Modernist literature
From Wikipedia, the free encyclopedia
 |
This article or section is in need of attention from an expert on the subject. WikiProject Arts or the Arts Portal may be able to help recruit one. |
 |
The examples and perspective in this article or section may not represent a worldwide view of the subject. Please improve this article or discuss the issue on the talk page. |
Modernist literature is the literary form of Modernism and especially High modernism;[1] it should not be confused with modern literature, which is the history of the modern novel and modern poetry as one. There is a separate section on modernist poetry.
Modernism as a literary movement reached its height in Europe between 1910 and 1920, and addressed aesthetic problems similar to those found in non-literary forms of contemporaneous Modernist art, such as painting. Gertrude Stein's abstract writings, for example, have often been compared to the fragmentary and multi-perspectival Cubism of her friend Pablo Picasso[2].
The general thematic concerns of Modernist literature are well-summarized by the sociologist Georg Simmel:
"The deepest problems of modern life derive from the claim of the individual to preserve the autonomy and individuality of his existence in the face of overwhelming social forces, of historical heritage, of external culture, and of the technique of life."[3]
The Modernist emphasis on a radical individualism can be seen in the many literary manifestos issued by various groups within the movement; the concerns expressed by Simmel above are echoed in Richard Huelsenbeck's "First German Dada Manifesto" of 1918:
"Art in its execution and direction is dependent on the time in which it lives, and artists are creatures of their epoch. The highest art will be that which in its conscious content presents the thousandfold problems of the day, the art which has been visibly shattered by the explosions of last week ... The best and most extraordinary artists will be those who every hour snatch the tatters of their bodies out of the frenzied cataract of life, who, with bleeding hands and hearts, hold fast to the intelligence of their time."
The Modernist re-contextualization of the individual within the fabric of a received social heritage can be seen in the "mythic method" which T.S. Eliot expounded in his discussion of James Joyce's Ulysses:
"In using the myth, in manipulating a continuous parallel between contemporaneity and antiquity, Mr. Joyce is pursuing a method which others must pursue after him ... It is simply 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."[4]
Through an aesthetic examination of these and related concerns, Modernist literature developed a style that can be characterized by a preoccupation with stylistic novelty, formal fragmentation, multiple perspectives, and alternatives to traditional narrative forms.
Modernist literature involved such authors as Virginia Woolf, T. S. Eliot, Gertrude Stein, H.D., Ezra Pound, Mina Loy, James Joyce, William Faulkner, Ernest Hemingway, Franz Kafka, Robert Musil, Joseph Conrad, Andrei Bely, W. B. Yeats, F. Scott Fitzgerald, Luigi Pirandello, D. H. Lawrence, Katherine Mansfield, Jaroslav Hašek, Samuel Beckett, Menno ter Braak, Marcel Proust, Mikhail Bulgakov, Robert Frost and Boris Pasternak.
Contents |
[edit] Overview
Modernist literature attempted to move from the bonds of Realist literature and introduce concepts such as disjointed timelines. Modernism was distinguished by emancipatory metanarrative. In the wake of Modernism, and post-enlightenment, metanarratives tended to be emancipatory, whereas beforehand this was not a consistent characteristic. Contemporary metanarratives were becoming less relevant in light of the implications of World War I, the rise of trade unionism, a general social discontent, and the emergence of psychoanalysis. The consequent need for a unifying function brought about a growth in the political importance of culture.
Modernist literature can be viewed largely in terms of its formal, stylistic and semantic movement away from Romanticism, examining subject matter that is traditionally mundane--a prime example being The Love Song of J. Alfred Prufrock by T. S. Eliot. Modernist literature often features a marked pessimism, a clear rejection of the optimism apparent in Victorian literature. In fact, "a common motif in Modernist fiction is that of an alienated individual--a dysfunctional individual trying in vain to make sense of a predominantly urban and fragmented society".
However, many Modernist works like T. S. Eliot's The Waste Land are marked by the absence of a central, heroic figure; in rejecting the solipsism of Romantics like Shelley and Byron, these works reject the notion of subject associated with Cartesian dualism, and collapse narrative and narrator into a collection of disjointed fragments and overlapping voices.
Modernist literature often moves beyond the limitations of the Realist novel with a concern for larger factors such as social or historical change; this is prominent in "stream of consciousness" writing. Examples can be seen in Virginia Woolf's Kew Gardens and Mrs Dalloway, James Joyce's Dubliners and Ulysses, Katherine Porter's Flowering Judas, Jean Toomer's Cane, William Faulkner's The Sound and the Fury, and others.
Modernism as a literary movement is seen, in large part, as a reaction to the emergence of city life as a central force in society. Furthermore, an early attention to the object as freestanding became in later Modernism a preoccupation with form. The dyadic collapse of the distance between subject and object represented a movement from means to is. Where Romanticism stressed the subjectivity of experience, Modernist writers were more acutely conscious of the objectivity of their surroundings. In Modernism the object is; the language doesn't mean it is. This is a shift from an epistemological aesthetic to an ontological aesthetic or, in simpler terms, a shift from a knowledge-based aesthetic to a being-based aesthetic. This shift is central to Modernism. Archibald MacLeish, for instance, said, "A poem should not mean / But be."
Many Modernist works are studied in schools today, from Ernest Hemingway's The Old Man and the Sea, to T. S. Eliot's The Waste Land, to James Joyce's Ulysses and A Portrait of the Artist as a Young Man.
[edit] Characteristics of Modernism
===Formal
[edit] Thematic characteristics
- Breakdown of social norms and cultural sureties
- Dislocation of meaning and sense from its normal context
- Valorization of the despairing individual in the face of an unmanageable future
- Disillusionment
- Rejection of history and the substitution of a mythical past, borrowed without chronology
- Product of the metropolis, of cities and urbanscapes
- Stream of consciousness
- Free indirect discourse
- Overwhelming technological changes of the 20th Century
[edit] See also
- List of English-language first and second generation modernist writers
- Modernist poetry
- Modernist poetry in English
- History of modern literature
- Postmodern literature
[edit] References
- ^ Some Attributes of Modernist Literature
- ^ The Structure of Obscurity: Gertrude Stein, Language, and Cubism, by Randa Kay Dubnick
- ^ Georg Simmel, "The Metropolis and Mental Life" (1903)
- ^ T. S. Eliot, "Ulysses, Order, and Myth" (1923)
[edit] External links
|
||||||||
