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Modernism in literature
Modernism in literature
Modernism in literature
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“Dakota” by Young Hae-Chang Heavy Industries embodies the strategies of literary Modernism through the literary strategies, manipulated syntax and inelegant vocabulary, and the aesthetic strategies, Imagism and Vorticism. Although the similarities are strong and the poem holds firmly to the concept of modernity in conjunction to literary modernism, “Dakota” deserves to be categorized in the “new” period, digital modernism, because of its difference in decorum. The closed reading of excerpts from the poem that marked the dawn of Modernism, “The Darkling Thrush” by Thomas Hardy, and “Dakota” highlight the shared initial, if not inherent, characteristics of literary modernism.
“The ancient pulse of germ and birth
Was shrunken hard and dry,
And every spirit upon earth
Seemed fervourless as I.”
(Ramazani, Jahan, Richard Ellmann, and Robert O'Clair, eds. "The Norton Anthology: Modern Poetry." Modern and Modernist 1.3 (n.d.): Xxix. Print.) “FEELING
LIKE
HELL,
SØRRY
FØR
ØURSELVES”
("DAKOTA." DAKOTA. Young Have-Chang Heavy Industries, n.d. Web. 15 Sept. 2014.)
Quite naturally the scholar objects to the relationship of both these
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Cyclical modernism referred to a movement and its collective self-consciousness of its own identity. For that matter, “Dakota” is modern and belongs to literary Modernism. It’s deviating from the status quo and exploring new aesthetics. However, typologically “Dakota” attempts to fulfill the past and to model the influences of the digital era. Despite all the attempts to push the envelope, literature was still limited by printing. Its efforts to take control of music, visuals, perception, and production were constricted until the digital era. “Dakota” is capable of controlling what the audience hears, sees, perceived, and how it acquires literature. Essentially, the decorum changed because of technological
... Works Cited Everett, Nicholas. From The Oxford Companion to Twentieth-century Poetry in English. Ed. Ian Hamilton.
69. Print. Strand, Mark, and Eavan Boland. The Making of a Poem: a Norton Anthology of Poetic
...us 75.1 (Jan. 1991): 150-159. Rpt. in Poetry Criticism. Ed. Lawrence J. Trudeau. Vol. 58. Detroit: Gale, 2005. Literature Resource Center. Web. 25 Feb. 2011.
Meinke, Peter. “Untitled” Poetry: An Introduction. Ed. Michael Meyer. 6th ed. Boston: Bedford/ St. Martin’s 2010. 89. Print
Strand, Mark and Evan Boland. The Making of a Poem: A Norton Anthology of Poetic Forms. New
Ramazani, Jahan, Richard Ellmann, and Robert O 'Clair. The Norton Anthology of Modern and Contemporary Poetry. New York: W.W. Norton, 2003. Print.
Rothenberg, Jerome and Pierre Joris, eds. Poems for the Millennium: The University of California Book of Modern and Postmodern Poetry, Vol. 2. Berkeley: University of California, 1998.
Allison, Barrows, Blake, et al. eds. The Norton Anthology Of Poetry . 3rd Shorter ed. New York: Norton, 1983. 211.
In the beginning of the twentieth century, literature changed and focused on breaking away from the typical and predicate patterns of normal literature. Poets at this time took full advantage and stretched the idea of the mind’s conscience on how the world, mind, and language interact and contradict. Many authors, such as Fitzgerald, Steinbeck, and Twain, used the pain and anguish in first hand experiences to create and depict a new type of literature, modernism. In this time era, literature and art became a larger part of society and impacted more American lives than ever before. During the American modernism period of literature, authors, artists, and poets strived to create pieces of literature and art that challenged American traditions and tried to reinvent it, used new ways of communication, such as the telephone and cinema, to demonstrate the new modern social norms, and express the pain and suffering of the First World War.
Modernism can be defined through the literary works of early independent 20th century writers. Modernism is exp...
One attribute of Modernist writing is Experimentation. This called for using new techniques and disregarding the old. Previous writing was often even considered "stereotyped and inadequate" (Holcombe and Torres). Modern writers thrived on originality and honesty to themselves and their tenets. They wrote of things that had never been advanced before and their subjects were far from those of the past eras. It could be observed that the Modernist writing completely contradicted its predecessors. The past was rejected with vigor and...
Mays, Kelly. "Poems for Further Study." Norton Introduction to Literature. Eleventh Edition. New York: W.W. Norton and Company Inc., 2013. 771-772. Print.
The characters of a modernist narrative reflected a new way of thinking. A summery no longer highlighted meaning, it was ambiguous. The ambiguity portrayed unmanageable futures. The Modernis...
The Modernist era of poetry, like all reactionary movements, was directed, influenced, and determined by the events preceding it. The gradual shift away from the romanticized writing of the Victorian Era served as a litmus test for the values, and the shape of poetry to come. Adopting this same idea, William Carlos Williams concentrated his poetry in redirecting the course of Modernist writing, continuing a break from the past in more ways than he saw being done, particularly by T.S. Eliot, an American born poet living abroad. Eliot’s monumental poem, The Waste Land, was a historically rooted, worldly conscious work that was brought on by the effects of World War One. The implementation of literary allusions versus imagination was one point that Williams attacked Eliot over, but was Williams completely in stride with his own guidelines? Looking closely at Williams’s reactionary poem to The Waste Land, Spring and All, we can question whether or not he followed the expectations he anticipated of Modernist work; the attempts to construct new art in the midst of a world undergoing sweeping changes.
Kennedy, X. J., and Dana Gioia, eds. An Introduction to Poetry. 13th ed. New York: Longman, 2010. 21. Print.