Titlebook: Mediterranean Modernism; Intercultural Exchan Adam J. Goldwyn,Renée M. Silverman Book 2016 The Editor(s) (if applicable) and The Author(s)

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Naming Surreally: Lautréamont’s , , and Nikos Engonopoulos’s Worship of the “Greek”er “surrealist humor” or an ethnocentric statement and suggests instead to read “Greek” itself as a proper name: a sign charged with desire, singular and unchangeable, which cannot be exhausted by any cultural logic.

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Sharing the Stage in Istanbul: The Multi-ethnic Beginnings of Ottoman Theatres popular reception. The partnership of theatre director Agop Vartovyan and playwright Namık Kemal deserves scrutiny because of both its complex historical layers and its convergence with the emergence of nationalism in the imperial city.

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From Autarky to “Barbarian” Cosmopolitanism: The Early Avant-Garde Movements in Slovenia and Croatiagarde wave (the Zagreb/Belgrade-based circle of Micić’s . and its Trieste/Ljubljana-based successor .) attempted to place the Balkan avant-garde into the international arena with at least partial success. After the discontinuation of . (1926) and . (1927), the most vivid avant-garde movement in Yugoslavia was the “Belgrade Surrealists.”

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The Alexandria Biennale and Egypt’s Shifting Mediterranean. It demonstrates how the biennale shaped a fluid geographical space, imbuing it with changing meanings and malleable boundaries. In tracing the links between aesthetics, artistic production, and the political economy that this event forged, this chapter maps the shifting meanings of Alexandria and the Mediterranean.

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978-1-349-95472-8The Editor(s) (if applicable) and The Author(s) 2016

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Mediterranean Modernism978-1-137-58656-8Series ISSN 2731-5592 Series E-ISSN 2731-5606