The nineteenth century, like the several centuries before it, was a time of privilege for wealthy Caucasian males. Women, minorities, and the poor were marginalized to the point of utter silence and inconsequence. The twentieth century witnessed the beginnings of a new paradigm between first the sexes, and later between different cultural groups.
Class distinction remains arguably the most difficult bridge to cross in terms of forming a truly equitable society. The point is that as the twentieth century moved forward, a greater variety of literary voices won the struggle to be heard. What had so recently been inconceivable was steadily becoming a reality. African-Americans took part in the Harlem Renaissance, with the likes of Langston Hughes at the forefront of a vibrant new idiom in American poetry.
None of this is to suggest that racism and sexism had been completely left behind in the art world. Perhaps such blemishes can never be fully erased, but the strides that were taken in the twentieth century were remarkable by any measure. In Modernist literature, it was the poets who took fullest advantage of the new spirit of the times, and stretched the possibilities of their craft to lengths not previously imagined.
In general, there was a disdain for most of the literary production of the last century. The French Symbolists were admired for the sophistication of their imagery. In comparison to much of what was produced in England and America, the French were ahead of their time. They were similarly unafraid to delve into subject matter that had usually been taboo for such a refined art form. Hopkins, for his part, brought a fresh way to look at rhythm and word usage.
He more or less invented his own poetic rhythms, just as he coined his own words for things which had, for him, no suitable descriptor. Hopkins had no formal training in poetry, and he never published in his lifetime.
This model — the self-taught artist-hermit who has no desire for public adulation — would become synonymous with the poet in the modern age. This stereotype continues unrivaled to this day, despite the fact that the most accomplished poets of the Modern period were far from recluses. Even though alienation was a nearly universal experience for Modernist poets, it was impossible to escape some level of engagement with the world at large.
Even if this engagement was mediated through the poetry, the relationship that poets had with their world was very real, and very much revealing of the state of things in the early twentieth century.
Leading up to the First World War, Imagist poetry was dominating the scene, and sweeping previous aesthetic points of view under the rug. The Imagists, among them Ezra Pound, sought to boil language down to its absolute essence. To achieve that effect required minimalist language, a lessening of structural rules and a kind of directness that Victorian and Romantic poetry seriously lacked. Dreaminess or Pastoral poetry were utterly abandoned in favor of this new, cold, some might say mechanized poetics.
Imagist poetry was almost always short, unrhymed, and noticeably sparse in terms of adjectives and adverbs. At some points, the line between poetry and natural language became blurred. This was a sharp departure from the ornamental, verbose style of the Victorian era. Gone also were the preoccupations with beauty and nature. Potential subjects for poetry were now limitless, and poets took full advantage of this new freedom. No Modernist poet has garnered more praise and attention than Thomas Stearns Eliot.
Offline or Private Last On: Com, its affiliates and syndicates have been granted non-exclusive rights to display this work. Log in to Leave Feedback. Signup right now, for free! Refer a Member Link To Writing. Com Please post questions in our support forum. Copyright - 21 x 20 Media All rights reserved. This site is property of 21 x 20 Media. After the First World War many people questioned the chaos and the insanity of it all. The modernist movement in fictional writing broke through in the U.
If you've read it I'm sure you know why. It was more than a literary movement, though. Fragmentation — in plot, characters, theme, images, and overall storyline. Thus, for instance, many modernist works are not in the typical linear sequence. Loss is a huge theme in modernist works.
Also, there may be more than one narrator, showing the diversity of truth. The destruction of the family unit. Characters may be given little or no physical description, and one or more characters is usually an "outcast. Movement away from religion. The reversal of traditional roles Example: Free indirect speech Stream of consciousness Juxtaposition of characters Wide use of classical allusions Figure of speech Intertextuality Personification Hyperbole Parataxis Comparison Quotation Pun Satire Irony Antiphrasis Unconventional use of metaphor Symbolic representation Psychoanalysis Discontinuous narrative Multiple narrative points of view Thematic characteristics: Breakdown of social norms Realistic embodiment of social meanings Separation of meanings and senses from the context Despairing individual behaviours in the face of an unmanageable future Spiritual loneliness Alienation Frustration Disillusionment Rejection of history Rejection of outdated social systems Objection to traditional thoughts and traditional moralities Objection to religious thoughts Substitution of a mythical past Two World Wars' effects on humanity http: This Site Might Help You.
So every organisation will have its own style of doing things, and its own style of writing. For example, an advertising agency will have a much more informal and modern style than a Government office. I suggest you look at some of the written work of the organisation in question, for example their Annual Reports and "House" staff magazines if you can get hold of them.
Related Questions What is a "house" writing style? Has anyone written a "Wicked"-style book about Satan? What's your writing style?
Modernist literature was a predominantly English genre of fiction writing, popular from roughly the s into the s. Modernist literature came into its own What are characteristics of Modernist literature, fiction in particular?
British & Irish Modernism. The horrors of World War I (), with its accompanying atrocities and senselessness became the catalyst for the Modernist movement in literature and art.
Video: Overview of Literary Modernism: Authors, Context, and Style This video provides an introduction to the literary movement known as Modernism. Encompassing such writers as James Joyce, T.S. Eliot and Virginia Woolf, Modernism developed out of a sense that the art forms of the late nineteenth-century were inadequate to describe the condition of Europe after World War I. Aug 14, · "House" means the organisation you work for, as in "House Rules". So every organisation will have its own style of doing things, and its own style of writing. For example, an advertising agency will have a much more informal and modern style than a Government olimpiadageograficzna2015.ga: Resolved.
Of course all of these stylistic qualities make modernist literature notoriously difficult. Spend an hour reading Absalom, Absalom! and you'll see what we mean. But before you go thinking that literary Modernism was all style and no substance, we should tell you that it has some major ideas at work, too. Modernism, as a literary style, emerged after WWI, beginning in Europe and then progressing into American literature by the late s. After the First World War many people questioned the chaos and the insanity of it all.