Finally, this multifaceted inquiry into the neglected "territories of modernism" goes beyond a simple disclosure of the previously unattended aesthetic achievements of "marginal" modernisms: it moves the boundaries of the present theoretical conceptualizations of the dynamic of centers and margins, opening a set of new questions and theoretical frameworks. This exemplary series of essays proposes novel ways of looking at the dynamic of the center and the margin while performatively and theoretically targeting the most pressing issue in modernist studies - namely, the geographical and temporal expansion of its scope of inquiry." "The collection provides a fresh look at the geocultural spaces of Central and Eastern Europe, Asia, and Americas in the extended epoch of modernism and offers multiple surprising insights into the hidden dynamics of modernist intercultural relating, in particular, those pertaining to the studies of Slavic literatures in comparative context. Review "The anthology The Avant-garde and the Margin: New Territories of Modernism has been long awaited. In their stead, the anthology proposes a hermeneutics of encounter that is simultaneously 'spatial' and 'historical,' aware of its limits but convinced of its own necessity. ![]() In this way, the collection avoids the pitfalls of both the traditional diffusionist/Eurocentric model of the world and the more recent over-relativization of the positions of the margin and the center. ![]() While enriching the kaleidoscopic picture of modernism, the essays in this collection also offer new methodological approaches to this polychrome cultural image. The primary concern of the anthology is the set of relations established between the center and the margin, the redefinition of which was pivotal for the formulation of the modernist avant-garde aesthetic project itself. The contributors explore the multifaceted relations established between the avant-garde 'centers' (France, Germany, England, and others) and their counterparts in the cultural 'periphery' (Greece, India, Japan, Poland, Quebec, Romania, and the former Yugoslavia), as well as the unique artistic and literary dialogues which these encounters engendered. The collection of essays 'The Avant-garde and the Margin: New Territories of the Modernist Avant-garde' refigures the critical and historical picture of the modernist avant-garde by introducing a variety of less-commonly discussed geo-artistic sites and dynamics. By focusing on Lorca’s literary success in Cyprus, a peripheral-and rather misrecognized-area of the wider Hellenism, this article throws light on the writer’s representativeness and iconic status in world literary history and the Greek cultural sphere in particular. Drawing on a comparativist myth-critical framework, my approach is more particularly concerned with the study of Lorca as a mythical figure, which may account for the scope of significations he has embodied as a character in a cross-cultural perspective, as well as for the reasons why he remains so flexible within varied traditions. It further explores the persistence of the myth well into the decades that followed World War II and explores its symbolic value down to our day, gradually moving beyond a politicized-and towards an aestheticized-view of his poetry. The article focuses on the ideological importance of Lorca’s assassination and some strands of his poetry and traces the writer’s reception in the Greek world at earlier stages than commonly thought. To place the Lorca image fostered on the island in the ideological and intertextual framework of a more generic lorquismo enables us to enrich our perspective on the writer's transnational radiation, as well as to appreciate the distinctive contribution of Cypriot literature to the formation of Lorquian mythology, powerfully imbued with the historical experience of Hellenism in Cyprus. This article aims to examine Federico García Lorca's reception in Cypriot literature within the context of his wider Hellenic and international posterity.
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