Table Of ContentNEW TEXT TO COME
T
h
EDINBURGH HISTORICAL LINGUISTICS
e
Series Editors: Joseph Salmons and David Willis E T h e E d i n b u r g h
d
i
Edinburgh Historical Linguistics is a series of advanced textbooks, where individual volumes n
cover key subfields within Historical Linguistics in depth. The series provides a b D i c t i o n a r y o f
u
comprehensive introduction to this broad and increasingly complex field.
r
g
h
MOD
D
ANALOGY AND MORPHOLOGICAL CHANGE i
c
t
i
o
‘Fertig’s valuable and insightful book on analogy and morphological change is
n
an extremely welcome contribution to the field.’ a
r
Lyle Campbell, University of Hawai’i at Manoa y
o
This advanced textbook provides a thorough, critical examination of traditional approaches f E R N
M
to analogical change and an in-depth introduction to important recent work in a variety of
O
frameworks. Key topics include the relationship between covert reanalysis and overt
D
innovation, the relative importance of acquisition, repetition, and speaker creativity in
E
grammatical change, the status of several supposedly less important types of change
R
including folk etymology, blending, and back formation, and various aspects of the
N
relationship between analogical change and sound change. It also takes a close look at I
S
the value of concepts such as ‘naturalness’ for explaining and predicting directions of
M
I S M
change.
Although the focus is on morphological change, the book also examines the role of analogy
in syntactic, semantic, and phonological change. Numerous examples are provided from
V
English and a wide variety of other languages, making this an absorbing and illuminating a a
n s
d s
read for advanced students in linguistics. O ilik E
David Fertig is Associate Professor in the Department of Linguistics at the University at lga i Ko dited
Buffalo (SUNY). He is the author of Morphological Change Up Close(2000). Tax loc by
id o
t
o r
u o
n
i
E d i t e d b y
Cover design: www.hayesdesign.co.uk
V a s s i l i k i K o l o c o t r o n i
ISBN 978-0-7486-3703-4
a n d O l g a T a x i d o u
www.euppublishing.com
The Edinburgh Dictionary of Modernism
THE EDINBURGH DICTIONARY
OF MODERNISM
2
Edited by Vassiliki Kolocotroni and Olga Taxidou
Edinburgh University Press is one of the leading university presses in the UK. We publish
academic books and journals in our selected subject areas across the humanities and social
sciences, combining cutting-edge scholarship with high editorial and production values to
produce academic works of lasting importance. For more information visit our website:
edinburghuniversitypress.com
© editorial matter and organisation Vassiliki Kolocotroni and Olga Taxidou, 2018
© the chapters their several authors, 2018
Edinburgh University Press Ltd
The Tun – Holyrood Road
12(2f) Jackson’s Entry
Edinburgh EH8 8PJ
Typeset in 11/13 Sabon by
Servis Filmsetting Ltd, Stockport, Cheshire
and printed and bound in Great Britain by
CPI Group (UK) Ltd, Croydon CR0 4YY
A CIP record for this book is available from the British Library
ISBN 978 0 7486 3702 7 (hardback)
ISBN 978 0 7486 3704 1 (webready PDF)
ISBN 978 0 7486 8406 9 (epub)
The right of Vassiliki Kolocotroni and Olga Taxidou to be identified as the editors of this
work has been asserted in accordance with the Copyright, Designs and Patents Act 1988, and
the Copyright and Related Rights Regulations 2003 (SI No. 2498).
Contents
Acknowledgements vi
A Note on Entries vii
List of Entries ix
Introduction 1
THE EDINBURGH DICTIONARY OF MODERNISM 5
Notes on Contributors 405
Acknowledgements
This volume was made possible by all the contributors who so gener-
ously shared their expertise and continued engagement with modern-
ism. Our warmest thanks and gratitude go to them. As ever, Jackie
Jones at Edinburgh University Press proved the ideal editor: patient,
supportive and insightful. We thank her and her team at EUP, par-
ticularly Adela Rauchova and James Dale, who saw us through the
final stages of the publication process. Special thanks are also due to
Randall Stevenson, who was central to the inception of this project.
vi
A Note on Entries
A dictionary of modernism might appear to be a contradiction in
terms: how to define and contain such a complex, diverse and often
conflicting set of practices and concepts that often actively position
themselves against categorisation, fixed definition or listing? That
is a productive paradox, however, as modernism may itself dictate
ways of thinking openly and oppositionally about its contemporary
moments and operations. From our initial vision for this project, it
became clear that we could not approach modernism without the
meta-languages that it had itself created. In that respect, we decided
to focus on the terms, concepts and movements articulated in and by
modernism to offer a genealogy of sorts that places them within a
historical perspective while also tracing their afterlife.
The dictionary contains 247 entries but cannot claim to be
exhaustive. Rather, the list of entries included here is generative.
Through cross-referencing and suggestions for further reading,
readers are encouraged, and we hope enabled, to create their own
map of modernism based on the coordinates of key fact, contextu-
alisation and often unique focus provided by our selection and the
contributors’ approach. Each entry contains cross references to other
entries (capitalised on their first occurrence) that expand and finesse
the understanding of each term. The terms themselves move across
disciplines, genres and chronological boundaries, and aim to capture
the complex provenance and multiple manifestations and implica-
tions of a practice or notion associated with modernism.
The entries are of varying lengths: approximately 200, 500 or
1,000 words, tackling in each case the importance for modernism of a
movement (e.g. ‘Anarchism’, ‘Bolshevism’, ‘Surrealism’); concept (e.g.
‘aura’, ‘clinamen’, ‘parataxis’); formal feature (e.g. ‘allusion’, ‘stream
of consciousness’, ‘montage’); art form (e.g. ‘dance’, ‘Noh theatre’,
‘opera’); project or grouping (e.g. ‘Collège de sociologie’, ‘Harlem
Renaissance’, ‘Living Newspaper’); historical, political, scientific
or disciplinary frame (‘Communism’, ‘Mathematics’, ‘Translation’,
‘War’); line of influence (e.g. ‘Bergsonism’, ‘Wagnerism’); recurrent
vii
A Note on Entries
figures and motifs (e.g. ‘the flâneur’, ‘machine’, ‘silence’); related
formation (‘British Poetry Revival’, ‘The Edwardians’, ‘The New
Apocalypse’); event (‘The Entartete Kunst exhibition’, ‘The World’s
Fair’). They include examples, a short list of reading suggestions and
works cited where appropriate. ‘Modernism’ features as the first
entry, by way of brief introduction.
Vassiliki Kolocotroni
Olga Taxidou
viii
