In early uses the word had a pejorative meaning, implying that what was new and modern could not be as good as what had the prestige of approval over a period of time. Baudelaire as both poet and critic was one of the first to splice the meaning of "modern" in a modest article relating to his viewing of the art of his time. Succeeding generations have been calling themselves modern and allowing the word to lose gradually its defensive tone and instead assume an attitude of contestation and even arrogance. It has become in many cases a cry of rebellion, and sometimes what the late Renato Poggioli called agonism, no longer apologetic but rather challenging.
In broad terms, the period was marked by sudden and unexpected breaks with traditional ways of viewing and interacting with the world. Experimentation and individualism became virtues, where in the past they were often heartily discouraged.
Modernism was set in motion, in one sense, through a series of cultural shocks. The first of these great shocks was the Great War, which ravaged Europe from throughknown now as World War One. The first hints of that particular way of Modernist paper called Modernism stretch back into the nineteenth century.
As literary periods go, Modernism displays a relatively strong sense of cohesion and similarity across genres and locales. Furthermore, writers who adopted the Modern point of view often did so quite deliberately and self-consciously.
Indeed, a central preoccupation of Modernism is with the inner self and consciousness.
In contrast to the Romantic world view, the Modernist cares rather little for Nature, Being, or the overarching structures of history. Instead of progress and growth, the Modernist intelligentsia sees decay and a growing alienation of the individual.
The machinery of modern society is perceived as impersonal, capitalist, and antagonistic to the artistic impulse. War most certainly had a great deal of influence on such ways of approaching the world.
|From Expressionism to Lyricism||Pablo Picasso, Portrait of Daniel-Henry Kahnweiler, Art Institute of Chicago An important aspect of modernism is how it relates to tradition through its adoption of techniques like reprise, incorporation, rewriting, recapitulation, revision and parody in new forms. The photo shows the old building with the addition of one of the contemporary glass towers to the exterior by Ian Ritchie Architects with the closeup of the modern art tower.|
|Resolve a DOI Name||One anomalous figure of the early period of modernism also deserves mention:|
|Literary Periods||In order to rectify the error, here is a nice clean post on the concept that adds a couple of further thoughts to the original formulation.|
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|English Literature History||A Difficult Relationship Bauer's early relationship with Rebay was affectionate but difficult.|
Two World Wars in the span of a generation effectively shell-shocked all of Western civilization. In its genesis, the Modernist Period in English literature was first and foremost a visceral reaction against the Victorian culture and aesthetic, which had prevailed for most of the nineteenth century.
Indeed, a break with traditions is one of the fundamental constants of the Modernist stance. They could foresee that world events were spiraling into unknown territory.
The stability and quietude of Victorian civilization were rapidly becoming a thing of the past.
The assassination of Archduke Ferdinand of Austria was essentially the triggering event of the First World War, a conflict which swept away all preconceived notions about the nature of so-called modern warfare.
The educational reforms of the Victorian Age had led to a rapid increase in literacy rates, and therefore a greater demand for literature or all sorts. A popular press quickly developed to supply that demand. The sophisticated literati looked upon this new popular literature with scorn.
Writers who refused to bow to the popular tastes found themselves in a state of alienation from the mainstream of society. To some extent, this alienation fed into the stereotype of the aloof artist, producing nothing of commercial value for the market.
The academic world became something of a refuge for disaffected artists, as they could rub elbows with fellow disenfranchised intellectuals.
In the later years of the Modernist period, a form of populism returned to the literary mainstream, as regionalism and identity politics became significant influences on the purpose and direction of artistic endeavor. 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.This special issue of Breac examines “The Great Irish Famine: Global Contexts.” It brings together leading experts in the field with support from the International Network of Irish Famine Studies.
The network was established in with funding from the Dutch research council NWO (project number ).
The special issue builds on recent studies such as Marguérite Corporaal and. 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. Modernism in Theater - An essay on modernism in theater show that an essential element of the unique aesthetic sensibility that imbued modernist theater was a renewed focus upon the human form and the ontological implications of the human body.
Modernism is a philosophical movement that, along with cultural trends and changes, arose from wide-scale and far-reaching transformations in Western society during the late 19th and early 20th centuries. Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed then by reactions of horror to World War I.
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The Modernist Papers is a tour de froce of anlysis and criticism, in which Jameson brings his dynamic and acute thought to bear on the modernist literature of the nineteenth and twentieth centuries. Jameson discusses modernist poetics, including intensive discussions of the work of Baudelaire, Rimbaud, Mallarmé, Wallace Stevens, Joyce, 5/5(1).