...ASSIGNMENT MODERNIST SHORT STORY Submitted By: Steffy Johnson 11/PELA/026 INTRODUCTION Modernist literature is the literary expression of the tendencies of Modernism, especially High modernism. Modernistic art and literature normally revolved around the idea of individualism, mistrust of institutions mainly government and religion, and the disbelief of any absolute truths. Modernism as a literary movement reached its height in Europe between 1900 and the middle 1920s. Modernist literature addressed to aesthetic problems and can be viewed largely in terms of its formal, stylistic and semantic movement away from Romanticism, examining subject matter that is traditionally mundane. It often features a marked pessimism, a clear rejection of the optimism apparent in Victorian literature. It attempted to move from the bonds of Realist literature and to introduce concepts such as disjointed timelines. Modernism as a literary movement is seen, in large part, as a reaction to the emergence of city life as a central force in society. Furthermore, an early attention to the object as freestanding became in later Modernism a preoccupation with form. Modernist writers were more acutely conscious of the objectivity of their surroundings. The most prominent modernist authors are: T. S. Eliot, W. B. Yeats, Virginia Woolf, James Joyce, D. H. Lawrence, E. M. Forster, Ernest Hemingway, Joseph Conrad, Franz Kafka, Knut Hamsun, Gertrude Stein, Mikhail Bulgakov, MarcelProust, John Steinbeck...
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...inequality and truth and illusion even though their contexts and form starkly contrast. An analysis of similar themes will provide a greater understanding of meanings and perceptions of the texts. AROO, written in the post-war period of the late 1920s, was composed in a time of great social change due to the destruction and turmoil of the War. Modernist writing highlights the absence of, and search for, meaning and features experiments with new forms. Loss and absence lie at the heart of Woolf’s art, resulting from the experience of loss as an adolescent – her half sister, father, brother and mother. Her refusal to give one single view of anything, offering instead multiple, often conflicting views which the reader has to balance and bring together is another modernist trait. In contrast, WAVW was written in a far more conservative context, and although Albee does challenge societal roles, he does it in a more blatant way. Written during a time of Cold War tension, where fear and instability was disguised beneath the facade of the Great American Dream, Albee is still able to paint a dystopian image of the stereotyped family unit. Post-modernist writing abandons all meaning and the Theatre of the Absurd, emerged at the time, as a theatrical technique used by Albee to reflect a post-modern world. Interestingly, AROO and WAVW are both representations of a privileged intellectual life and criticise the values in the society they lived in because the composers believed them to be detrimental...
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...JAMES JOYCE -AN IRISH MODERNIST MODERN FICTION GROUP NUMBER 4 GROUP MEMBERS : HAFSA SHAHID R CONTENTS: Introduction to James Joyce Modernism and James Joyce A portrait of an Artist as aYoung Man Ulysses Themes and Style of Joyce's two Works a) Mythological Allusions b) Kunslerroman c)Stream of conciousness c)Focus on inner time rather than outer time d)Search for identity e)Treatment of religion f)Treatment of sexuality Conclusion James Joyce (from February 2, 1882 to January 13, 1941) was one of the most preeminent Irish authors of the 20th century. He is known for his literary innovation strictly focused narrative and indirect style. James Joyce matriculated from University College of Dublin in 1903. After moving to Paris, Joyce planned on studying medicine. The lectures were conducted in a technical French but Joyce’s education had not prepared him for it. Despite his mother’s attempts to get him to return to Catholic Church, Joyce remained unmoved even after her death. Joyce studied at Clongowes Wood College from 1888 until 1892. When the family’s financial state devolved, Joyce had to leave the school. After a brief time at Christian Brothers School, Joyce was enrolled at Belvedere College in 1893. In 1898, Joyce began studying Italian, English and French at University College Dublin. At this time, Joyce also began his entry into the artistic...
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...1. Literature of the 17th century. John Milton. “Paradise Lost”. John Bunyan. “Pilgrim’s Progress”. The peculiarities of the English literature of the 17th century are determined by the events of the Engl. Bourgeois Revolution, which took place in 1640-60. King Charles I was beheaded in 1649& General Oliver Cromwell became the leader of the new government. In 1660, shortly after Cro-ll’s death, the dynasty of the Stuarts was restored. The establishment of new social&eco-ic relations, the change from feudal to bourgeois ownership, escalating class-struggle, liberation movement and contradictions of the bourgeois society found their reflection in lit-re. The main representatives of this period is: John Milton: was born in London&educated at Christ’s College. He lived a pure life believing that he had a great purpose to complete. At college he was known as the The Lady of Christ’s. he Got master’s degree at Cambridge. It’s convenient to consider his works in 3 divisions. At first he wrote his short poems at Horton. (The Passion, Song on May Morning, L’Allegro). Then he wrote mainly prose. His 3 greatest poems belong to his last group. At the age of 23 he had still done little in life&he admits this in one of his sonnets. (On his 23d B-day) In his another sonnet he wrote on his own blindness. (On his Blindness) Milton wrote diff. kinds of works. His prose works were mainly concerned with church, affairs, divorce & freedom. The English civil war between Charles...
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...David Lee History of Industrial Design Mara Holt Skov 10/29/13 DUNNE AND RABY Left: Fig 1 – Fiona Raby Right: Fig 2 – Anthony Dunne Anthony Dunne and Fiona Raby are a design team based in London, England since 1994. Additionally they are both professors at the Royal College of Art in the Design Interaction Program. Their practice has focused on a type of design called Critical Design, coined by Dunne in their 2001 book, Hertzian Tales. The focus of their practice is to utilize design to create dialogue and debate within the design world and the public about the broader implications of emerging technologies. Most unusual is their method of not creating anything to be produced. Rather they illustrate their ideas through the creation of photographs, video and artifacts to effect change. Historically, Radical Architecture, particularly Superstudio and Archigram, are inspirations from which they draw their ideas and methods. Both Dunne and Raby were born and raised in England and trained as an industrial designer and as an architect respectively. After working in Japan for a time, they studied Computer Related Design at the RCA and became fellows at the CRD Studio. Within this program they began to explore the interactions between humans and computers. Throughout his education, the influence of architecture (Raby, his time at an architecture firm and his professors) helped Dunne realize that the role of the designer was more than just as a form giver...
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...values of marriage and intimate relationships as well as established gender roles. Despite the alleviation of religious and moral restrictions, sex embodies the warped animal reflection of the exclusively human concept of love, exposing primal desires and ensuring its continued belonging to the realms of the shocking and distasteful, while inadvertently strengthening its power. It is this power that lies at the heart of much modernist literature. The illicit imagery serves as a physical subversion of the dated foundations the writings oppose. Prominent in early modernist work was the theoretical influence of Sigmund Freud, most notably in the case of contemporary writer James Joyce whose literary techniques, such as the stream of consciousness writing in Ulysses, have come to epitomize modernist fiction. Ulysses not only challenges the censors’ attitude to sex, but also what were considered the sexual norms for men and women in pre-war Catholic society. Similarly, Vladimir Nabokov uses sexual deviancy to protest the theoretical ideas implicit in modernist literature through characteristics derived from post-World War II civilisation. The absence of structure or control left by the war undermined contemporary opinion of western stability, presented in Lolita through American culture. This subversion is mirrored in the poetry of Carol Ann Duffy through use of explicit language rather than sexual perversion, confronting the inequality in modern culture. Despite the distinct narrative...
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...Contents Introduction 3 At the Turn of the Century 4 The 20th Century Literary Background 5 Modernism 6 Poets of the First World War 11 The Interwar Years 13 British Postwar Literature 19 Conclusion 27 References 29 Introduction The 20th century seems to be the most dramatic and unique: it witnessed two world wars and great social, economic and political changes. All this events could not but find their reflection in the arts in general and in the literature in particular. The urgency of the work is determined by the complexity of the period considered and variety of forms and trends which appeared during the century. The object of the project is British literature. The aim of the project is to consider the peculiarities and distinct features of the British literature of the 20th century. In order to gain the project’s aim, during its implementation the following practical issues were studied: - the most distinguished writers of the period; - their contribution to development of the British literature; - key topics. The project’s aim and issues considered predetermined the choice of methods of research. During the project’s implementation the following methods were used: critical survey of the sources on the issue considered, as well as comparison and analysis. Theoretical value of the project is constituted by the analysis of the peculiarities and distinct features of the British literature of the 20th century. Practical value of the project...
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...Reading the Novel in English 1950–2000 i RTNA01 1 13/6/05, 5:28 PM READING THE NOVEL General Editor: Daniel R. Schwarz The aim of this series is to provide practical introductions to reading the novel in both the British and Irish, and the American traditions. Published Reading the Modern British and Irish Novel 1890–1930 Reading the Novel in English 1950–2000 Daniel R. Schwarz Brian W. Shaffer Forthcoming Reading the Eighteenth-Century Novel Paula R. Backscheider Reading the Nineteenth-Century Novel Harry E. Shaw and Alison Case Reading the American Novel 1780–1865 Shirley Samuels Reading the American Novel 1865–1914 G. R. Thompson Reading the Twentieth-Century American Novel James Phelan ii RTNA01 2 13/6/05, 5:28 PM Reading the Novel in English 1950–2000 Brian W. Shaffer iii RTNA01 3 13/6/05, 5:28 PM © 2006 by Brian W. Shaffer BLACKWELL PUBLISHING 350 Main Street, Malden, MA 02148-5020, USA 9600 Garsington Road, Oxford OX4 2DQ, UK 550 Swanston Street, Carlton, Victoria 3053, Australia The right of Brian W. Shaffer to be identified as the Author of this Work has been asserted in accordance with the UK Copyright, Designs, and Patents Act 1988. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, except as permitted by the UK Copyright, Designs, and...
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...Chua / The Making of Jose Garcia Villa’s A Footnote to Youth 9 THE MAKING OF JOSE GARCIA VILLA’S FOOTNOTE TO YOUTH Jonathan Chua Ateneo de Manila University jchua@ateneo.edu This article recounts the story behind the publication of Villa’s stories and his book Footnote to Youth: Tales of the Philippines and Others (1933) in the United States. First, the conditions of the American literary marketplace are briefly described. Second, documents pertaining to the realization in print of Villa’s stories and his book are analyzed as sites of negotiations between colonial subject (Villa) and the colonial master (his American editors and publishers). Finally, an account of how Villa was made to circulate in the Philippines after the publication of his stories and his book in the United States is given. From these discussions the article hopes to show that Villa’s self-fashioning by publication was both subject to and critical of the colonial condition, alternately reinforcing it and challenging it. Abstract Philippine literature in English, book history, postcolonialism, exotic, author Keywords Jonathan Chua teaches at the Department of Interdisciplinary Studies of the Ateneo de Manila University. He is the editor of The Critical Villa: Essays in Literary Criticism by Jose Garcia Villa (2002). His edition of the collected short stories of Jose Garcia Villa is forthcoming from the Ateneo de Manila University Press. About the Author Kritika Kultura 21/22 (2013/2014):...
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...”[4] Contents [show] Intertextuality and poststructuralism[edit] Kristeva’s coinage of “intertextuality” represents an attempt to synthesize Ferdinand de Saussure’s semiotics—his study of how signs derive their meaning within the structure of a text—with Bakhtin’s dialogism—his examination of the multiple meanings, or “heteroglossia”, in each text (especially novels) and in each word.[5] For Kristeva,[6] “the notion of intertextuality replaces the notion of intersubjectivity” when we realize that meaning is not transferred directly from writer to reader but instead is mediated through, or filtered by, “codes” imparted to the writer and reader by other texts. For example, when we read James Joyce’s Ulysses we decode it as a modernist literary experiment, or as a response to the epic tradition, or as part of some other conversation, or as part of all of these conversations at once. This intertextual view of literature, as shown by Roland Barthes, supports the concept that the meaning of a text does not reside in the text, but is produced by the reader in relation not only to the text in question, but also the complex network of texts invoked in the reading process....
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...potential to affect your final mark and the course tutor and undergraduate coordinator will be notified. Marking Marking framework adheres to a High Pass with Distinction, High Pass, Pass, Low Pass, Complete-toPass system. Poor attendance can affect this final mark. Course Materials Readings for each week are provided both online on the course website at aafirstyearhts.wordpress.com and on the course library bookshelf. Students are expected to read each assigned reading every week to be discussed in seminar. The password to access the course readings is “readings”. TERM 1: CANONICAL BUILDINGS, PROJECTS, TEXTS In this first term of the lectures for this course, we will examine some of what are considered to be the most important modernist buildings, projects and texts from the 20th century. The course sets out to not only forensically scrutinise significant architects, movements, buildings/projects and texts, which by general consensus are considered to represent key moments in the history of architectural...
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...2011-2012 onwards) DEPARTMENT OF ENGLISH UNIVERSITY OF DELHI DELHI - 110007 0 Course: B.A. (Hons.) English Semester I Paper 1: English Literature 4(i) Paper 2: Twentieth Century Indian Writing(i) Paper 3: Concurrent – Qualifying Language Paper 4: English Literature 4(ii) Semester II Paper 5: Twentieth Century Indian Writing(ii) Paper 6: English Literature 1(i) Paper 7: Concurrent – Credit Language Paper 8: English Literature 1(ii) Semester III Paper 9: English Literature 2(i) Paper 10: Option A: Nineteenth Century European Realism(i) Option B: Classical Literature (i) Option C: Forms of Popular Fiction (i) Paper 11: Concurrent – Interdisciplinary Semester IV Semester V Paper 12: English Literature 2(ii) Paper 13: English Literature 3(i) Paper 14: Option A: Nineteenth Century European Realism(ii) Option B: Classical Literature (ii) Option C: Forms of Popular Fiction (ii) Paper 15: Concurrent – Discipline Centered I Paper 16: English Literature 3(ii) Paper 17: English Literature 5(i) Paper 18: Contemporary Literature(i) Paper 19: Option A: Anglo-American Writing from 1930(i) Option B: Literary Theory (i) Option C: Women’s Writing of the Nineteenth and Twentieth Centuries (i) Option D: Modern European Drama (i) Paper 20: English Literature 5(ii) Semester VI Paper 21: Contemporary Literature(ii) Paper 22: Option A: Anglo-American Writing from 1930(ii) Option B: Literary Theory (ii) Option C: Women’s Writing of the Nineteenth and Twentieth Centuries (ii) Option D: Modern...
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.... Organization Theory Challenges and Perspectives John McAuley, Joanne Duberley and Phil Johnson . This book is, to my knowledge, the most comprehensive and reliable guide to organisational theory currently available. What is needed is a text that will give a good idea of the breadth and complexity of this important subject, and this is precisely what McAuley, Duberley and Johnson have provided. They have done some sterling service in bringing together the very diverse strands of work that today qualify as constituting the subject of organisational theory. Whilst their writing is accessible and engaging, their approach is scholarly and serious. It is so easy for students (and indeed others who should know better) to trivialize this very problematic and challenging subject. This is not the case with the present book. This is a book that deserves to achieve a wide readership. Professor Stephen Ackroyd, Lancaster University, UK This new textbook usefully situates organization theory within the scholarly debates on modernism and postmodernism, and provides an advanced introduction to the heterogeneous study of organizations, including chapters on phenomenology, critical theory and psychoanalysis. Like all good textbooks, the book is accessible, well researched and readers are encouraged to view chapters as a starting point for getting to grips with the field of organization theory. Dr Martin Brigham, Lancaster University, UK McAuley et al. provide a highly readable account...
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...Narrative A narrative is a sequence of events that a narrator tells in story form. A narrator is a storyteller of any kind, whether the authorial voice in a novel or a friend telling you about last night’s party. Point of View The point of view is the perspective that a narrative takes toward the events it describes. First-person narration: A narrative in which the narrator tells the story from his/her own point of view and refers to him/herself as “I.” The narrator may be an active participant in the story or just an observer. When the point of view represented is specifically the author’s, and not a fictional narrator’s, the story is autobiographical and may be nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts...
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...Analysis of ted hughes poetry, and his life work. Along with sylvia plath's The Issues that Happened behind Poetries in Contemporary Era In this scientific work, I want to analyze four poems in the contemporary era. The works are: The seven sorrows condensed from Ted Hughes, at grass by Philip Larkin, September 1913 and the stolen child by William Butler Yeats. The four poetries that appeared in the 20th Century, From the beginning of 20th Century like William Butler Yeats till the middle of 20th Century like Ted Hughes and Philip Larkin. As we know that William Butler Yeats’s poetries existed in the First World War at that time, poets did a lot of experiments in writing their literary works. They concentrated more on technique in writing their literary works. Meanwhile, Philip Larkin and Ted Hughes created poem the World War II, whereas nowadays, poets, do not focus on confusing technique but more at content and meaning that is easier to be understood by the readers. Now, I want to analyze symbol in the poem related with the issue that happens to the real fact or the real situation at that time. Now, I want to analyze a poem titled “The Seven Sorrows” written by Ted Hughes. We can see from the first stanza namely, the word “autumn”, this word symbolizes sadness, probably sadness that is felt by the writer. In that stanza, I found a phrase “a brown poppy head”. This phrase symbolizes something that long drawn out that has not disappointed from...
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