Lawrence, and Marianne Moore. World War I broke out soon after the height of Imagism. Some poets, like Aldington, were called to serve the country, and this made the spread of Imagism difficult—as did paper shortages as a result of the war. Eventually, war poets like Wilfred Owen grew in popularity as people shifted their attention to the state of the world. After the war ended, a sense of disillusionment grew, and poems like T. This infamous poem contains various narratives and voices that change quickly from one topic to another.
This style of poetry differed greatly from the slow and focused poetry of the Imagists. Visit this link to read the poem in its entirety. Within a few years, many Modernist writers moved overseas.
These writers held and attended literary salons. Poets such as E. Not all Modernist poets followed the writers who were making revolutionary changes to the world of poetics. Marianne Moore, for example, wrote some form poetry, and Robert Frost once said that writing free verse was "like playing tennis without a net. The idea of a poem as a riddle to be cracked had its beginnings in the Modernist period. Symbolism was not a new concept in literature, but the Modernists' particular use of symbols was an innovation.
They left much more to the reader's imagination than earlier writers, leading to open-ended narratives with multiple interpretations.
For example, James Joyce's "Ulysses" incorporates distinctive, open-ended symbols in each chapter. Writers of the Modernist period saw literature more as a craft than a flowering of creativity. They believed that poems and novels were constructed from smaller parts instead of the organic, internal process that earlier generations had described. The idea of literature as craft fed the Modernists' desire for creativity and originality. Modernist poetry often includes foreign languages, dense vocabulary and invented words.
The poet e. Josh Patrick has several years of teaching and training experience, both in the academy and the private sector. Patrick worked for three years on the editorial board for "Inscape," his alma mater's literary magazine. He holds a Master of Library and Information Science. Themes of the English Restoration Poetry.
Common Themes in African-American Literature. Literary Elements of Victorian Literature. Not that simply one credo was replaced by another but there was change in the pace in which life moved it became faster, freer, and grossly materialistic. The twentieth century saw a host of material benefits available to man-luxury items, popular entertainments like cinema, an unprecedented comfort in basic living conditions.
Materialism also enhanced the class divide, but that was not an unknown experience for the industrial West. The foundations of faith were also battered by the onslaught of Darwinism.
The challenge to faith is one of the key characteristics in modern literature. In the early poetry of T. The modern experience was not confined England alone. The twentieth century saw the internationalisation literature — the literary horizons of English were inhabited by writers who used the language but not necessarily the territorial condition.
Writers like James Joyce, T. Eliot, Joseph Conrad, Henry James, a Hemingway found in the modern experience the resource through engaged their creative impulses. Modern literature is characterised by a process of cross-fertilisation of ideas, images, experiences.
When Joseph Conrad writes about Marlow he is a modern man , but not simply an Englishman. In the world of Charles Dickens in the 19 th century, Micawber belongs to a tradition that traces its sources to a robust English optimism.
Another approach is to attempt to construct a description of the representative features of Modernist writing. Norman Cantor, in Twentieth Century Culture, Modernism to Deconstruction , has offered what he calls a Model of Modernism , with the following characteristics. Modernism favoured anti-historicism because truth is not evolutionary and progressive but something requiring analysis. It focussed on the micro- rather than the macrocosm, and hence the individual more than the social. It leant towards the disjointed, disintegrating, and discordant in opposition to Victorian harmony.
If Victorian literature was concerned with morality, Modernist writing was concerned with aesthetics. Lastly, Cantor notes tendency towards feelings of apocalypse and despair following decades creeping Victorian doubt.
In this spirit, Modernist texts often focus on social, spiritual, or personal collapse and subsume history under mythology and symbolism. Other characteristics are a focus on the city and a championing as a fear of technology, technical experimentation allied with radical stylistic innovation, a suspicion of language as a medium for comprehending or explaining the world, and an attack on nineteenth-century stalwarts such as empiricism and rationalism.
Above all, however, what has come to be called Modernism appears retrospectively to have been a wide-ranging and far reaching series of vigorous and persistent attempts to multiply and disturb modes of representation.
Its artistic expansion seemed to follow on from other kinds of growth: scientific, imperial, and social. These lucrative material changes were accompanied by individual and collective crises, especially spiritual, which issued in a new literature that was rebellious, questioning, doubtful, and introspective, but confident and even aggressive in its aesthetic conviction.
The novel was the dominant literary form in the Victorian period and while engagement with the reading public of the early twentieth century continued. The high Victorian fascination for social drama was somewhat pushed to the margins in the attempts of the modern to accommodate new situations and attitudes.
It may be argued that the modern moment in English diction was brought about by the writings of Joseph Conrad, especially his Lord Jim and Heart of Darkness The possibilities suggested by Conrad were taken further by other modern novelists such as Virginia Woolf and James Joyce. In novel Mrs. Dalloway and To the Lighthouse , Virginia Woolf readdressed the issue of the genre itself by suggesting that external structuring of events through the frame of the novel was not adequate justify the complexities of modern experience.
Among other members, the novelist E. Forster was associated with the Bloomsbury group.
0コメント