PAR: Sillages Critiques 38 (2025): « Reanimating Modernisms (II): Modernist Transmissions », co-dir. Yasna Bozhkova et Nell Wasserstrom.

VALE : Voix Anglophones Littérature et Esthétique (UR 4085)

PAR: Sillages Critiques 38 (2025): « Reanimating Modernisms (II): Modernist Transmissions », co-dir. Yasna Bozhkova et Nell Wasserstrom.

Publication publiée :22 octobre 2025
Post category:Ouvrages / Publications

Nous avons le plaisir de vous annoncer la parution du numéro 38 (2025) de la revue Sillages critiques, intitulé « Reanimating Modernisms (II): Modernist Transmissions » et co-dirigé par Yasna Bozhkova et Nell Wasserstrom.

Le détail de la table des matières apparaît ci-dessous.

Nous remercions vivement les auteur·ice·s ainsi que les responsables du numéro pour leur contribution.

Bien à vous,

Juliana Lopoukhine et Juliette Utard, rédactrices-en-chef, pour le Comité de Rédaction de Sillages critiques

38 | 2025
Reanimating Modernisms (II): Modernist Transmissions

Redonner vie aux modernismes (II) : Transmissions modernistes

Sous la direction de Yasna Bozhkova et Nell Wasserstrom

This issue is the second part of a diptych, entitled Reanimating Modernisms, which proceeds from the critical energies that, at least since the New Modernist studies, continue to challenge the notion of a singular Modernism in the ever-proliferating renewal of the discipline. “Reanimating Modernisms (II): Modernist Transmissions” invokes these newly-animated energies in order to explore how Modernist artists responded to, adapted, questioned, and queered received modes of cultural transmission as well as how these practices of transmission continue to reverberate through the aesthetic and intellectual legacy of Modernism today.

The plurality of Modernisms that have developed in the wake of Douglas Mao and Rebecca L. Walkowitz’s 2008 PMLA article follow rich and varied methodologies: resurrecting works of canonical Modernism from a “dead” or moribund state in the coffins of prior disciplinary containments (e.g., New Criticism / high Modernism, Eurocentric avant-garde, transatlantic Modernism, Romantic proto-Modernism, contemporary neo-Modernism); expanding the field of what counts as “Modernist”; and crossing disciplinary boundaries and fields of study (literature, cultural studies, visual culture, film studies, sound studies, etc.). Issues 37 and 38 engage with these precedents and mobilise their dynamic approaches in order to reanimate the diverse discourses through which Modernism as an object of study is framed, without ever being fully contained. In these two issues, despite the range of topics and texts addressed, this reanimation is informed by, perhaps paradoxically, one of Modernism’s most long-standing and generative sources of tension: the ways in which Modernist aesthetic practices attempt to negotiate a relation to the past while at the same time respond to a modernity conditioned by unprecedented developments in transcultural, transnational, and technological transmission. Keeping in mind Walter Benjamin’s injunction that “In every era the attempt must be made to wrest tradition away from a conformism that is about to overpower it,” Reanimating Modernisms harnesses these reanimating energies to foreground questions of renovation and transgression central to the ongoing dialogue about what Modernism(s) means today.