By Andrzej Gasiorek
A background of Modernist Literature offers a severe evaluate of modernism in England among the overdue Nineties and the past due Thirties, targeting the writers, texts, and pursuits that have been in particular 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 unique readings of key works by means of the main major modernist authors whose paintings remodeled early twentieth-century English literary culture
- Provides in-depth dialogue of highbrow debates, the cloth stipulations of literary creation and dissemination, and the actual destinations within which writers lived and worked
- The first large-scale e-book to supply a scientific review of modernism because it built in England from the past due Nineties via to the past due 1930s
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Extra resources for A History of Modernist Literature
He was a key figure because his ideas about modern poetry directly influenced Imagism and because in his criticism he interpreted the art of such figures as David Bomberg, Jacob Epstein, and Lewis in plastic terms but also saw it as the harbinger of a deep philosophical change – namely, that liberal humanism was being broken up by the return to a religious view of the world and of human beings’ place in it. 48 Despite his many disagreements with Pound, Lewis concurred with this assessment. Vorticism tried to draw out the latent possibilities of modern life in order to transform them into an imaginative synthesis – ‘a New Living Abstraction’ (B1 147) – and in doing so, it sought an alternative vision for a world that did not exist but that it hoped to usher into being.
For Marinetti, in short, the future to come was already being heralded by modern technology but still had to be reached towards by an art that rejected the past in its entirety and that welcomed the metallised world to come. According to the Futurists, to dwell among ancient cultural monuments was to ‘emerge fatally exhausted, shrunken, beaten down’ (MSW 43) and to pour one’s ‘sensibility into a funerary urn instead of hurling it far off, in violent spasms of action and creation’ (MSW 42). Technological modernity was being seen here as a source of renewal because it destroyed everything that had gone before.
Looked at from a colonialist and post‐colonial perspective, modernism can be seen not as a movement that confidently and happily assimilated other cultures, adapting their art forms for its own purposes, but rather as the sign of a deep‐rooted crisis of cultural, social, and political confidence. This crisis manifested itself in various ways. One obvious indication of it is its attraction to the discourse of primitivism, which frequently functions in modernist works as a sign of the natural vitality that supposedly 22 Introduction has disappeared from contemporary life and that can only be recovered by means of contact with non‐European forms of life.
A History of Modernist Literature by Andrzej Gasiorek