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| Revue Moderne | |
|---|---|
| Title | Revue Moderne |
| Discipline | Literary and cultural periodical |
| Language | French |
| Country | France |
| Firstdate | 1920 |
| Frequency | Monthly |
| Based | Paris |
| Issn | 0000-0000 |
Revue Moderne Revue Moderne was a French literary and cultural periodical published in Paris in the early to mid‑20th century. It served as a forum for debates among advocates of modernism, conservatism, and eclectic aesthetics, engaging figures associated with Paris, Montparnasse, Montmartre, École Normale Supérieure, and leading salons. The journal published poetry, criticism, serialized fiction, and visual reproductions, intersecting with movements represented by Surrealism, Dada, Symbolism, Fauvism, and Cubism.
Founded in the aftermath of World War I amid cultural reconstruction in France, the periodical emerged alongside contemporaries such as Les Nouvelles Littéraires, La Nouvelle Revue Française, and Mercure de France. Its editorial project responded to debates sparked by the Paris Peace Conference and artistic gatherings at venues like Café de Flore and Le Dôme Café. During the 1920s the journal negotiated tensions between proponents of avant‑garde experiment associated with André Breton, Paul Éluard, and Louis Aragon and defenders of classical forms linked to Paul Valéry, André Gide, and Marcel Proust. The 1930s brought encounters with political polarization that reverberated across publications such as Action Française and Esprit, while the wartime years saw constrained operations under occupation and censorship influenced by events at Vichy and policies of the German occupation. Postwar editions attempted to reconstitute networks overlapping with Existentialism circles centered on Jean-Paul Sartre, Simone de Beauvoir, and institutions like Collège de France.
The editorial board comprised critics, poets, and novelists who moved between literary institutions and periodical culture, maintaining links to publishers including Gallimard, Éditions Payot, and Grasset. Regular contributors included established authors and emerging voices who appeared alongside translations of writers from abroad. The journal ran pieces by figures connected to the Académie française and intellectuals active in the public sphere such as Raymond Aron, Jacques Maritain, and Henri Bergson; it also printed work by modernists resonant with T. S. Eliot, Ezra Pound, and James Joyce translations. Visual collaborations involved artists affiliated with Pablo Picasso, Henri Matisse, Georges Braque, and illustrators from the Salon d'Automne and Salon des Indépendants. Contributors often moved in networks that included editors from Le Figaro, Le Monde, and the international milieu of magazines like The New Statesman and The Dial.
The journal mixed serialized novels, critical essays, polemical commentaries, and reviews of exhibitions and performances. It covered theatrical seasons at venues such as Comédie-Française, Théâtre de l'Odéon, and the experimental stages associated with Jacques Copeau and Antonin Artaud. Music criticism addressed composers performed at Salle Pleyel and referenced figures like Igor Stravinsky, Maurice Ravel, and Claude Debussy. Art coverage engaged with exhibitions at the Musée du Louvre, Musée de l'Orangerie, and private galleries showing works by Marc Chagall and Amedeo Modigliani. International reporting included surveys of cultural life in London, New York City, Berlin, and Milan, noting developments tied to institutions such as British Museum, Metropolitan Museum of Art, and Bauhaus. Debates on form and modernity intersected with discussions of politics anchored by contemporary crises like the Great Depression, the rise of Fascism, and tensions preceding World War II.
Issued on a monthly schedule, the periodical used subscriptions, bookstore distribution, and sales at kiosks in Parisian arrondissements to reach readers. Partnerships with bookstores like Librairie Gallimard and distribution channels tied to the press networks of Hachette and Éditions du Seuil enabled provincial circulation throughout Île-de-France and into francophone regions such as Belgium, Switzerland, and parts of North Africa. Special issues were timed to major cultural events: editions accompanying the Salon des Tuileries, retrospectives at the Musée Picasso, and anniversaries of figures like Victor Hugo and Voltaire. The journal occasionally produced bilingual supplements featuring translations of T. S. Eliot and W. B. Yeats to connect francophone readers with Anglo‑American modernism.
Critical reception ranged from praise in outlets like Le Figaro and La Croix to sharp critique from polemical reviews such as Action Française. Intellectuals in the sphere of Sorbonne lectures and debates at the Collège de France referenced its essays while younger writers cited it in correspondence with editors at Nouvelle Revue Française and across letters preserved in archives of figures like André Malraux and Colette. Its influence extended into pedagogy where texts were discussed in seminars at École des Hautes Études en Sciences Sociales and reading groups in Université de Paris. The journal's engagement with transnational modernism contributed to cross‑channel dialogues with magazines such as The Criterion and Transition, leaving an archival footprint in collections at institutions like the Bibliothèque nationale de France and university libraries in Oxford, Harvard University, and Université de Montréal. Over time its legacy informed later French periodicals and influenced curators organizing retrospectives on Modernism and exhibitions of interwar art.
Category:French literary magazines Category:Defunct magazines of France