By Andrzej Gasiorek
A background of Modernist Literature offers a severe review of modernism in England among the overdue Nineties and the past due Nineteen Thirties, concentrating on the writers, texts, and routine that have been particularly major within the improvement of modernism in the course of those years.
- A stimulating and coherent account of literary modernism in England which emphasizes the inventive achievements of specific figures and provides distinct readings of key works by means of the main major modernist authors whose paintings reworked early twentieth-century English literary culture
- Provides in-depth dialogue of highbrow debates, the cloth stipulations of literary construction and dissemination, and the actual destinations within which writers lived and worked
- The first large-scale e-book to supply a scientific evaluate of modernism because it built in England from the past due Eighteen Nineties via to the past due 1930s
Read or Download A History of Modernist Literature, 1st Edition PDF
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Extra resources for A History of Modernist Literature, 1st Edition
Marinetti, in other words, was articulating the view that lies behind most modernist work, namely, that radically different art forms were 16 Introduction needed if a fundamentally altered world was to be expressed in modes that were consonant with that alteration. Italian Futurism also sought to dismantle language. It suggested that the transformations taking place in everyday modern life, which were creating hitherto undreamed of social and cultural possibilities, needed to be matched by a corresponding transmutation of thought and language.
Hulme maintained that poetry had to ‘find a new technique [in] each generation’ and that every age should ‘have its own special form of expression’ (HCW 51); personally, he claimed, ‘I am of course in favour of the complete destruction of all verse more than twenty years old’ (HCW 50–51). And Woolf suggested in ‘Character in Fiction’ (1924) that all ‘human relations ha[d] shifted’ and that this alteration was accompanied by ‘change in religion, conduct, politics and literature’ (WSE 38). This situation required novelists to discover new ways of writing about contemporary life; and in order to do so they needed to reject outmoded tools and conventions, since for them ‘those conventions are ruin, those tools are death’ (WSE 48).
Marinetti, made several visits to London. Celebrating the sensation of speed offered by such machines as automobiles and aeroplanes, the Futurists saw technology as a radically transformative force, the very engine of modernity itself. Their fascination with its power led them not only to celebrate the cacophony and chaos of modern life but also to argue that it demanded a new mindset – ‘We must shake the gates of life, test the bolts and hinges’ (MSW 40) – and required a different kind of creativity, one that was conceived as ‘a violent attack on unknown forces’ (MSW 41).