Modernist literature, originated in the late 19th and early 20th centuries, and is characterised by a self-conscious separation from traditional ways of writing in both poetry and prose fiction writing. Modernism experimented with literary form and expression, as exemplified by Ezra Pound's maxim to "Make it new."[1] This literary movement was driven by a conscious desire to overturn traditional modes of representation and express the new sensibilities of the time.[2] The immense human costs of the First World War saw the prevailing assumptions about society reassessed,[3] and much modernist writing engages with the technological advances and societal changes of modernity moving into the 20th century. In Modernist Literature, Mary Ann Gillies notes that these literary themes share the "centrality of a conscious break with the past", one that "emerges as a complex response across continents and disciplines to a changing world".[4]
In the 1880s, increased attention was given to the idea that it was necessary to push aside previous norms entirely, instead of merely revising past knowledge in light of contemporary techniques. The theories of Sigmund Freud (1856–1939), and Ernst Mach (1838–1916) influenced early Modernist literature. Ernst Mach argued that the mind had a fundamental structure, and that subjective experience was based on the interplay of parts of the mind in The Science of Mechanics (1883). Freud's first major work was Studies on Hysteria (with Josef Breuer) (1895). According to Freud, all subjective reality was based on the play of basic drives and instincts, through which the outside world was perceived. As a philosopher of science, Ernst Mach was a major influence on logical positivism, and through his criticism of Isaac Newton, a forerunner of Albert Einstein's theory of relativity.
Many prior theories about epistemology argued that external and absolute reality could impress itself, as it were, on an individual—for example, John Locke's (1632–1704) empiricism, which saw the mind beginning as a tabula rasa, a blank slate (An Essay Concerning Human Understanding, 1690). Freud's description of subjective states, involving an unconscious mind full of primal impulses and counterbalancing self-imposed restrictions, was combined by Carl Jung (1875–1961) with the idea of the collective unconscious, which the conscious mind either fought or embraced. While Charles Darwin's work remade the Aristotelian concept of "man, the animal" in the public mind, Jung suggested that human impulses toward breaking social norms were not the product of childishness or ignorance, but rather derived from the essential nature of the human animal.[citation needed]
Another major precursor of modernism was Friedrich Nietzsche,[5] especially his idea that psychological drives, specifically the "will to power", were more important than facts, or things. Henri Bergson (1859–1941), on the other hand, emphasised the difference between scientific clock time and the direct, subjective, human experience of time.[6] His work on time and consciousness "had a great influence on twentieth-century novelists," especially those modernists who used the stream of consciousness technique, such as Dorothy Richardson for the book Pointed Roofs (1915), James Joyce for Ulysses (1922) and Virginia Woolf (1882–1941) for Mrs Dalloway (1925) and To the Lighthouse (1927).[7] Also important in Bergson's philosophy was the idea of élan vital, the life force, which "brings about the creative evolution of everything".[8] His philosophy also placed a high value on intuition, though without rejecting the importance of the intellect.[8] These various thinkers were united by a distrust of Victorian positivism and certainty.[citation needed] Modernism as a literary movement can also be seen as a reaction to industrialisation, urbanisation and new technologies.
Modernist literature scholar David Thorburn saw connections between literary style and impressionist painters such as Claude Monet. Modernist writers, like Monet's paintings of water lilies, suggested an awareness of art as art, rejected realistic interpretations of the world and dramatized "a drive towards the abstract".
Initially, some modernists fostered a utopian spirit, stimulated by innovations in anthropology, psychology, philosophy, political theory, physics and psychoanalysis. The poets of the Imagist movement, founded by Ezra Pound in 1912 as a new poetic style, gave modernism its early start in the 20th century,[10] and were characterized by a poetry that favoured a precision of imagery, brevity and free verse.[10] This idealism, however, ended with the outbreak of World War I, and writers created more cynical works that reflected a prevailing sense of disillusionment. Many modernist writers also shared a mistrust of institutions of power such as government and religion, and rejected the notion of absolute truths.
Modernist works such as T. S. Eliot's The Waste Land (1922) were increasingly self-aware, introspective, and explored the darker aspects of human nature.[11]
Early modernist writers, especially those writing after World War I and the disillusionment that followed, broke the implicit contract with the general public that artists were the reliable interpreters and representatives of mainstream ("bourgeois") culture and ideas, and, instead, developed unreliable narrators, exposing the irrationality at the roots of a supposedly rational world.[12]
They also attempted to address the changing ideas about reality developed by Charles Darwin, Ernst Mach, Freud, Albert Einstein, Nietzsche, Bergson and others. From this developed innovative literary techniques such as stream-of-consciousness, interior monologue, as well as the use of multiple points-of-view. This can reflect doubts about the philosophical basis of realism, or alternatively an expansion of our understanding of what is meant by realism. For example, the use of stream-of-consciousness or interior monologue reflects the need for greater psychological realism.
It is debatable when the modernist literary movement began, though some have chosen 1910 as roughly marking the beginning and quote novelist Virginia Woolf, who declared that human nature underwent a fundamental change "on or about December 1910".[13] But modernism was already stirring by 1902, with works such as Joseph Conrad's (1857–1924) Heart of Darkness, while Alfred Jarry's (1873–1907) absurdist play, Ubu Roi appeared even earlier, in 1896.
Sherwood Anderson's Winesburg, Ohio (1919) is known as an early work of modernism for its plain-spoken prose style and emphasis on psychological insight into characters.
James Joyce was a major modernist writer whose strategies employed in his novel Ulysses (1922) for depicting the events during a twenty-four-hour period in the life of his protagonist, Leopold Bloom, have come to epitomize modernism's approach to fiction. The poet T.S. Eliot described these qualities in 1923, noting that Joyce's technique is "a way of controlling, of ordering, of giving a shape and a significance to the immense panorama of futility and anarchy which is contemporary history.... Instead of narrative method, we may now use the mythical method. It is, I seriously believe, a step toward making the modern world possible for art."[14] Eliot's own modernist poem The Waste Land (1922) mirrors "the futility and anarchy" in its own way, in its fragmented structure, and the absence of an obvious central, unifying narrative. This is in fact a rhetorical technique to convey the poem's theme: "The decay and fragmentation of Western Culture".[15] The poem, despite the absence of a linear narrative, does have a structure: this is provided by both fertility symbolism derived from anthropology, and other elements such as the use of quotations and juxtaposition.[15]
Modernist literature addressed similar aesthetic problems as contemporary modernist art. Gertrude Stein's abstract writings, such as Tender Buttons (1914), for example, have been compared to the fragmentary and multi-perspective Cubist paintings of her friend Pablo Picasso.[17] The questioning spirit of modernism, as part of a necessary search for ways to make sense of a broken world, can also be seen in a different form in the Scottish poet Hugh MacDiarmid's A Drunk Man Looks at the Thistle (1928). In this poem, MacDiarmid applies Eliot's techniques to respond to the question of nationalism, using comedic parody, in an optimistic (though no less hopeless) form of modernism in which the artist as "hero" seeks to embrace complexity and locate new meanings.[citation needed]
Regarding technique, modernist works sought to obfuscate the boundaries between genres. Thus prose works tended to be poetical and poetry prose-like. T. S. Eliot's poetry sacrified lyrical grace for the sake of fragmented narrative while Virginia Woolf's novels (such as Mrs Dalloway and The Waves) have been described as poetical.
Other early modernist writers and selected works include:
Though The Oxford Encyclopedia of British Literature sees Modernism ending by c.1939,[18] with regard to British and American literature, "When (if) Modernism petered out and postmodernism began has been contested almost as hotly as when the transition from Victorianism to Modernism occurred".[19] Clement Greenberg sees Modernism ending in the 1930s, with the exception of the visual and performing arts.[20] In fact, many literary modernists lived into the 1950s and 1960s, though generally speaking they were no longer producing major works.[citation needed]
More recently the term late modernism has been redefined by at least one critic and used to refer to works written after 1945, rather than 1930. With this usage goes the idea that the ideology of modernism was significantly re-shaped by the events of World War II, especially the Holocaust and the dropping of the atom bomb.[24]
The term Theatre of the Absurd is applied to plays written by primarily European playwrights, that express the belief that human existence has no meaning or purpose and therefore all communication breaks down. Logical construction and argument gives way to irrational and illogical speech and to its ultimate conclusion, silence.[27] While there are significant precursors, including Alfred Jarry (1873–1907), the Theatre of the Absurd is generally seen as beginning in the 1950s with the plays of Samuel Beckett.
Critic Martin Esslin coined the term in his 1960 essay, "Theatre of the Absurd." He related these plays based on a broad theme of the Absurd, similar to the way Albert Camus uses the term in his 1942 essay, "The Myth of Sisyphus".[28] The Absurd in these plays takes the form of man's reaction to a world apparently without meaning, and/or man as a puppet controlled or menaced by invisible outside forces. Though the term is applied to a wide range of plays, some characteristics coincide in many of the plays: broad comedy, often similar to Vaudeville, mixed with horrific or tragic images; characters caught in hopeless situations forced to do repetitive or meaningless actions; dialogue full of clichés, wordplay, and nonsense; plots that are cyclical or absurdly expansive; either a parody or dismissal of realism and the concept of the "well-made play".
Modernism is a movement that attempts a radical break with previous ideas in art, literature, philosophy, culture, and social organization. It emerged during the late 19th and early 20th centuries in response to significant changes in Western culture, including secularization and the growing importance of science. It was influenced by widespread technological innovation, industrialization, urbanization, and cultural shifts brought about by war. Ezra Pound's 1934 directive to "Make it New" characterizes modernism's aim to revitalize Western culture. Artistic movements and techniques associated with modernism include abstract art, stream of consciousness in literature, cinematic montage, atonal and twelve-tone music, and modern architecture. The movement was marked by a rejection of nineteenth century realism and the romantic concept of absolute originality. The avant-garde at the beginning of the twentieth century challenged Romanticism's idea of "creation from nothingness," with its techniques of collage, reprise, incorporation, rewriting, recapitulation, revision, parody, and a critical stance toward Enlightenment rationalism. Another feature of modernism is reflexivity about artistic and social conventions, which led to experimentation that highlighted both how works of art are made and the material from which they have been created. Many modernists also moved away from religious beliefs. Debate continues about the timeline of modernism, with some scholars arguing that it evolved into late modernism, or high modernism. Postmodernism rejects many of the principles of modernism.
Thomas Stearns Eliot was a poet, essayist, publisher, playwright, literary critic and editor. He is considered to be one of the 20th century's greatest poets, as well as a central figure in English-language Modernist poetry. His use of language, writing style, and verse structure reinvigorated English poetry. He is also noted for his critical essays, which often reevaluated long-held cultural beliefs.
Richard Aldington was an English writer and poet. He was an early associate of the Imagist movement. His 50-year writing career covered poetry, novels, criticism and biography. He edited The Egoist, a literary journal, and wrote for The Times Literary Supplement, Vogue, The Criterion, and Poetry. His biography, Wellington (1946), won him the James Tait Black Memorial Prize.
Imagism was a movement in early-20th-century poetry that favored precision of imagery and clear, sharp language. It is considered to be the first organized modernist literary movement in the English language. Imagism has been termed "a succession of creative moments" rather than a continuous or sustained period of development. The French academic René Taupin remarked that "it is more accurate to consider Imagism not as a doctrine, nor even as a poetic school, but as the association of a few poets who were for a certain time in agreement on a small number of important principles".
Hilda Doolittle was an American modernist poet, novelist, and memoirist who wrote under the name H.D. throughout her life. Her career began in 1911 after she moved to London and co-founded the avant-garde Imagist group of poets with American expatriate poet and critic Ezra Pound. During this early period, her minimalist free verse poems depicting Classical motifs drew international attention. Eventually distancing herself from the Imagist movement, she experimented with a wider variety of forms, including fiction, memoir, and verse drama. Reflecting the trauma she experienced in London during the Blitz, H.D.'s poetic style from World War II until her death pivoted towards complex long poems on esoteric and pacifist themes.
Modernist poetry in English started in the early years of the 20th century with the appearance of the Imagists. Like other modernists, Imagist poets wrote in reaction to the perceived excesses of Victorian poetry, and its emphasis on traditional formalism and ornate diction.
William Hugh Kenner was a Canadian literary scholar, critic and professor. He published widely on Modernist literature with particular emphasis on James Joyce, Ezra Pound, and Samuel Beckett. His major study of the period, The Pound Era, argued for Pound as the central figure of Modernism, and is considered one of the most important works on the topic.
Sir John Collings Squire was a British writer, most notable as editor of the London Mercury, a major literary magazine in the interwar period. He antagonised several eminent authors, but attracted a coterie that was dubbed the Squirearchy. He was also a poet and historian, who captained a famous literary cricket-team called the Invalids.
James Laughlin was an American poet and literary book publisher who founded New Directions Publishing.
John Rodker was an English writer, modernist poet, and publisher of modernist writers.
The Egoist was a London literary magazine published from 1914 to 1919, during which time it published important early modernist poetry and fiction. In its manifesto, it claimed to "recognise no taboos", and published a number of controversial works, such as parts of Ulysses. Today, it is considered "England's most important Modernist periodical."
Experimental literature is a genre of literature that is generally "difficult to define with any sort of precision." It experiments with the conventions of literature, including boundaries of genres and styles; for example, it can be written in the form of prose narratives or poetry, but the text may be set on the page in differing configurations than that of normal prose paragraphs or in the classical stanza form of verse. It may also incorporate art or photography. Furthermore, while experimental literature was traditionally handwritten, the digital age has seen an exponential use of writing experimental works with word processors.
Nationality words link to articles with information on the nation's poetry or literature.
T. K. Doraiswamy, also known by his pen name Nakulan, was an Indian poet, professor of English, novelist, translator and short fiction writer, who wrote both in Tamil and English, and is known for his surrealism and experimentation as well as free verse. He served as Professor of English, Mar Ivanios College, Thiruvananthapuram for four decades.
English literature is literature written in the English language from the English-speaking world. The English language has developed over the course of more than 1,400 years. The earliest forms of English, a set of Anglo-Frisian dialects brought to Great Britain by Anglo-Saxon invaders in the fifth century, are called Old English. Beowulf is the most famous work in Old English, and has achieved national epic status in England, despite being set in Scandinavia. However, following the Norman conquest of England in 1066, the written form of the Anglo-Saxon language became less common. Under the influence of the new aristocracy, French became the standard language of courts, parliament, and polite society. The English spoken after the Normans came is known as Middle English. This form of English lasted until the 1470s, when the Chancery Standard, a London-based form of English, became widespread. Geoffrey Chaucer (1343–1400), author of The Canterbury Tales, was a significant figure in the development of the legitimacy of vernacular Middle English at a time when the dominant literary languages in England were still French and Latin. The invention of the printing press by Johannes Gutenberg in 1439 also helped to standardise the language, as did the King James Bible (1611), and the Great Vowel Shift.
Stephen Romer, FRSL is an English poet, academic and literary critic.
The Montreal Group, sometimes referred to as the McGill Group or McGill Movement, was a circle of Canadian modernist writers formed in the mid-1920s at McGill University in Montreal, Quebec. The Group included Leon Edel, John Glassco, A. M. Klein, Leo Kennedy, F. R. Scott, and A. J. M. Smith, most of whom attended McGill as undergraduates. The group championed the theory and practice of modernist poetry over the Victorian-style versification, exemplified by the Confederation Poets, that predominated in Canadian poetry at the time.
This article is focused on English-language literature rather than the literature of England, so that it includes writers from Scotland, Wales, and the whole of Ireland, as well as literature in English from former British colonies. It also includes, to some extent, the United States, though the main article for that is American literature.
Reading Pound Reading: Modernism After Nietzsche is a 1987 book on Ezra Pound by the literary scholar and professor Kathryne V. Lindberg. Lindberg considers the influence of Nietzsche upon the prose criticism of Ezra Pound, including his essay "How to Read," his books The ABC of Reading and Guide to Kulchur, as well as in more ephemeral and fugitive sources such as newspapers and obscure literary journals.
↑ Gillies, Mary Ann (2007). Modernist Literature. Edinburgh: Edinburgh University Press. p.2,3. ISBN978-0748627646.
↑ Robert Gooding-Williams, "Nietzsche's Pursuit of Modernism" New German Critique, No. 41, Special Issue on the Critiques of the Enlightenment. (Spring – Summer, 1987), pp. 95–108.
↑ Diané Collinson, Fifty Major Philosophers: A Reference Guide, p.131
↑ The Bloomsbury Guides to English Literature: The Twentieth Century, ed. Linda R. Williams. London: Bloomsbury, 1992, pp. 108–9.
↑ David Thorburn, MIT, The Great Courses, The Teaching Company, 2007, Masterworks of Early 20th-Century Literature, see p. 12 of guidebook Part I, Accessed August 24, 2013
1 2 Pratt, William. The Imagist Poem, Modern Poetry in Miniature (Story Line Press, 1963, expanded 2001). ISBN1-58654-009-2.
↑ Dubnick, Randa K. (1984). The Structure of Obscurity: Gertrude Stein, Language, and Cubism. Champaign: University of Illinois Press. pp.16–20. ISBN0-252-00909-6.
1 2 J. H. Dettmar "Modernism" in The Oxford Encyclopedia of British Literature ed. by David Scott Kastan. Oxford University Press, 2006.
↑ "modernism", The Oxford Companion to English Literature. Edited by Dinah Birch. Oxford University Press Inc. Oxford Reference Online. Oxford University Press.
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