Tekst- og litteraturhistorie i de engelsksprogede lande

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Tekst- og litteraturhistorie i de engelsksprogede
lande

• Session Five Modernism

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Agenda

• Modernism
• Sculpture
• Painting
• Music
• Architecture
• Literature

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W.B. Yeats, The Second Coming (1920)

• Turning and turning in the widening gyreThe
  falcon cannot hear the falconer Things fall
  apart the centre cannot hold Mere anarchy is
  loosed upon the world, The blood-dimmed tide is
  loosed, and everywhereThe ceremony of innocence
  is drowned The best lack all conviction, while
  the worstAre full of passionate intensity.
  Surely some revelation is at hand Surely the
  Second Coming is at hand. The Second Coming!
  Hardly are those words out

• When a vast image out of Spiritus MundiTroubles
  my sight somewhere in the sands of the desertA
  shape with lion body and the head of a man, A
  gaze blank and pitiless as the sun, Is moving
  its slow thighs, while all about itReel shadows
  of the indignant desert birds. The darkness
  drops again but now I knowThat twenty centuries
  of stony sleepwere vexed to nightmare by a
  rocking cradle, And what rough beast, its hour
  come round at last,Slouches towards Bethlehem to
  be born?

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W.B. Yeats, The Second Coming (1920)

• Turning and turning in the widening gyreThe
  falcon cannot hear the falconer Things fall
  apart the centre cannot hold Mere anarchy is
  loosed upon the world, The blood-dimmed tide is
  loosed, and everywhereThe ceremony of innocence
  is drowned The best lack all conviction, while
  the worstAre full of passionate intensity.
• Surely some revelation is at hand Surely the
  Second Coming is at hand. The Second Coming!

• Hardly are those words outWhen a vast image out
  of Spiritus MundiTroubles my sight somewhere in
  the sands of the desertA shape with lion body
  and the head of a man, A gaze blank and pitiless
  as the sun, Is moving its slow thighs, while all
  about itReel shadows of the indignant desert
  birds.
• The darkness drops again but now I knowThat
  twenty centuries of stony sleepwere vexed to
  nightmare by a rocking cradle, And what rough
  beast, its hour come round at last,Slouches
  towards Bethlehem to be born?

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• William Wordsworth
• Thomas Hardy
• W.B. Yeats

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• Apocalypse now!
• After 2000 years, civilization is crumbling and a
  different cycle of history is at hand

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Two kinds of change

• Radical change
• Discontinuity
• Rupture
• break

• Development
• Continuity
• Bridge
• line

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Golden Bird, 1919/1920, Constantin Brancusi
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Red Stone Dancer, 1913-14, Gaudier-Brzeska,
Henri.
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Wyndham Lewis, Composition  1913
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Ford Madox Brown, Work
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Victorian painting of city scape
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Picasso, Seated Woman with Wrist Watch, 1932
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Victorian portrait
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Picasso, Les Demoiselles d'Avignon. 1907
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Dante Gabriel Rossetti, The Bower Meadow.
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Igor Stravinsky, Le Sacre du Printemps

• Rhythm time signatures

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Ludwig Mies van der Rohe, The Farnsworth
House(1946 to 1950)

• Functionality glass, concrete, and steel

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Victorian mansion, San Francisco (1850-1915)
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The Modernist Manifesto
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(No Transcript)
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The Modernist Manifesto

• T.S. Eliot, Tradition and the Individual Talent
• New ideas of poets, poetry, and the past

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Depersonalisation

• The progress of an artist is a continnual
  self-sacrifice, a continual extinction of
  personality (2322)
• Poetry is not a turning loose of emotion, but an
  escape from emotion it is not the expression of
  personality, but an escape from personality.
  (2324)

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Wordsworth, The Preface

• I have said that poetry is the spontaneous
  overflow of powerful feelings it takes its
  origin from emotion recollected in tranquillity
  the emotion is contemplated till, by a species of
  reaction, the tranquillity gradually disappears,
  and an emotion, kindred to that which was before
  the subject of contemplation, is gradually
  produced, and does itself actually exist in the
  mind. In this mood successful composition
  generally begins, and in a mood similar to this
  it is carried on but the emotion, of whatever
  kind, and in whatever degree, from various
  causes, is qualified by various pleasures, so
  that in describing any passions whatsoever, which
  are voluntarily described, the mind will, upon
  the whole, be in a state of enjoyment. If Nature
  be thus cautious to preserve in a state of
  enjoyment a being so employed, the Poet ought to
  profit by the lesson held forth to him, and ought
  especially to take care, that, whatever passions
  he communicates to his Reader, those passions, if
  his Readers mind be sound and vigorous, should
  always be accompanied with an overbalance of
  pleasure.

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Modernist Narrative Virginia Woolf, The Mark on
the Wall

• What happens? Who, what, where, when?
• What happens to narrative? Compare to
  premodernist examples of narrative.
• Story plot
• Character characterization
• Imagery