Includes index.

Preliminary Material -- WHAT MODERNISM WAS AND IS: BY WAY OF AN INTRODUCTION / Sascha Sascha and Dirk de Geest -- TOWARDS MODERNISM / Hans Bertens -- “THE WORLD IS A FINE ADVENTUROUS PLACE”: GRAHAM GREENE IN THE 1930S / Peter Liebregts -- SORTIES OR ENTRENCHMENT: ROUSSEL, CREVEL AND ARAGON BETWEEN AVANT-GARDE AND ARRIǑE-GARDE / Sjef Houppermans -- INTELLECTUAL SCEPTICISM VERSUS AVANT-GARDE BRAGGING: MODERNISM IN DUTCH LITERATURE / Jacqueline Bel -- “THE FINAL CATHOLIC”: PAUL VAN OSTAIJEN, AND THE CATHOLIC RȖEIL AROUND THE FIRST WORLD WAR / Geert Buelens -- ARRIǑE-GARDE PERSPECTIVES ON THE HISTORY OF MODERN LITERATURE: THE CASE OF THE NETHERLANDS (1880-1940) / Koen Rymenants , Tom Sintobin and Pieter Verstraeten -- HOW MODERNISM DISAPPEARED FROM FEDOR GLADKOV’S CEMENT BETWEEN 1924 AND 1958 / Arthur Langeveld -- BIOCOSMISM AND THE RUSSIAN AVANT-GARDE: A LITERARY CUL-DE-SAC OR THE ROAD TO IMMORTALITY? / Otto Boele -- TEN TIMES PESSOA / Paulo de Medeiros -- MODERNISM IN GREEK LITERATURE (1910-1940) / Hero Hokwerda -- FUN HOME: ITHACA, PENNSYLVANIA / Jan Baetens -- A MODERNIST “ATTEMPT AT CINEMA”: THE “IMPURITY” OF PIERROT LE FOU / Peter Verstraten -- MODERNISM AND THE ART OF PRINTING: TRANSITION AND CAROLUS VERHULST / Peter de Voogd -- THE (POST)MODERN MUSIC OF EDGARD VARǓE / Marcel Cobussen -- NOTES ON CONTRIBUTORS -- INDEX.

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This book manifests at least four recent shifts and tendencies within Modernist studies in general that point at the expansion of this increasingly interdisciplinary field. First, Modernist studies has seen a temporal expansion, to the extent that scholars in the field have come to turn to both the pre- and posterior history of Modernism. Second, the field has witnessed a spatial expansion, in that increasingly so researchers have also come to scrutinize the Modernisms of regions at the fringes of Europe, and beyond. Thirdly, a vertical expansion too has marked Modernist studies in recent decades, not only by further expanding the canon of women writers and exploring the continuum between high- and lowbrow, but also by looking at the artistic and mediatized hierarchies and cross-fertilizations operative in the period. A fourth conceptual expansion of the field shows that whereas concepts such as “middlebrow”, “arrière-garde”, and to some extent even “avant-garde”, were once exotic notions of at best marginal importance in European Modernist studies, they now form part and parcel of the field, complicating and expanding it conceptually.