The beginning of the twentieth century witnessed an international revolution in the arts, as a wide range of cultural groups, aesthetic movements and individual writers and artists sought to extend and transform their relationship with and representation of reality.
The word ‘modernism’ represents the retrospective fusion of these very diverse aesthetic experiments into the comprehensive style or social and psychological temper of a ‘modern’ age typically dated between 1910 and 1930. In their now classical guide, Bradbury and McFarlane describe Modernism as ‘an art of a rapidly modernizing world, a world of rapid industrial development, advanced technology, ubrbanisation, secularisation and mass forms of social life’, but also ‘the art of a world from which many traditional certainties had departed, and a certain sort of Victorian confidence not only in the onward progress of mankind but in the very solidity and visibility of reality itself has evaporated’ (Bradbury and McFarlane, 1976:57).
This double condition results in a central contradiction: depending on context and perspective, modernism can be seen as a vigorous creative impulse to ‘make it new’, through a determined break with the stultifying artistic conventions of the immediate past and an embrace of the modern, or as a literature of crisis and dislocation, desperately insisting on the power of art to give shape to a world that has lost all order and stability.
Because modernism connotes a cultural sensibility rather than a particular period in time, however, it is not simply interchangeable with strictly historical references such as ‘the early twentieth century’ or ‘the 1920s’, even though it overlaps with them.
The label ‘high modernism’ refers specifically to the canonical account of Anglo-American literary experimentation between the world wars, characterised by a turn away from direct modes of representation towards greater abstraction and aesthetic impersonality and self-reflexivity. Such aesthetic formalism is typically identified with the canonical figures of Ezra Pound and T.S.Eliot, as well as Joyce and Woolf.
As a result of the insights of post-structuralist, feminist and post-colonial critics, however, the concept of modernism is now widely recognised to be open to much broader interpretation and redefinition than this reading previously acknowledged.
Work Cited: Parsons, Deborah. Theorists of the Modernist Novel. New York; Routledge, 2007. Print.
