modernism_notes - Some notes on Modernism What Modernism...

Info iconThis preview shows pages 1–2. Sign up to view the full content.

View Full Document Right Arrow Icon
Some notes on Modernism What Modernism was depends on which critical school of criticism one favors. Every version of modernism has its own heroes and heroines, and they all culminate in different versions of what is best about postmodernism now. Some critics like Hugh Kenner would say it centers around Ezra Pound and all of his friends and contacts, especially in London and Paris (W. B. Yeats, T. S. Eliot, H.D., James Joyce, Hemingway, and many others.) Such a vision of modernism would highlight its international flavor, its fondness for hybrid forms, radical innovations, and fragments, and its elitist views of the audiences for the arts. This version of modernism between the World Wars fits well with other international arts movements such as Surrealism, which was also influenced by the thought of Freud on dreams and their interpretations. This international modernism—quasi-American-British- European movement in arts and literature—is called High Modernism. Other critics thinking more nationally would favor English poets like, e.g. Thomas Hardy and Philip Larkin, who did not seem as interested in an international arts movement. Such a version of modernism would stress regional cultures, landscapes and languages—it was art that was not hard for most people in that culture to understand. If one were to expand this Modernist canon to include Walt Whitman (especially the post- Civil War Whitman), and Gerard Manley Hopkins (“Wreck of the Deutschland”), then the distinctive feature would be how thinking and culture change as a result of war and its catastrophes. At the same time, social class issues have come into literary consciousness so forcefully that it is as though something irrevocable has changed what poetry can be and must be. Whatever one decides about Modernism as a movement between World War I and World War II, everyone agrees that World War I was the central disaster of the epoch, and the arts had to reckon with it in sometimes extreme responses. There was great disillusion with the main structures of society and culture—God, King, and Country no longer seemed worth dying for as nationalisms were looked upon unfavorably. Further, there were some outstanding figures whose influence is so great that no one can escape them whether one likes them or not. T. S. Eliot
Background image of page 1

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
Image of page 2
This is the end of the preview. Sign up to access the rest of the document.

This note was uploaded on 03/17/2010 for the course ENGE 1213.2 taught by Professor Dr.pye during the Spring '09 term at Saint Mary's University Texas.

Page1 / 4

modernism_notes - Some notes on Modernism What Modernism...

This preview shows document pages 1 - 2. Sign up to view the full document.

View Full Document Right Arrow Icon
Ask a homework question - tutors are online