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T.s. eliot’s “the love song of j. alfred prufrock
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The dead by james joyce concepts
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Recommended: T.s. eliot’s “the love song of j. alfred prufrock
Modernism is by no means easy to define. In fact, no one is exactly sure if the movement has even ended yet. But that’s befitting of the period, as well as the pieces of literature that serve to define Modernism. Two pieces, T.S. Eliot’s “The Love Song of J. Alfred Prufrock” and James Joyce’s “The Dead”, are epitomes of this modernism. In both, the main characters are paralyzed by an inability to communicate, even while speaking. Whether through Prufrock’s musings concerning love life, or Gabriel’s inability to evoke certain feelings out of his wife, both men experience this effeminization of the intellect and communication. But where does this communicative castration begin? Most likely, in the bustling metropolises and dehumanizing philosophies that precipitate the Modernist movement. The modern man witnessed the killing of fifteen million people in the first Great War – bestial in the sheer amount of murder this war created. Meanwhile, modernity defined man’s character for him: Darwinism told him that he was the offspring of lesser animals, that man was, in essence, himself an animal. Also, Freudian psychoanalysis told man that his psyche was the product of his childhood and sexual instincts. Defined by that which he had no control over, or was too young to consciously alter, the modern man’s identity was no longer his to artifice, but society’s to manufacture at the behest of environment and upbringing. Which makes sense because, when we talk about personalities, sexualities and such today, we constantly hear the phrase “nature versus nurture”. What about “self”? Does the self have no control over these very crucial aspects of identity? Modernity has told these men “no”, that they do not form their own identities but that all ...
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...seem surprising that the men of the early twentieth century were devoid of identity. In fact, it may have been necessary to become identity-less, to recede back into something less than human. Or maybe to recede back into the very epitome human living. After all, the British Empire was on top of the world during both the Romantic and Victorian eras; therefore, it would make sense that English writers were idealistic at these times. But the Modernist era was the time of post-colonialism, where the English were no longer dominators but equals with the rest of the world – where they had once ruled, they now had to fend for themselves. So, is it possible that the modern era was not really a dehumanizing era, but a humanizing time period for the British? One cannot rightfully answer. Which, as the beginning of this paper states, is befitting of Modernism: it is unclear.
During the Victorian Era, society had idealized expectations that all members of their culture were supposedly striving to accomplish. These conditions were partially a result of the development of middle class practices during the “industrial revolution… [which moved] men outside the home… [into] the harsh business and industrial world, [while] women were left in the relatively unvarying and sheltered environments of their homes” (Brannon 161). This division of genders created the ‘Doctrine of Two Spheres’ where men were active in the public Sphere of Influence, and women were limited to the domestic private Sphere of Influence. Both genders endured considerable pressure to conform to the idealized status of becoming either a masculine ‘English Gentleman’ or a feminine ‘True Woman’. The characteristics required women to be “passive, dependent, pure, refined, and delicate; [while] men were active, independent, coarse …strong [and intelligent]” (Brannon 162). Many children's novels utilized these gendere...
Between World War I and World War II, England was a very different place than it had been in the past. Art and music were changing, and the country was filled with young, modern people, who began to go against the typical rules of society. Thinkers were emerging after the First World War, thinking of ways to keep something that large from ever happening again. Yet, while the country was experiencing so many new things, there were still a number of difficulties that hadn’t gone away. While many people were desperate to get rich, others were barely getting by. Evelyn Waugh, in his novel Vile Bodies, portrays a group of “Bright Young People,” who all place the value of wealth above everything else. On the opposite spectrum, George Orwell, in his book The Road to Wigan Pier, argues the reasons why England must do away with the class system.
‘The Image of the English Gentleman in Twentieth-Century Literature: Englishness and Nostalgia’ – Christine Berberich
The postwar England of the twenties and thirties was the setting of Evelyn Waugh’s first satirical novels, among which was the Vile Bodies. Waugh, an author mostly known for his highly satirical fiction, published his novel Vile Bodies in 1930 right in the middle of the time-period between the Great Wars. Because of the historical evens that occupied England at that time, much of British Literature of the late 1920’s and early 1930’s was concerned with the Modernist movement, which was occupied with the idea of individualism of the young generation. Through the use of prominent and yet highly satirical characters, Waugh strives to criticize his Modernist generation for its unsuccessful movement into Modernism, both on the individual and political/institutional level. He does so by defining his type-characters as ignorant, self-centered and hypocritical in their disastrous movement toward individualism.
At the turn of the 19th century Americans faced a multitude of cultural changes, involving contraceptive acceptance, sexuality changes, and modernism acceptance. Contraceptives were illegal in the early 1900s and posed many relationship problems between married couples since they wanted to be intimate. New ideas about sexuality and affection changed the views on appropriate erotic practices to indulge in within single people typically around college age. Women and men didn’t wait until marriage before having some type of sexual relation, which caused family problems and government intervention because of the negative views of being promiscuous. Modernism ideals developed with the introduction of new sciences and the argument of evolution
Modernism can be defined through the literary works of early independent 20th century writers. Modernism is exp...
Abrams and Greenblatt (2006) write that early Victorian writers responded to the social changes due to the shift from an agricultural to an industrial society and the decline of traditional religious beliefs. This era focused on artistic and creative literature. Authors scrutinized obstacles of forming a personal identity in a world in which traditional social structures were breaking down. Socia...
In Chapter 8, Taylor defines and outlines the change from pre-modern to modern societies. Previously, our world was ordered independently of us. Individuals looked for their identities by means of their social standing or religion. However, “modern freedom and autonomy center us on ourselves, and the ideal of authenticity requires that we discover and articulate our own identity” (Taylor 81). This change goes back to the end of the 18th century and is evident in art and poetry. In modern society, our feelings are coming from within. Our human feelings are our nature, which is deeply personal. Yet, Taylor reminds his readers that in modern poetry there is an
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...
Chapman, Raymond. The Victorian Debate: English Literature and Society, 1832-1901. New York: Basic Books, Inc., Publishers, 1968.
This essay aims to explore the contextual ideas behind the modern movement, how it influenced today’s artists and thinkers, and how ‘Modernization, Modernity, Modernism’ shaped the world we live in. Towards the end of the nineteenth century, around 1860 after man had considerably conquered the machine, a new reality became prevalent in the lives of the newly industrialised world. Modernism includes more than just art and literature. By now it includes almost the whole of what is truly alive in our culture”(Greenberg 1982:5). This quote can be applied to the earlier days of modernism when jobs had changed from agricultural based employment to corporate and menial based labour.
Michael Levenson said in The Cambridge Companion to Modernism that Modernism fiction was “involved in the radical modern departure, across all of the arts, from representational verisimilitudei”. It was stylistically and thematically focused on rebellion against the way art was presented in the past and what its main focus was.
The 20th Century stands out not merely as an age of growth or refinement, but one of absolute transcendent recreation. This new era, presenting the world with radical new ideas and invention, ushered in shocking changes and previously unheard of notions and theory over the views of man. This new phase of humanity brought about the conception and birth of Modernism. Joseph Conrad in particular rushed forward to slam a door on the Victorian Age and end the century of optimism, reproving the human race's ideologies on virtue and purity with the more skeptical realities of the bleakness of real human nature and the power of unfortunate circumstance. Conrad's novel Lord Jim cleaved into the supporting pillars raised by previous Victorian value and set a foundation for his notions of High Modernism; his characters and their reactions to irresolute situations, and even the situations themselves, present the absence of the divine and holy to take the skeptical stance that men, imperfect as they are, face an existential existence.
During Queen Victoria's reign in England, ideals and the very thought of going against the “current” was born and passed along, embellishing into our mainstream personal views on practically everything. Throughout her reign of 64 years, till her death in 1901, England saw changes that changed their own way of doing things, their own way of thinking and refining their views to the point where it represented their work and no one could disagree with them. It was during her successful reign in England that incomprehensible things took place that changed history within such fields and specialties as art, literature, music, philosophy, sciences, and modern inventions. It is because of this time period, known as the Victorian Era, we have many of the modern conveniences, ideas, philosophies, and knowledge that we enjoy, and take for granted, on a daily basis. This period bridged the gap from the dark and medieval ages to our present and productive day. Authors, playwrights, and philosophers documented the changes that society underwent during the Victorian era. Oscar Wilde’s The importance of being earnest and even Charles Dicken’s works have included these such changes in society. This would not have come about without the influence of the ideas and works of several people from Britain, living under
T.S Eliot, widely considered to be one of the fathers of modern poetry, has written many great poems. Among the most well known of these are “The Waste Land, and “The Love Song of J. Alfred Prufrock”, which share similar messages, but are also quite different. In both poems, Eliot uses various poetic techniques to convey themes of repression, alienation, and a general breakdown in western society. Some of the best techniques to examine are ones such as theme, structure, imagery and language, which all figure prominently in his poetry. These techniques in particular are used by Eliot to both enhance and support the purpose of his poems.