List of literary movements

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Literary movements are a way to divide literature into categories of similar philosophical, topical, or aesthetic features, as opposed to divisions by genre or period. Like other categorizations, literary movements provide language for comparing and discussing literary works. These terms are helpful for curricula or anthologies. [1]

Contents

Some of these movements (such as Dada and Beat) were defined by the members themselves, while other terms (for example, the metaphysical poets) emerged decades or centuries after the periods in question. Further, some movements are well defined and distinct, while others, like expressionism, are nebulous and overlap with other definitions. Because of these differences, literary movements are often a point of contention between scholars. [1]


Table

This is a tablelist of modern literary movements: that is, movements after the Renaissance literature. Ordering is approximate, as there is considerable overlap. Notable authors ordering is predominantly by precedence.

MovementDescriptionNotable authors
Renaissance literature The literature within the general Western movement of the Renaissance united by the spirit of Renaissance humanism, which arose in the 14th-century Italy and continued until the mid-17th century in England [2] [3] Petrarch, Giovanni Boccaccio, Baptista Mantuanus, Jacopo Sannazaro, Niccolò Machiavelli, Ludovico Ariosto, François Rabelais, Jorge de Montemor, Miguel de Cervantes, Thomas Wyatt, Edmund Spenser, William Shakespeare, Georg Rudolf Weckherlin
Mannerism A 16th-century movement and style that emerged in the later Italian High Renaissance. Mannerism in literature is notable for its elegant, highly florid style and intellectual sophistication [2] [4] [5] Michelangelo, Clément Marot, Giovanni della Casa, Giovanni Battista Guarini, Torquato Tasso, Veronica Franco, Miguel de Cervantes
Petrarchism A 16th-century movement of Petrarch's style followers, partially coincident with Mannerism [6] [7] Pietro Bembo, Michelangelo, Mellin de Saint-Gelais, Vittoria Colonna, Clément Marot, Garcilaso de la Vega, Giovanni della Casa, Thomas Wyatt, Henry Howard, Joachim du Bellay, Edmund Spenser, Philip Sidney
Baroque A variable 17th-century pan-European art movement that replaced Mannerism and involved several, especially, early 17th-century literary schools. The Baroque characterised by its use of ornamentation, extended metaphor and wordplay [2] [8] [9] [10] Giambattista Marino, Lope de Vega, John Donne, Vincent Voiture, Pedro Calderón de la Barca, Georges and Madeleine de Scudéry, Georg Philipp Harsdörffer, John Milton, Andreas Gryphius, Christian Hoffmann von Hoffmannswaldau, Hans Jakob Christoffel von Grimmelshausen
Marinism This 17th-century followed Mannerism Italian Baroque poetic school and techniques of Giambattista Marino and his followers was based on its use of extravagant and excessive extended metaphor and lavish descriptions [11] [12] Giambattista Marino, Cesare Rinaldi, Bartolomeo Tortoletti, Emanuele Tesauro, Francesco Pona, Francesco Maria Santinelli
Conceptismo A 17th-century Baroque movement in the Spanish literature, a similar to the Marinism [13] [14] Francisco de Quevedo, Baltasar Gracián
Culteranismo Another 17th-century Spanish Baroque movement, in contrast to Conceptismo, characterized by an ornamental, ostentatious vocabulary and highly latinal syntax [15] [16] Luis de Góngora, Hortensio Félix Paravicino, Conde de Villamediana, Juana Inés de la Cruz
Précieuses The main features of this 17th-century French Baroque movement, similar to the Spanish culteranismo and English euphuism, are the refined prose and poetry language of aristocratic salons, periphrases, hyperbole, and puns on the theme of gallant love. [17] Honoré d'Urfé, Vincent Voiture, Jean-Louis Guez de Balzac, Charles Cotin, Antoine Godeau, Madeleine de Scudéry, Isaac de Benserade, Paul Pellisson, Madame d'Aulnoy, Henriette-Julie de Murat
Metaphysical poets A 17th-century English Baroque school using extended conceit, often (though not always) about religion [18] [19] John Donne, George Herbert, Andrew Marvell
Cavalier Poets 17th-century English Baroque royalist poets, writing primarily about courtly love, called Sons of Ben (after Ben Jonson) [20] Richard Lovelace, William Davenant
Euphuism A peculiar mannered style of Baroque English prose, richly decorated with rhetorical questions [21] Thomas Lodge, John Lyly
Classicism A 17th–18th centuries Western cultural movement that partially coexisted with the Baroque, coincided with the Age of Enlightenment and drew inspiration from the qualities of proportion of the major works of classical ancient Greek and Latin literature [22] Pierre Corneille, Molière, Jean Racine, John Dryden, William Wycherley, William Congreve, Jonathan Swift, Joseph Addison, Alexander Pope, Voltaire, Carlo Goldoni
Amatory fiction Romantic fiction popular around 1660 to 1730; notable for preceding the modern novel form and producing several prominent female authors [23] Eliza Haywood, Delarivier Manley, Aphra Behn
The Augustans An 18th-century literary movement based chiefly on classical ideals, satire and skepticism [24] Alexander Pope, Jonathan Swift
Rococo Also known as Late Baroque, the final expression of the Baroque movement that began in France in the 1730s and characterized by a cheerful lightness and intimacy of tone, and an elegant playfulness in erotic light poetry and principally small literary forms [25] [26] Anne Claude de Caylus, Alexandre Masson de Pezay, Évariste de Parny, Jean-Baptiste Louvet de Couvray, Paolo Rolli, Pietro Metastasio, Friedrich von Hagedorn, Johann Wilhelm Ludwig Gleim, Johann Uz, Johann Nikolaus Götz, Christoph Martin Wieland
Sentimentalism Literary sentimentalism arose during the 18th century, partly as a response to sentimentalism in philosophy. In 18th-century England, the sentimental novel was a major literary genre. The movement was one of roots of Romanticism [27] [28] [29] Edward Young, James Thomson, Laurence Sterne, Thomas Gray, Jean-Jacques Rousseau, Friedrich Gottlieb Klopstock, Christian Heinrich Spiess
Gothic fiction Horror fiction existed from 1760s in which the atmosphere is typically claustrophobic, and common plot elements include vengeful persecution, imprisonment, and murder with interest in the supernatural and in violence [30] [31] Horace Walpole, Clara Reeve, Ann Radcliffe, Bram Stoker, Harper Lee, Edgar Allan Poe, Mary Shelley, Christian Heinrich Spiess
Sturm und Drang From 1767 till 1785, a precursor to the Romanticism, it is named for a play by Friedrich Maximilian Klinger. Its literature often features a protagonist which is driven by emotion, impulse and other motives that run counter to the enlightenment rationalism. [32] [33] [34] Johann Wolfgang von Goethe, Friedrich Schiller, Friedrich Maximilian von Klinger, Jakob Michael Reinhold Lenz, Heinrich Leopold Wagner
Weimar Classicism In contrast with the contemporaneous German Romanticism, the practitioners of Weimar Classicism (1788–1805) established the synthesis of ideas from pre-Romanticism of Sturm und Drang, Romanticism, and Classicism [35] Johann Wolfgang von Goethe, Friedrich Schiller, Caroline von Wolzogen
Romanticism A 19th-century (ca. 1800 to 1860) movement emphasizing emotion and imagination, rather than logic and scientific thought. Response to the Enlightenment [36] Jean Paul, Novalis, Washington Irving, Lord Byron, Mary Shelley, Alexander Pushkin, Victor Hugo, Nathaniel Hawthorne, Camilo Castelo Branco, Adam Mickiewicz, José de Alencar
Dark romanticism A style within Romanticism. Finds man inherently sinful and self-destructive and nature a dark, mysterious force E. T. A. Hoffmann, Ludwig Tieck, Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville, Edwin Arlington Robinson
Lake Poets A group of Romantic poets from the English Lake District who wrote about nature and the sublime [37] William Wordsworth, Samuel Taylor Coleridge, Robert Southey
Pre-Raphaelites Founded in 1848, primarily English movement based ostensibly on undoing innovations by the painter Raphael. Many were both painters and poets [38] Dante Gabriel Rossetti, Christina Rossetti
Transcendentalism From the mid-19th-century American movement: poetry and philosophy concerned with self-reliance, independence from modern technology [39] Ralph Waldo Emerson, Henry David Thoreau
Realism The mid-19th-century movement based on a simplification of style and image and an interest in poverty and everyday concerns [40] Gustave Flaubert, William Dean Howells, Stendhal, Honoré de Balzac, Nikolai Gogol, Leo Tolstoy, Fyodor Dostoevsky, Anton Chekhov, Frank Norris, Machado de Assis, Eça de Queiroz
Naturalism The late 19th century proponents of this movement believe heredity and environment control people [41] Émile Zola, Stephen Crane, Guy de Maupassant, Henrik Ibsen, Aluísio Azevedo
Verismo Verismo is a derivative of naturalism and realism that began in post-unification Italy. Verismo literature uses detailed character development based on psychology, in Giovanni Verga's words 'the science of the human heart. [42] [43] ' Giovanni Verga, Luigi Capuana, Matilde Serao, Grazia Deledda
Social realism A type of realism, not to be confused with socialist realism, which depicted the socio-political problems and domestic situations of working class. Some its movements include: Ivan Turgenev, Bernard Shaw, H. G. Wells, Maxim Gorky, Theodore Dreiser, Jaroslav Hašek, Lu Xun, Guo Moruo, Yoshiki Hayama, Kenneth Fearing, John Osborne, Kingsley Amis, Stan Barstow
Socialist realism Socialist realism is a subset of realist art which focuses on communist values and realist depiction. [44] It developed in the Soviet Union and was imposed as state policy by Joseph Stalin in 1934, [45] [46] though authors in other socialist countries and members of the communist party in non-socialist countries also partook in the movement Maxim Gorky, Valentin Kataev, Leonid Leonov, Alexander Fadeyev, Nikolai Ostrovsky, Mikhail Sholokhov, Lu Xun, Takiji Kobayashi, Mike Gold, Rasul Gamzatov
American Realism A national variety of Realism often having the character of protecting the American type of development and way of life [47] Mark Twain, William Dean Howells, Ambrose Bierce, Stephen Crane, Theodore Dreiser, Margaret Deland, Jack London, J. D. Salinger
Dirty Realism In the 1980s North America emerged, a related to Minimalism movement that said to depict the seamier or more mundane aspects of ordinary life of unemployed cowboys, waitresses in roadside cafes, deserted husbands and such in spare, unadorned language [48] [49] Charles Bukowski, Carson McCullers, Raymond Carver, Frederick Barthelme, Richard Ford, Tobias Wolff, Pedro Juan Gutiérrez, Larry Brown, Jayne Anne Phillips
Magical realism A literary style and movement in which magical elements appear in otherwise realistic circumstances. Most often associated with the Latin American literary boom of the 20th century [50] Gabriel García Márquez, Octavio Paz, Günter Grass, Julio Cortázar, Sadegh Hedayat, Nina Sadur, Mo Yan, Olga Tokarczuk
Neo-Romanticism The term has been applied to writers, who rejected, abandoned, or opposed realism, naturalism, or avant-garde modernism at various points in time from circa 1850 and incorporated elements from the era of Romanticism [51] Thomas Mayne Reid, Mór Jókai, Jules Verne, Rudyard Kipling, Robert Louis Stevenson, Rafael Sabatini, Knut Hamsun, Alexander Grin, Jaishankar Prasad, Kahlil Gibran, Konstantin Paustovsky
Decadent movement In the mid 19th century, decadence came to refer to moral decay, and was attributed as the cause of the fall of great civilizations, like the Roman empire. The decadent movement was a response to the perceived decadence within the earlier Romantic, naturalist and realist movements in France at this time. [52] The decadent movement takes decadence in literature to an extreme, with characters who debase themselves for pleasure, [53] [54] and the use of metaphor, symbolism and language as tools to obfuscate the truth rather than expose it [55] Joris-Karl Huysmans, Gustav Flaubert, Charles Baudelaire, Oscar Wilde
Aestheticism An artistic and literary movement of Victorian era from 1860s related to the decadents that cultivated beauty, rather than didactic purpose, and illustrated by the slogan "art for art's sake" [56] [57] [58] [59] Dante Gabriel Rossetti, Algernon Charles Swinburne, Walter Pater, Oscar Wilde, A. E. Housman
Parnassianism A French-origin group of the anti-Romantic poets, mainly occurring prior to symbolism during the 1860s–1890s that strove for exact and faultless workmanship [60] Théophile Gautier, Leconte de Lisle, Théodore de Banville, Felicjan Medard Faleński, Sully Prudhomme, José-Maria de Heredia, Alberto de Oliveira, Olavo Bilac
Symbolism Principally French movement of the fin de siècle, symbolism is codified by the Symbolist Manifesto in 1886, and focused on the structure of thought rather than poetic form or image; [61] [62] [63] influential for English language poets from Edgar Allan Poe to James Merrill Charles Baudelaire, Stéphane Mallarmé, Arthur Rimbaud, Paul Valéry, Maurice Maeterlinck, Hugo von Hofmannsthal, Alexandru Macedonski, Cruz e Sousa
Russian symbolism It arose enough separately from West European symbolism, emphasizing mysticism of Sophiology and defamiliarization [61] [62] [64] Alexander Blok, Valery Bryusov, Fyodor Sologub, Konstantin Balmont, Andrei Bely
Modernism A variegated movement, including modernist poetry, origined in the late 19th century, encompassing primitivism, formal innovation, or reaction to science and technology [65] [66] [67] [68] Joseph Conrad, Knut Hamsun, Marcel Proust, Gertrude Stein, Thomas Mann, James Joyce, Ezra Pound, H.D., T. S. Eliot, Fernando Pessoa, Karel Čapek, Peter Weiss, Mário de Andrade, João Guimarães Rosa, Rabindranath Tagore
Mahjar The "émigré school" was a neo-romantic movement within Arabic-language writers in the Americas that appeared at the turn of the 20th century [69] [70] [71] [72] Ameen Rihani, Kahlil Gibran, Nasib Arida, Mikhail Naimy, Elia Abu Madi, Nadra and Abd al-Masih Haddad
Futurism An avant-garde , largely Italian and Russian, movement codified in 1909 by the Manifesto of Futurism . Futurists managed to create a new language free of syntax punctuation, and metrics that allowed for free expression [73] [74] [75] [76] Filippo Tommaso Marinetti, Giovanni Papini, Mina Loy, Aldo Palazzeschi, Velimir Khlebnikov, Almada Negreiros, Vladimir Mayakovsky, Stanisław Młodożeniec, Jaroslav Seifert
Cubo-Futurism A movement within Russian Futurism with practice of zaum , the experimental visual and sound poetry [77] [78] [79] David Burliuk, Velimir Khlebnikov, Aleksei Kruchyonykh, Vladimir Mayakovsky
Ego-Futurism A school within Russian Futurism based on a personality cult [77] [80] Igor Severyanin, Vasilisk Gnedov
Acmeism A Russian modernist poetic school, which emerged ca. 1911 and to symbols preferred direct expression through exact images [81] [82] [83] [84] [85] Nikolay Gumilev, Osip Mandelstam, Mikhail Kuzmin, Anna Akhmatova, Georgiy Ivanov
New Culture Movement A Chinese movement together with the May Fourth Movement as its part during the 1910s and 1920s that opposed Confusian culture and proclaimed a new culture, including the use of written vernacular Chinese. It clustered in the New Youth literary magazine and Peking University [86] [87] Chen Duxiu, Lu Xun, Zhou Zuoren, Li Dazhao, Chen Hengzhe, Hu Shih, Yu Pingbo
Stream of consciousness Early-20th-century fiction consisting of literary representations of quotidian thought, without authorial presence [88] Dorothy Richardson, Virginia Woolf, James Joyce
Impressionism It influenced by the European Impressionist art movement and subsumed into several other categories. The term is used to describe not some movement, but a work of literature characterized by the selection of a few details to convey the sense impressions left by an incident or scene [89] [90] Joseph Conrad, Stephen Crane, Virginia Woolf, Mykhailo Kotsiubynsky, Aleksey Remizov, Vladimir Nabokov
Expressionism Part of the larger expressionist movement, literary and theatrical expressionism is an avant-garde movement originating in Germany, which rejects realism in order to depict emotions and subjective thoughts [91] [92] Franz Kafka, Alfred Döblin, Gottfried Benn, Leonid Andreyev, Heinrich Mann, Oskar Kokoschka
First World War PoetsBritish poets who documented both the idealism and the horrors of the war and the period in which it took place[ citation needed ] Siegfried Sassoon, Rupert Brooke, Wilfred Owen
Imagism An English-language modernist group founded in 1914 that poetry based on description rather than theme, and on the motto, "the natural object is always the adequate symbol" [93] Ezra Pound, H.D., Richard Aldington
Dada Touted by its proponents as anti-art, the Dada avant-garde focused on going against artistic norms and conventions [94] Jean Arp, Kurt Schwitters, Tristan Tzara
Imaginism An avantgardist post-Russian Revolution of 1917 poetic movement that created poetry based on sequences of arresting and uncommon images [95] Sergei Yesenin, Anatoly Marienhof, Rurik Ivnev
The Lost Generation The term 'Lost Generation' is traditionally attributed to Gertrude Stein and was then popularized by Ernest Hemingway in the epigraph to his novel The Sun Also Rises , and his memoir A Moveable Feast . It refers to a group of American literary notables who lived in Paris and other parts of Europe from the time period which saw the end of World War I to the beginning of the Great Depression [96] F. Scott Fitzgerald, Ernest Hemingway, Ezra Pound, Waldo Pierce, John Dos Passos
Stridentism A Mexican artistic avant-garde movement. They exalted modern urban life and social revolution Manuel Maples Arce, Arqueles Vela, Germán List Arzubide
Harlem Renaissance African American poets, novelists, and thinkers, often employing elements of blues and folklore, based in the Harlem neighborhood of New York City in the 1920s [97] Langston Hughes, Zora Neale Hurston
Jindyworobak movement The Jindyworobak movement originated in Adelaide, South Australia during the great depression. It sought to preserve uniquely Australian culture from external influence by incorporating Australian aboriginal languages and mythology and unique Australian settings [98] [99] [100] Rex Ingamells, Xavier Herbert
Surrealism Originally a French movement, which developed in the 1920s from Dadaism by André Breton with Philippe Soupault and influenced by surrealist painting, that uses surprising images and transitions to play off of formal expectations and depict the unconscious rather than conscious mind (surrealist automatism) [101] André Breton, Philippe Soupault, Jean Cocteau, José María Hinojosa Lasarte, Sadegh Hedayat, Mário Cesariny, Haruki Murakami
OBERIU A short-lived influential Soviet Russian avantgardist art group in Leningrad from 1927 to repressions in 1931, which held provocative performances, that foreshadowed the European theatre of the absurd, nonsensical illogical absurd verse and prose [102] Daniil Kharms, Alexander Vvedensky, Nikolay Zabolotsky, Nikolay Oleynikov, Konstantin Vaginov, Evgeny Schwartz
Los Contemporáneos A Mexican vanguardist group, active in the late 1920s and early 1930s; published an eponymous literary magazine which served as the group's mouthpiece and artistic vehicle from 1928 to 1931 Xavier Villaurrutia, Salvador Novo
Villa Seurat NetworkA group of left and anarchist writers living in Paris in the 1930s, largely influenced by Surrealism [103] Henry Miller, Lawrence Durrell, Anaïs Nin, Alfred Perles
Objectivism A loose-knit modernist mainly American group from the 1930s. Objectivists treated the poem as an object; they emphasised sincerity, intelligence, and the clarity of the poet's vision [104] Louis Zukofsky, Lorine Niedecker, Charles Reznikoff, George Oppen, Carl Rakosi, Basil Bunting
Southern Agrarians A group of Southern American poets, based originally at Vanderbilt University, who expressly repudiated many modernist developments in favor of metrical verse and narrative. Some Southern Agrarians were also associated with the New Criticism [105] John Crowe Ransom, Robert Penn Warren
Postcolonialism A diverse, loosely connected movement within the contemporary literature, writers from former colonies of European countries, whose work is frequently politically charged [106] [107] Jamaica Kincaid, V. S. Naipaul, Derek Walcott, Salman Rushdie, Giannina Braschi, Wole Soyinka, Chinua Achebe
Black Mountain poets A self-identified avant-garde group of poets, originally, from the 1950, based at Black Mountain College, who eschewed patterned form in favor of the rhythms and inflections of the human voice [108] Charles Olson, Denise Levertov, Robert Creeley
Absurdism The absurdist movement is derived in the 1950s from Absurdist literature and philosophy, which argues that life is inherently purposeless and questions truth and value. As such, absurdist literature and theatre of the absurd often includes dark humor, satire, and incongruity [109] [110] Jean-Paul Sartre, Samuel Beckett, Arthur Adamov, Albert Camus, Imre Kertész, Gao Xingjian
The Movement A 1950s group of English anti-romantic and rational writers [111] Kingsley Amis, Philip Larkin, Donald Alfred Davie, D. J. Enright, John Wain, Elizabeth Jennings, Robert Conquest
Nouveau roman The "new novelists", appeared in French literature in the 1950s, generally rejected the traditional use of chronology, plot and character in novel, as well as the omniscient narrator, and focused on the vision of thins [112] [113] Alain Robbe-Grillet, Claude Simon, Nathalie Sarraute, Michel Butor, Robert Pinget, Marguerite Duras, Jean Ricardou
Concrete poetry The Concrete poetry was an avantgardist movement started in Brazil during the 1950s, characterized for extinguishing the general conception of poetry, creating a new language called ''verbivocovisual'' [114] Augusto de Campos, Haroldo de Campos, Décio Pignatari
Beats An American movement of the 1950s and 1960s concerned with counterculture and youthful alienation [115] Its British variety were the 1960s Liverpool poets Jack Kerouac, Allen Ginsberg, William S. Burroughs, Ken Kesey, Gregory Corso
Confessional poetry American poetry that emerged in the late 1950s, often brutally, exposes the self as part of an aesthetic of the beauty and power of human frailty [116] Robert Lowell, Sylvia Plath, Alicia Ostriker
Village Prose A movement in Soviet literature beginning during the Khrushchev Thaw, which included works that cultivated nostalgia of rural life [117] Valentin Ovechkin, Alexander Yashin, Fyodor Abramov, Boris Mozhayev, Viktor Astafyev, Vladimir Soloukhin, Vasily Shukshin, Vasily Belov, Valentin Rasputin
Soviet nonconformism A dissident, stylistically diverse artistic "movement" in the post-Stalinist era Soviet Union from 1950s to 1980s in opposition to official socialist realism [118] [119] [120] Vasily Grossman, Varlam Shalamov, Yury Dombrovsky, Viktor Nekrasov, Aleksandr Solzhenitsyn, Alexander Zinoviev, Vasily Aksyonov, Vladimir Voinovich, Andrei Bitov, Venedikt Yerofeyev, Joseph Brodsky, Dmitry Prigov, Sergei Dovlatov, Sasha Sokolov
Oulipo Founded in 1960 French poetry and prose group based on seemingly arbitrary rules for the sake of added challenge[ citation needed ] Raymond Queneau, Walter Abish, Georges Perec, Italo Calvino
Postmodernism Contemporary movement, emerged strongly in the 1960s U.S., skeptical of absolutes and embracing diversity, irony, and word play [67] [121] Kathy Acker, John Barth, Jorge Luis Borges, Philip K. Dick, William Gaddis, Alasdair Gray, Thomas Pynchon, Subimal Mishra, Sasha Sokolov, Samir Roychoudhury, Kurt Vonnegut, Yukio Mishima, Bret Easton Ellis
Hungry generation A literary movement in postcolonial India (Kolkata) during 1961–65 as a counter-discourse to Colonial Bengali poetry Shakti Chattopadhyay, Malay Roy Choudhury, Binoy Majumdar, Samir Roychoudhury, Debi Roy, Sandipan Chattopadhyay, Subimal Basak
New York School Urban, gay or gay-friendly, leftist poets, writers, and painters of the 1960s [122] Frank O'Hara, John Ashbery
New Wave The New Wave is a movement in science fiction produced in the 1960s and 1970s and characterized by a high degree of experimentation, both in form and in content, a "literary" or artistic sensibility, and a focus on "soft" as opposed to hard science. New Wave writers often saw themselves as part of the modernist tradition and sometimes mocked the traditions of pulp science fiction, which some of them regarded as stodgy, adolescent and poorly written [123] John Brunner, M. John Harrison, Norman Spinrad, Barrington J. Bayley, Thomas M. Disch
Minimalism In the late 1960s and '70s U.S. emerged, an avantgardist artistic, dramatic and literary movement is characterized by an economy with words and a focus on surface description. [124] [125] [126] Samuel Beckett, Grace Paley, Raymond Carver, Frederick Barthelme, Richard Ford, Mary Robison, Amy Hempel, Jon Fosse
British Poetry Revival A loose wide-reaching collection of groupings and subgroupings during the late 1960s and early 1970s. It was a modernist reaction to the conservative The Movement [127] [128] J. H. Prynne, Eric Mottram, Tom Raworth, Denise Riley, Lee Harwood
Language poets An avantgardist group or tendency in American poetry that emerged in the late 1960s and early 1970s with the poem as a construction in and of language itself [129] Bernadette Mayer, Leslie Scalapino, Stephen Rodefer, Bruce Andrews, Charles Bernstein
Misty Poets The Misty Poets were Chinese poets who resisted state artistic restrictions imposed during the Cultural Revolution since 1970s. They made use of metaphors and hermetic imagery and avoided objective facts [86] [130] [131] Bei Dao, Duo Duo, Shu Ting, Yang Lian, Gu Cheng, Hai Zi
Spoken Word A postmodern literary movement srarted ca. 1970, where writers use their speaking voice to present fiction, poetry, monologues, and storytelling arising from Beat poetry, the Harlem Renaissance, and the civil rights movement in the urban centers of the United States. [132] The textual origins differ and may have been written for print initially then read aloud for audiences Spalding Gray, Laurie Anderson, Hedwig Gorski, Pedro Pietri, Piri Thomas, Giannina Braschi, Taalam Acey
Moscow Conceptualists A movement within Soviet nonconformist art emerged during the 1970s and related to western conceptual and neo-conceptual art in which the concept(s) involved in the work are prioritized equally to or more than traditional aesthetic or material concerns. The Moscow group included not only artists but also writers [133] [134] [135] Dmitry Prigov, Lev Rubinstein, Anna Alchuk, Vladimir Sorokin
Metarealism Namely metaphysical realism, a movement in the 1970s–90s unofficial postmodern Soviet and Russian literature, whom all members used complex metaphors which they called meta-metaphors [134] [136] [137] Konstantin Kedrov, Viktor Krivulin, Elena Shvarts, Yuri Arabov, Alexei Parshchikov
New Formalism A movement originating ca. 1977 in American poetry advocating a return to traditional accentual-syllabic verse [138] [139] Dana Gioia, X.J. Kennedy, Brad Leithauser, Molly Peacock, Mary Jo Salter, Timothy Steele
Performance poetry This is the lasting viral component of Spoken Word and one of the most popular forms of poetry in the 21st century. It is a new oral poetry originating in the 1980s in Austin, Texas, using the speaking voice and other theatrical elements. Practitioners write for the speaking voice instead of writing poetry for the silent printed page. The major figure is American Hedwig Gorski who began broadcasting live radio poetry with East of Eden Band during the early 1980s. Gorski, considered a post-Beat, created the term "Performance Poetry" to define and distinguish what she and the band did from performance art. Instead of books, poets use audio recordings and digital media along with television spawning Slam Poetry and Def Poets on television and Broadway Beau Sia, Hedwig Gorski, Bob Holman, Marc Smith, David Antin, Taalam Acey
New Sincerity, a.k.a. Postpostmodernism A cultural movement and trend that matured in the 1990s within Postmodernism, primarily in America, preferring sincerity ethos to the hegemony of postmodernist irony and cynicism [140] [141] David Foster Wallace, Marilynne Robinson, Jonathan Franzen, Victor Pelevin, Michael Chabon, Dave Eggers, Stephen Graham Jones, Zadie Smith
Sastra wangi A label for the movement of Indonesian literature started circa 2000 and written by young, urban Indonesian women who take on controversial issues such as politics, religion and sexuality [142] Ayu Utami, Djenar Maesa Ayu, Dewi "Dee" Lestari, Fira Basuki, Nova Riyanti Yusuf
Neo-Decadence An artistic movement which, though influenced by the aesthetic ideology of the Decadent movement, might be seen as much as a reaction against other trends in contemporary literature as a resurrection of the original movement. In general, Neo-Decadence has more in common with avant-garde literary movements (Symbolism, Decadence and Futurism) than with genre fiction categories such as speculative fiction or horror, with which it is often compared. [143] [144] Brendan Connell, Quentin S. Crisp, Justin Isis

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Expressionism is a modernist movement, initially in poetry and painting, originating in Northern Europe around the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. Expressionist artists have sought to express the meaning of emotional experience rather than physical reality.

<span class="mw-page-title-main">Russian literature</span>

Russian literature refers to the literature of Russia, its émigrés, and to Russian-language literature. Major contributors to Russian literature, as well as English for instance, are authors of different ethnic origins, including bilingual writers, such as Kyrgyz novelist Chinghiz Aitmatov. At the same time, Russian-language literature does not include works by authors from the Russian Federation who write exclusively or primarily in the native languages of the indigenous non-Russian ethnic groups in Russia, thus the famous Dagestani poet Rasul Gamzatov is omitted.

<span class="mw-page-title-main">Neo-romanticism</span> Movements from the era of Romanticism

The term neo-romanticism is used to cover a variety of movements in philosophy, literature, music, painting, and architecture, as well as social movements, that exist after and incorporate elements from the era of Romanticism.

An art movement is a tendency or style in art with a specific art philosophy or goal, followed by a group of artists during a specific period of time, or, at least, with the heyday of the movement defined within a number of years. Art movements were especially important in modern art, when each consecutive movement was considered a new avant-garde movement. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective and an attempt to reproduce an illusion of visible reality. By the end of the 19th century many artists felt a need to create a new style which would encompass the fundamental changes taking place in technology, science and philosophy.

The Scottish Renaissance was a mainly literary movement of the early to mid-20th century that can be seen as the Scottish version of modernism. It is sometimes referred to as the Scottish literary renaissance, although its influence went beyond literature into music, visual arts, and politics. The writers and artists of the Scottish Renaissance displayed a profound interest in both modern philosophy and technology, as well as incorporating folk influences, and a strong concern for the fate of Scotland's declining languages.

Modernist poetry refers to poetry written between 1890 and 1950 in the tradition of modernist literature, but the dates of the term depend upon a number of factors, including the nation of origin, the particular school in question, and the biases of the critic setting the dates. The critic/poet C. H. Sisson observed in his essay Poetry and Sincerity that "Modernity has been going on for a long time. Not within living memory has there ever been a day when young writers were not coming up, in a threat of iconoclasm."

<span class="mw-page-title-main">Romantic poetry</span> Artistic, literary, musical and intellectual genre and movement

Romantic poetry is the poetry of the Romantic era, an artistic, literary, musical and intellectual movement that originated in Europe towards the end of the 18th century. It involved a reaction against prevailing Enlightenment ideas of the 18th century, and lasted approximately from 1800 to 1850. Romantic poets rebelled against the style of poetry from the eighteenth century which was based around epics, odes, satires, elegies, epistles and songs.

<span class="mw-page-title-main">Cubo-Futurism</span> Russian art movement

Cubo-Futurism or Kubo-Futurizm was an art movement, developed within Russian Futurism, that arose in early 20th century Russian Empire, defined by its amalgamation of the artistic elements found in Italian Futurism and French Analytical Cubism. Cubo-Futurism was the main school of painting and sculpture practiced by the Russian Futurists. In 1913, the term "Cubo-Futurism" first came to describe works from members of the poetry group "Hylaeans", as they moved away from poetic Symbolism towards Futurism and zaum, the experimental "visual and sound poetry of Kruchenykh and Khlebninkov". Later in the same year the concept and style of "Cubo-Futurism" became synonymous with the works of artists within Ukrainian and Russian post-revolutionary avant-garde circles as they interrogated non-representational art through the fragmentation and displacement of traditional forms, lines, viewpoints, colours, and textures within their pieces. The impact of Cubo-Futurism was then felt within performance art societies, with Cubo-Futurist painters and poets collaborating on theatre, cinema, and ballet pieces that aimed to break theatre conventions through the use of nonsensical zaum poetry, emphasis on improvisation, and the encouragement of audience participation.

<span class="mw-page-title-main">Literary modernism</span> Western literary movement, originating in the late 19th century

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." This literary movement was driven by a conscious desire to overturn traditional modes of representation and express the new sensibilities of the time. The immense human costs of the First World War saw the prevailing assumptions about society reassessed, 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".

Silver Age is a term traditionally applied by Russian philologists to the last decade of the 19th century and first two or three decades of the 20th century. It was an exceptionally creative period in the history of Russian poetry, on par with the Golden Age a century earlier. The term Silver Age was first suggested by philosopher Nikolai Berdyaev, but it only became customary to refer thus to this era in literature in the 1960s. In the Western world other terms, including Fin de siècle and Belle Époque, are somewhat more popular. In contrast to the Golden Age, female poets and writers influenced the movement considerably, and the Silver Age is considered to be the beginning of the formal academic and social acceptance of women writers into the Russian literary sphere.

<span class="mw-page-title-main">Russian Futurism</span> Literary and artistic movement in Russia

Russian Futurism is the broad term for a movement of Russian poets and artists who adopted the principles of Filippo Marinetti's "Manifesto of Futurism", which espoused the rejection of the past, and a celebration of speed, machinery, violence, youth, industry, destruction of academies, museums, and urbanism; it also advocated for modernization and cultural rejuvenation.

Nationality words link to articles with information on the nation's poetry or literature.

<span class="mw-page-title-main">Ego-Futurism</span> Russian literary movement of the 1910s

Ego-Futurism was a Russian literary movement of the 1910s, developed within Russian Futurism by Igor Severyanin and his early followers. While part of the Russian Futurism movement, it was distinguished from the Moscow-based cubo-futurists as it was associated with poets and artists active in Saint Petersburg.

<span class="mw-page-title-main">Stanislav Vinaver</span> Serbian writer (1891–1955)

Stanislav Vinaver was a Serbian writer, poet, translator and journalist. Vinaver was born to affluent Ashkenazi Jewish parents that had immigrated to Serbia from Poland in the late 19th century. He studied at the University of Paris, volunteered to fight in the Balkan Wars and later took part in World War I as an officer in the Royal Serbian Army. In 1915, he lost his father to typhus. He travelled to France and the United Kingdom the following year, delivering lectures about Serbia and its people. In 1917, he was assigned to the Serbian consulate in Petrograd, where he was to witness the Russian Revolution and its aftermath.

<span class="mw-page-title-main">English literature</span>

English literature is literature written in the English language from the English-speaking world. The English language has developed over 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. Despite being set in Scandinavia, it has achieved national epic status in England. 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 developing 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.

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