), Sudoeste (1935), Presenca (1927-38; 1939-40)., Clara Rocha
Italy
Introduction, Sascha Bru
19. Political and aesthetic transgressions. Florentine reviews a la mode: Il Marzocco (1896-1932), Il Regno (1903-5), Il Leonardo (1903-7), Hermes (1904), and La Voce (1908-14), Francesca Billiani
20. 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), Luca Somigli
21. The return to order in Florence: Il Selvaggio (1924-43), Il Frontespizio (1929-40), Pegaso (1929-33), Campo di Marte (1938-9), Mariana Aguirre
22. 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), Eric Bulson
23. 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), Vivien Greene
24. Futurist Periodicals in Rome (1916-39). From effervescence to disillusionment: Avanscoperta (1916-17), Cronache d'attualita (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)., Chris Michaelides
25. '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), Arianna Bove
Scandinavia
Introduction, Peter Brooker
26. 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); Kvaernen (1920), Buen (1924-25), Sirius (1924-25), Kritisk Revy (1926-8); Baalet (1921-2), Bjerget (1923), Pressen (1923-4), I Morgen (1925,1927); Clarte (1926-7), Monde (1928-31); linien (1934-9), konkretion (1935-6), Bjarne Sondergaard Bendtsen
27. Norway. The Province and its Metropolites: Impressionisten (1886-90), Exlex (1919-20), PLAN (1933-6), Eirik Vassenden
28. 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)., Mats Jansson
Germany, Austria, Switzerland
Introduction, Christian Weikop
29. Reality and utopia in Munich's premier magazines: Simplicissimus (1896-1944) and Jugend (1896-1940)., Timothy W. Hiles
30. 'There you have Munich': Der Blaue Reiter (1912), Revolution (1913), Der Weg (1919), Jessica Horsley
31. Between art and activism: Pan (1895-1900; 1910-15), Die weissen Blatter (1913-21), Das neue Pathos (1913-19); Marsyas (1917-19), Andreas Kramer
32. A critical mass for modernism in Berlin: Der Sturm (1910-1932), Die Aktion (1911-1932), Sturm-Buhne (1918-1919), Douglas Brent McBride
33. Transitions: from Expressionism to Dada: Neue Jugend (1914; 1916-17), Die freie Strasse (1915-18), Club Dada (1918), Christian Weikop
34. Berlin Dada and the carnivalesque: Jedermann sein eigner Fussball (1919) and Der Dada (1919-20), Christian Weikop
35. Radical left magazines in Berlin: Die Pleite (1919, 1923-4); Der blutige Ernst (1919); Der Gegner (1919-22); Der Knuppel (1923-7); Eulenspiegel (1928-31); AIZ/VI (1924-38), Sabine T. Kriebel
36. 'Not to adorn life but to organize it': Veshch. Gegenstand. Objet: Revue internationale de l'art moderne (1922), G (1923-6), Stephen Bury
37. 'The magazine of enduring value': Der Querschnitt (1921-36) in context, Erika Esau
38. Dresden. 'Collectivity is dead, long live mankind': Der Komet (1918-19), Menschen (1918-21), Neue Blatter fur Kunst und Dichtung (1918-21), Kathleen Chapman
39. Hamburg and Kiel: Radical Bildungsburgertum: Die Schone Raritat (1917-1919), Die Rote Erde (1919-1923), Der Sturmreiter (1919-1920), Kundung, Timothy O. Benson
40. Cologne.The magazine as artistic and social imperative:Der Ventilator (1919); Bulletin D (1919); Die Schammade (1920); Stupid (1920); a bis z (1929-33), Lynette Roth
41. Hannover. 'True art' and 'true DADA': Das Hohe Ufer (1919-20), Der Zweemann (1919-20), Der Marstall (1920), and Merz (1923-32), Dorothea Dietrich
42. Frankfurt, Leipzig, and Dessau. 'neue typographie' - the new face of a new world: das neue frankfurt and die neue linie, Patrick Rossler
43. Vienna's 'Holy Spring' and beyond: Ver Sacrum (1898-1903), Almanach der Wiener Werkstatte (1911), Hohe Warte (1904-9), Deutsche Kunst und Dekoration (1897-1932), Diane Silverthorne
44. From the Hapsburg Empire to the Holocaust: Die Fackel (1899-1936) and Der Brenner (1910-54), Edward Timms
45. 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)., Debbie Lewer
East-Central Europe
Introduction, Peter Brooker
46. The view from Prague: Moderni revue (1894-1925), Volne smery (1896-1949), Umelecky mesicnik (1911-4), Revolucni sbornik Devetsil (1922), Zivot (1923), Disk (1923-5), Pasmo (1924-6), ReD (1927-31), Nicholas Sawicki
47. 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: Ut (1922-5); Ljubljana: Svetokret (1921), Rdeci pilot (1922), Tank (1927), Laurel Seely and Tyrus Miller
48. The avant-garde in Budapest and in exile in Vienna: A Tett (1915-6), Ma (Budapest 1916-9; Vienna 1920-6), Egyseg (1922-4), Akasztott Ember (1922), 2x2 (1922), Ek (1923-4), Is (1924), 365 (1925), Dokumentum (1926-7), RIMunka (1928-39)., Eva Forgacs and Tyrus Miller
49. 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), Irina Livezeanu
50. Krakow and Warsaw. Becoming the avant-garde: Rydwan (first series 1912-14), Maski (1918-19), Wianki (1919-22), Formisci (1919-21), Nowa Sztuka (1921-2), Zwrotnica (1922-3), Blok (1924-6), Przemyslaw Strozek
51. Poznan and Lodz. Nationalist modernism and the international avant-garde: Zdroj (1917-22); Ing-Idysz (Jung Idysz) (1919), Tel-Awiw (1919-21), Lidia Gluchowska
Russia, the Soviet Union, and Ukraine
Introduction, Peter Brooker
52. 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), Christina Lodder with Peter Hellyer
53. Modernism upheld. Moscow journals of art and literature: Vesy (1904-9), Iskusstvo (1905), Zolotoe Runo (1906-9), and Makovets (1922)., Oleg Minin
54. 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), Christina Lodder
55. 'A rift on the left front': Lef (1923-5) and Na postu (1923-5), Emily Finer
56. 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)., Oleh S. Ilnytzkyj
