To evaluate my assignment
Name: - chintavan bhungani
Course: - M.A. English
Semester: - 3
Batch: - 2015-2017
Enrolment no: - PG15101006
Submitted to: - Smt. S.B.Gardi Dept. of English MKBU
Email id: - cnbhungani7484@gmail.com
Paper no: - 9 the modernist literature
Topic: - A history of the age background reading A.c.ward’s twentieth century literature.
ANS:-
From this image of chart we can see that how the twentieth century begins .this age is one of most important and very interesting age because all the new and different things and changing in writing of literature is done in this age. The modern age is very different from the other ages in English Literature. The modern age is known as “Modernist Movement” in English Literature. The period of modern age is 1915 to 1945 and this age is totally different from the Victorian age.
The people of modern age reject old forms and trying to do a new technique and new style. Even in literature also many of the poet and writer wants to do different and bring something new in their writing.
The terms modern and modernism pertain to the beliefs and philosophy of the society during the late 19th to the early 20th century. Because the concept has two different accepted meaning.
Literary Movements and Periods:-
Literature constantly evolves as new movements emerge to speak to the concerns of different groups of people and historical periods. In this age there are two movements start; Artistic and Literary Movements.
Absurd, literature of the (c. 1930–1970): A movement, primarily in the theater, that responded to the seeming illogicality and purposelessness of human life in works marked by a lack of clear narrative, understandable psychological motives, or emotional catharsis. Samuel Beckett’s Waiting for Godot is one of the most celebrated works in the theater of the absurd.
Beat Generation (1950s–1960s):A group of American writers in the 1950s and 1960s who sought release and illumination though a bohemian counterculture of sex, drugs, and Zen Buddhism. Beat writers such as Jack Kerouac (On the Road) and Allen Ginsberg (Howl) gained fame by giving readings in coffeehouses, often accompanied by jazz music.
Dadaism (1916–1922):An avant-garde movement that began in response to the devastation of World War I. Based in Paris and led by the poet Tristan Tzara, the Dadaists produced nihilistic and antilogical prose, poetry, and art, and rejected the traditions, rules, and ideals of prewar Europe.
Lost Generation (c. 1918–1930s): A term used to describe the generation of writers, many of them soldiers that came to maturity during World War I. Notable members of this group include F. Scott Fitzgerald, John Dos Passes, and Ernest Hemingway, whose novel The Sun Also Rises embodies the Lost Generation’s sense of disillusionment.
Magic realism (c. 1935–present): A style of writing, popularized by Jorge Luis Borges, Gabriel García Márquez, Günter Grass, and others, that combines realism with moments of dream-like fantasy within a single prose narrative.
Modernism (1890s–1940s):A literary and artistic movement that provided a radical breaks with traditional modes of Western art, thought, religion, social conventions, and morality. Major themes of this period include the attack on notions of hierarchy; experimentation in new forms of narrative, such as stream of consciousness; doubt about the existence of knowable, objective reality; attention to alternative viewpoints and modes of thinking; and self-preferentiality as a means of drawing attention to the relationships between artist and audience, and form and content.
High modernism (1920s):Generally considered the golden age of modernist literature, this period saw the publication of James Joyce’s Ulysses, T. S. Eliot’s The Waste Land, Virginia Woolf’s Mrs. Dalloway, and Marcel Proust’s In Search of Lost Time.
Nouveau Roman (“New Novel”) (c. 1955–1970): A French movement, led by Alain Robbe-Grillet, that dispensed with traditional elements of the novel, such as plot and character, in favor of neutrally recording the experience of sensations and things.
Postcolonial literature (c. 1950s–present): Literature by and about people from former European colonies, primarily in Africa, Asia, South America, and the Caribbean. This literature aims both to expand the traditional canon of Western literature and to challenge Eurocentric assumptions about literature, especially through examination of questions of otherness, identity, and race. Prominent postcolonial works include Chinua Achebe’s Things Fall Apart, V. S. Naipaul’s A House for Mr. Biswas, and Salman Rushdie’s Midnight’s Children. Edward Said’s Orientalism (1978) provided an important theoretical basis for understanding postcolonial literature.
Postmodernism (c. 1945–present):A notoriously ambiguous term, especially as it refers to literature, postmodernism can be seen as a response to the elitism of high modernism as well as to the horrors of World War II. Postmodern literature is characterized by a disjointed, fragmented pastiche of high and low culture that reflects the absence of tradition and structure in a world driven by technology and consumerism. Julian Barnes, Don DeLillo, Toni Morrison, Vladimir Nabokov, Thomas Pynchon, Salman Rushdie, and Kurt Vonnegut are among many who are considered postmodern authors.
Surrealism (1920s–1930s):An avant-garde movement, based primarily in France, that sought to break down the boundaries between rational and irrational, conscious and unconscious, through a variety of literary and artistic experiments. The surrealist poets, such as André Breton and Paul Eluard, were not as successful as their artist counterparts, who included Salvador Dalí, Joan Miró, and René Magritte.
The Twentieth Century, Modernisms and Modernity
· Society and Culture:-
The twentieth century introduces a cultural period in which individuals not only reject the past but also question the very basis of knowledge and consider the possibility that knowledge and concepts once thought to be fixed and objective are instead constantly shifting and subjective.
Philosophers and thinkers such as Friedrich Nietzche, Henri Bergson, Karl Marx, and Sigmund Freud challenged nineteenth-century science and the positivist confidence in its ability to explain both the physical and social worlds in completely rational terms.
World War I had a powerful impact in its aftermath, causing Europeans to reconsider their very belief systems and leading to widespread dissatisfaction with the authorities who, many believed, were motivated by greed, class exploitation, and hunger for power.
A growing interest in psychology influenced by the theories of Sigmund Freud contributed to a new emphasis on the internal reality of individuals, the importance of the self, and the alienation of the self in modern society.
New studies in the relationship between reality and appearance led to the philosophies of phenomenology and existentialism as represented in the philosophical writings of Martin Heidegger and Jean-Paul Sartre.
After the Second World War, the rise of Communism, the gradual disintegration of colonialism, and the exponential development of technology, existentialism flourished in the 1940s and 1950s as individuals struggled to find meaning in an increasingly fragmented and confusing world.
A growing awareness of a variety of other cultures that have differing worldviews than traditional European or American ones undercut the assumptions of “cultural parochialism” and led to pluralistic and postcolonial perspectives.
· The Bloomsbury Group:-
He Bloomsbury Group was a small, informal association of artists and intellectuals who lived and worked in the Bloomsbury area of central London. Most prominent of these was novelist and essayist Virginia Woolf. In all, only about a dozen people at any one time could have called themselves members of the group. Beginning shortly before 1910, the Bloomsbury Group gathered at irregular intervals for conversation, companionship, and the refueling of creative energy. The members of Bloomsbury, or “Bloomsberries,” would more or less maintain allegiance to their mutual philosophy of an ideal society, even through a World War and three decades of tectonic shifts in the political climate. They had no codified agenda or mission. They were not political in the ordinary sense of the word. Most importantly, there was no application or initiation required to become a member. Bloomsbury was an informal hodgepodge of intellectual friends, and one either merited inclusion to that circle or one did not. No rules of order, as in a committee, governed the way in which Bloomsbury managed their interactions. Instead, they held impromptu dinners and gatherings where any number of topics was the subject of serious discussion and contemplation. These intellectual exchanges served as the main influence on later work by individual members. By no means were all members in full agreement on all subjects. Some of Bloomsbury’s most stimulating ideas and writings were borne out of internal disagreement and strife. One can safely say that each member of Bloomsbury was leftist in his or her politics, although as individuals they expressed their politics in very different ways.
A significant fact about the Bloomsbury Group is that the members, for the most part, did not achieve their greatest fame until later in life. The Group held its discussions and parties while all the participants were still virtually unknown. The men of Bloomsbury were students at King’s College and Trinity College, constituents of Cambridge University. They were almost all high achievers and active in student life, yet one must imagine that they didn’t quite fit in as well as other students. Many of the Bloomsberries held particular ideas on human society which at the time seemed beyond radical. For example, the noncritical assessment of homosexuality, however appropriate today, was considered a serious moral error in the early twentieth century. Indeed, many of the Bloomsberries called into question the idea of traditional monogamous marriage. Several advocated for and practiced polyamory – multiple, consensual romantic partners. The idea of this level of sexual liberation in Edwardian England was unspeakable. In a sense, they made it very easy for their generation to dismiss them as quacks and deviants. However, none could deny that the Bloomsbury Group brought a great deal of intellectual clout to bear on any issue of the day.
· Members of the Bloomsbury Group
vStrachey, Giles Lytton (1880-1932)
vBell, Clive (1881-1964)
vKeynes, John Maynard (1883-1946)
vFry, Roger (1866-1934)
vGrant, Duncan (1885-1978)
vMacCarthy, Desmond (1877-1952)
vBell, Vanessa Stephen (1879-1961)
vWoolf, Leonard (1880-1969)
vMacCarthy, Mary (1882-1953)
vStephen, Thoby (1880-1906)
vStephen, Adrian (1883-1948)
vCarrington, Dora (1893-1932)
vSydney-Turney, Saxon (1880-1962)
1. Decay of Character and Hero:-
Psychological theories of Sigmund Freud created an impact on modernist writers, Writers found that the traditional method of portraying characters was erroneous, Death of both hero and villain
2. Decay of Plot:-
Modern story does not follow a chronological order, Modern stories do not have a beginning or end, Modernist literature requires an active reader
3. Stress on Individual:-
Individual is more important for modernist writers than society, in a modern story, there are no universally accepted values of social conduct
4. Realism:-
Modern stories are realistic, for writers, there is no such thing as absolute truth; everything is relative. , Modernist literature is a portrayal of life as it is.
CONCLUTION:-
At the end of the twentieth century, as geopolitical boundaries blurred and shifted, an increased recognition of the diversity of cultural identities in ethnic, gender, and sexual issues led to a correspondent pluralism in writing that depicts the full range of human diversity. Included in these new perspectives is attention to the efforts of postcolonial cultures to develop a consciousness apart from that of their colonizers.
WORK CITED:-
Øhttp://www.wwnorton.com/college/english/nawest/content/overview/modern.htm
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