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Modernism in Literature 1915-1945. Definition. Modernism is a literary and cultural international movement which flourished in the first decades of the 20th century.

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Modernism in Literature 1915-1945

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    1. Modernism in Literature1915-1945

    2. Definition Modernism is a literary and cultural international movement which flourished in the first decades of the 20th century. Modernism is not a term to which a single meaning can be ascribed. It may be applied both to the content and to the form of a work, or to either in isolation. It reflects a sense of cultural crisis which was both exciting and disquieting, in that it opened up a whole new vista of human possibilities at the same time as putting into question any previously accepted means of grounding and evaluating new ideas. Modernism is marked by experimentation, particularly manipulation of form, and by the realization that knowledge is not absolute.

    3. Karl Marx Sigmun Industrialization Immigration Technological Evolution Growth of Modern Science Influence of Austrian Sigmund Freud (1856-1939) Influence of German Karl Marx (1818-1883) Intellectual Currents that Influenced the Age

    4. Literary Legacy that Influenced the Era

    5. Modernism as a Movement Modernism as a movement can be recognized not only in literature but also in • The Sciences • Philosophy • Psychology • Anthropology • Painting • Music • Sculpture • Architecture

    6. General Features Modernism was built on a sense of lost community and civilization and embodied a series of contradictions and paradoxes, embraced multiple features of modern sensibility • Revolution and conservatism • Loss of a sense of tradition • lamented in an extreme form of reactionary conservatism • celebrated as a means of liberation from the past • Increasing dominance of technology • condemned vehemently • embraced as the flagship of progress

    7. Consequences Productive insecurity originated • Aesthetics of experimentation • Fragmentation • Ambiguity • Nihilism • Variety of theories • Diversity of practices

    8. Thematic features • Intentional distortion of shapes • Focus on form rather than meaning • Breaking down of limitation of space and time • Breakdown of social norms and cultural values • Dislocation of meaning and sense from its normal context • Valorisation of the despairing individual in the face of an unmanageable future • Disillusionment • Rejection of history and the substitution of a mythical past • Need to reflect the complexity of modern urban life • Importance of the unconscious mind • Interest in the primitive and non-western cultures • Impossibility of an absolute interpretation of reality • Overwhelming technological changes

    9. Theoretical Background Marx and Darwin had unsettled men from their secure place at the centre of the human universe. Their theories threatened humanist self-confidence and caused a feeling of ideological uncertainty • Marx had revealed men’s dependence on laws and structures outside their control and sometimes beyond their knowledge. Historical and material determinism. • Darwin in his conception of evolution and heredity had situated humanity as the latest product of natural selection

    10. Karl Marx Sigmund Freud Charles Darwin Ferdinand de Saussure Albert Einstein Friedrich Nietzsche Figures that Informed the Modernist Sentiment

    11. Influential thinkers • Physicist Einstein on Relativity (1905) • Physicist Planck on Quantum Theory (1900) • Philosopher Nietzsche on the Will of Power • Philosopher Bergson on the Concept of Time • Psychologist William James on Emotions and Inner Time • Psychologist Freud on the Unconscious (The Interpretation of Dreams, 1900) • Psychologist Jung on Collective Unconscious • Linguist De Saussure on Language • Anthropologist Frazer on Primitive Cultures

    12. Max Plank (1858-1947) Considered the founder of quantum theory, and one of the most important physicists of the twentieth century, he discovered Quantum mechanics • the study of the relationship between quanta and elementary particles • regarded as the most fundamental framework we have for understanding and describing nature

    13. Albert Einstein (1879-1955) The Theory of General Relativity • A metric theory of gravitation • Einstein's equations link the geometry of a four-dimensional space-time with the energy-momentum contained in that space-time • Phenomena ascribed to the action of the force of gravity in classical mechanics, correspond to inertial motion within a curved geometry of spacetime • The curvature is caused by the energy-momentum of matter • Space-time tells matter how to move • Matter tells space-time how to curve.

    14. William James (1842-1910) Pioneering American psychologist and philosopher • was the first to introduce the term stream of consciousnessto denote the continuous flow of thoughts, feelings and impressions that makes up our inner lives Theory of emotions • emotions feel different from other states of mind • they have bodily responses that give rise to internal sensations • different emotions feel different from one another because they are accompanied by different bodily responses and sensations

    15. Sigmund Freud (1856-1938) Austrian psychologist and psychotherapist • Discovered a new method to investigate the mind through the analysis of dreams and free associations • Known for his theories of the unconscious mind and the defense mechanism of repression • Renowned for his redefinition of sexual desire as the primary motivational energy of human life directed toward a wide variety of objects • Famous for his therapeutic techniques, including • theory of transference in the therapeutic relationship • value of dreams as sources of insight into unconscious desires

    16. Carl G. Jung (1875-1961) Swiss psychiatrist, influential thinker and the founder of analytical psychology • He emphasized understanding the psyche through exploring dreams, art, mythology, world religion and philosophy • Developed the concept of collective unconscious, a sort of cultural memory containing myths and beliefs of the human race which work at a symbolical level

    17. Friedrich Nietzsche (1844-1900) German philologist and philosopher. His key ideas include • Tragedy as an affirmation of life • Eternal recurrence • Reversal of Platonism • Repudiation of Christianity • Will to power (as the motivation that underlies all human behavior)

    18. Henri Bergson (1858-1941) French philosopher, influential in the first half of the 20th century, developed the theory of duration • Time is mobile and incomplete • For the individual, time speeds up or slows down • To explore the real time we need to explore the inner life of man • Duration is neither a unity nor a multiplicity • Duration is ineffable • it can only be shown indirectly through images • Images can never reveal a complete picture of Duration • Duration can only be grasped through intuition and imagination

    19. James Frazer (1834-1841) Scottish social anthropologist influential in the early stages of the modern studies of mythology and comparative Religion. His most famous work, The Golden Bough (1890), documents similar magical and religious beliefs across the globe. He maintained that human belief progressed through three stages: • primitive magic • religion • science

    20. Ferdinand De Saussure(1857-1913) Swiss linguist widely considered as the 'father' of 20th-century linguistics. Main work Course in General Linguistics. Its central notion is that language may be analyzed as a formal system of differential elements • linguistic sign • signifier • signified • referent

    21. Painting • Fauvism – Matisse • Supremacy of colour over form • Interest in the primitive and the magical • Cubism – Picasso, Braque • Fragmentation of objects into abstract geometric forms • Abstract paintng – Kandinsky • Attention to line, colour, shape as subjects of painting • Vorticism – Wyndham Lewis • Incorporating the idea of motion and change

    22. Matisse

    23. Picasso

    24. Braque

    25. Wyndham Lewis

    26. Kandinsky

    27. Music Stravinsky, Schoenberg • Dissonance/distorted music effects • Rejection of rules of harmony and composition • Serial system of composition

    28. Formal features of poetry • Open form • Use of free verse • Juxtaposition of ideas rather than consequential exposition • Intertextuality • Use of allusions and multiple association of words • Borrowings from other cultures and languages • Unconventional use of metaphor • Importance given to sound to convey “the music of ideas”

    29. Use of poetic line Flexibility of line length Massive use of alliteration and assonance No use of traditional metre No regular rhyme scheme Use of visual images in distinct lines Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table; Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels And sawdust restaurants with oyster shells: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question . . . Oh, do not ask, "What is it?“ Let us go and make our visit. T.S Eliot Prufrock Free verse

    30. Modernist poets • W.B. Yeats • Ezra Pound • T.S. Eliot • E.M. Rilke • Paul Valéry • André Breton • V Mayakovsky

    31. W.B. Yeats (1855-1939)

    32. T.S. Eliot (1888-1965)

    33. J, Joyce V. Woolf D.H. Lawrence J. Conrad E.M. Forster E. Hemingway W. Faulkner K.Mansfield M. Proust F. Kafka R. Musil T. Mann I. Svevo L. Pirandello B. Pasternak M. Bulgakov Modernist novelists

    34. Formal features of narrative • Experimental nature • Lack of traditional chronological narrative (discontinuous narrative) • Break of narrative frames (fragmentation) • Moving from one level of narrative to another • A number of different narrators (multiple narrative points of view) • Self-reflexive about the act of writing and the nature of literature (meta-narrative) • Use of interior monologue technique • Use of the stream of consciousness technique • Focus on a character's consciousness and subconscious

    35. Stream of consciousness • Aims to provide a textual equivalent to the stream of a fictional character’s consciousness • Creates the impression that the reader is eavesdropping on the flow of conscious experience in the character’s mind • Comes in a variety of stylistic forms • Narrated stream of consciousness often composed of different sentence types including psycho-narration and free indirect style • Characterized by associative (and at times dissociative) leaps in syntax and punctuation

    36. Example of “Stream of consciousness” […] if his nose bleeds youd thing it was O tragic and that dyinglooking one off the south circular when he sprained his foot at the choir party at the sugarloaf Mountain the day I wore that dress Miss Stack bringing him flowers the worst old ones she could find at the bottom of the basket anything at all to get into a mans bedroom with her old maids voice trying to imagine he was dying on account of her to sever see thy face again though he looked more like a man with his beard a bit grown in the bed father was the same besides I hate bandaging and dosing when he cut his toe with the razor paring his corns afraid hed get blood poisoning [...] (Joyce, Ulysses, 'Penelope')

    37. Interior monologue • A particular kind of stream of consciousness writing • Also called quoted stream of consciousness, presents characters’ thought streams exclusively in the form of silent inner speech, as a stream of verbalised thoughts • Represents characters speaking silently to themselves and quotes their inner speech, often without speech marks • Is presented in the first person and in the present tense and employs deictic words • also attempts to mimic the unstructured free flow of thought • can be found in the context of third-person narration and dialogue

    38. Example of “Interior Monologue” • “But it may be fine—I expect it will be fine,” said Mrs Ramsay, making some little twist of the reddish brown stocking she was knitting, impatiently. If she finished it tonight, if they did go to the Lighthouse after all, it was to be given to the Lighthouse keeper for his little boy, who was threatened with a tuberculous hip; together with a pile of old magazines, and some tobacco, indeed, whatever she could find lying about, not really wanted, but only littering the room, to give those poor fellows, who must be bored to death sitting all day with nothing to do but polish the lamp and trim the wick and rake about on their scrap of garden, something to amuse them. For how would you like to be shut up for a whole month at a time, and possibly more in stormy weather, upon a rock the size of a tennis lawn? she would ask; and to have no letters or newspapers, and to see nobody; if you were married, not to see your wife, not to know how your children were,—if they were ill, if they had fallen down and broken their legs or arms; to see the same dreary waves breaking week after week, and then a dreadful storm coming, and the windows covered with spray, and birds dashed against the lamp, and the whole place rocking, and not be able to put your nose out of doors for fear of being swept into the sea? How would you like that? she asked, addressing herself particularly to her daughters. So she added, rather differently, one must take them whatever comforts one can. • V. Wolf, to the Lighthouse”

    39. V. Woolf (1882-1941)

    40. J. Joyce (1882-1941)

    41. D.H Lawrence (1995-1930)

    42. G. Orwell (1903-1950)

    43. References • Bradbury, Malcolm, and McFarlane, James, eds.Modernism: A Guide to European Literature, 1890-1930.London: Penguin • Brooker, Peter, ed.Modernism/Postmodernism. London: Longman, 1992 • Hassan, Ihab and Hassan, Sally, eds.Innovation/Renovation: New Perspectives on the Humanities. Madison: University of Wisconsin Press, 1983 • Huyssen, Andreas.After the Great Divide: Modernism, Mass Culture, Postmodernism. Bloomington: Indiana University Press, 1986 • Lodge, David, ed.Modernism, Antimodernism, and Postmodernism. Birmingham: University of Birmingham Press, 1977 • Wilde, Alan.Horizon of Assent: Modernism, Postmodernism and the Ironic Imagination. Baltimore and London: Johns Hopkins University Press, 1981.