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Life and Art in Modernist Literature, 1995.
A look at the importance of art in the literature of the modernist period, concentrating on Virginia Woolf's "To the Lighthouse", D.H. Lawrence's "Women in Love" and James Joyce's "A Portrait of the Artist as a Young Man."
2,704 words (approx. 10.8 pages), 3 sources, MLA, AU$ 117.95
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Abstract
This paper looks at the treatment of art in Virginia Woolf's "To the Lighthouse", D.H. Lawrence's "Women in Love" and James Joyce's "A Portrait of the Artist as a Young Man" by examining the way in which Gudrun, Stephen Dedalus, Lily Briscoe and other characters in the novels view art. It discusses whether art is truly the central priority of the modernist era by looking at it as a means of making life eternal and explores how art is used to "capture the moment" forever and how this is one of the main themes of modernism.
From the Paper
"What comes across most strongly in To the Lighthouse is its attempt at permanence, or the character?s struggle for permanence. As Mrs. Ramsay watches the sea beat at the rocks, prompting her to think that ?It was all ephemeral as a rainbow? (20) and her husband paces to and fro, musing on the nature of fame and immortality, and conceding in anguish that ?...the very stone one kicks with one?s boot will outlast Shakespeare? (41), we think of Woolf herself. Was the author using this, her most autobiographical work, as an attempt to make life (which is transitory) eternal, or crystallised through art?"
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Pop Art, Rock 'n Roll Music and Modernist Literature, 2007.
An analysis of pop art, Rock 'n Roll music and modernist literature in the 20th century.
1,094 words (approx. 4.4 pages), 3 sources, MLA, AU$ 55.95
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Abstract
This paper provides a three-tiered analysis of the most important trends in art, music and literature since 1890. In the paper, Andy Warhol represents the important trend of pop art, the Rolling Stones represents the important trend of Rock 'n' Roll in popular music and finally, Ernest Hemingway represents the crucial trend of modernist literature in the 20th century. It shows how these trends are an important part of the cultural identity of the 20th century, which impart crucial influences as to how art, music and literature evolved in this time frame.
From the Paper
"The insanity and terror of war of this kind is the direct result of losing one's honor in a battle field that had little to do with chivalry and honor. Modernism reflects the reality and horror of war, as Hemingway clearly indicates in his response to coming home and telling his story to the local people in his town. In an age of machines and World Wars, Hemingway was a part of the important trend of literary Modernism, which provided the reality of war that counteracted the romanticism of war in the 19th century."
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Modernist Literature and the Denial of History, 1995.
A discussion on whether modernist literature engages in a denial of history through analysis of the works of James Joyce, T.S. Eliot and Joseph Conrad.
2,722 words (approx. 10.9 pages), 7 sources, APA, AU$ 117.95
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Abstract
This paper discusses George Lukacs statement that modernist literature engages in a ?denial of history, of development, and thus, of perspective.? It explores how history is treated in literature by examining the ways in which so much of modernist literature and in particular James Joyce's "Ulysses" and T.S. Eliot's "The Wasteland" and Joseph Conrad?s "Heart of Darkness" are re-writings of older texts. It also looks at the way history is diminished by characters such as Leopold Bloom by discussing the importance of perspective.
From the Paper
"In these fragments, history is deconstructed, but only to be pieced together again, according to our own individual perspectives. In this way, the possibilities of history are endless: history is constantly recreated, and, in answer to Stephen Dedalus?s complaint that ?history is to blame? for the wrongs of society, we an say that we construct history itself in much the same way that we construct society: perhaps any problems are then caused by our own perspectives, or by our lack of understanding of this point - a willingness to believe in the immutability of history."
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Modernist Literature, 2002.
A study of modernist literature through the works of Joyce, Woolf and Eliot.
940 words (approx. 3.8 pages), 2 sources, MLA, AU$ 48.95
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Abstract
This paper analyzes the works of modernist writers James Joyce, Virginia Woolf and T.S. Eliot. It stresses the importance of the inner consciousness, while the outer trappings of reality, including classes and gender, are viewed as less important. The paper demonstrates how the modernists are a reaction to the Victorian form of understanding both the world and the self.
From the Paper
"According to "Beginning Theory: An Introduction to Literary and Cultural Theory", the Modernist movement in literature was primarily concerned with presenting a point of view that explicated the writer?s and the main character?s inner consciousness, rather than dwelling upon externals in the environment or the evolution of any particular plot. Modernism, although its superficial name might seem to connote to a casual reader ?modern literature,? really is a highly specific literary form that sprung up in reaction to the Victorian form of understanding both the world and the self."
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Symbolic Elements in Modernist Literature, 2004.
An examination of the symbolism used in Isak Dinesen's "Out Of Africa" and Joseph Conrad's "Heart of Darkness".
1,682 words (approx. 6.7 pages), 3 sources, MLA, AU$ 78.95
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Abstract
This paper discusses how symbolism is perhaps the defining element in modernist literature and, while the language is simple and the themes fairly complex, it is the use of intricate representations that keeps an artistic element functioning within each story. It looks at how, in two significant works composed during this time, Conrad?s "Heart of Darkness" and Dinesen?s "Out of Africa", Africa is used as more than a simple setting. It shows how, for Conrad, the country serves as a canvas for a variety of murky, ominous symbols that help convey his ultimate theme, and how, for Dinesen, Africa is an idyllic landscape ,the last place on this earth left unsullied by human hands.
From the Paper
"As Dinesen?s story manifests itself as a roman a clef rather than a work of pure fiction, the symbols used are naturally more contextual in nature than those of Conrad. Lulu, the first obvious symbolic element of Out of Africa, appears early in the story, emphasizing the existing lack of boundaries between man and nature. This tiny antelope lived in Dinesen?s house fearlessly, even returning on occasion after she had found a mate and birthed a fawn (Dinesen, 78). Her continued presence after a point in which most animals would forever flee only reinforces the suggested bond between animal and human. Through Lulu, Dinesen demonstrates that it is possible for man to live in tandem with beast, neither species intruding upon the territory of the other."
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Freud on Art and Literature, 2001.
The paper looks at Freud?s conceptions about art and literature and the creative forces of motivation on an author.
2,953 words (approx. 11.8 pages), 7 sources, MLA, AU$ 126.95
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Abstract
This paper is about Sigmund Freud's concept of 'unconscious' and its relevance in the arts. The author discusses how Freud is commonly recognized as having invented the concept of the ?unconscious?. The author explaines that the subordination of the ?pleasure principle? by the ?reality principle? is done through a mental process that Freud refers to as sublimation. According to Sigmund Freud, dreams and fantasies (or phantasies) are the symbolic expression and fulfillment of wishes and desires that as a result of sublimation by the ?reality principle? cannot be fulfilled through daily life and are consequently repressed into the ?unconscious.? To Freud, ?the motive forces of fantasies are unsatisfied wishes, and every single fantasy is the fulfillment of a wish, a correction of unsatisfying reality? (Freud 485). Freud affirms that dreams are disguised, hallucinatory fulfillment?s of repressed wishes. He concludes that if expressed in undisguised form, they would be so disturbing that it would wake the dreamer from sleep. Freud?s fundamental assumption is that the sublimation of the artist?s unsatisfied libido is responsible for producing all forms of art and literature whether it be painting, sculpting, or writing. David H. Richter notes in his introduction to ?Sigmund Freud? that Freud was once criticized by Carl Gustav Jung, a fellow psychoanalytic theorist, for insinuating that artists were diseased individuals creating art out of their own personal neurotic needs. The writer feels that Freud insinuates that art is primarily an escapist method, that ?in an ideal world in which everyone had matured sufficiently to replace the pleasure principle by the reality principle, there would be no need for art? (Storr 103).
From the Paper
"The historical tradition of scholarly theory has been one in which literary texts are subjected to scrutiny regarding whether they are either implicitly or explicitly ideological in nature. Arguably so, nothing reflects a society?s fears, hopes, and desires about gender, class, and power more than what the society maintains about art and artists. A literary text is credible of fully reflecting the culture in which it was written, that is to say, it has the potential to embody certain sociological assumptions presented in the dichotomy between ?normal? and ?abnormal.? Sigmund Freud, the patriarch of psychoanalysis, is associated with Charles Darwin and Karl Marx as being ?one of the three original thinkers who have most altered man?s view of himself in the twentieth century? (Storr 145). Yet, even literary theorists, including Freud, realized that ?any comprehensive vision of human nature such as he provides must have implications for the nature of happiness, and for the relation of man?s natural capacities to his normal or ideal state? (Sousa 196). That is, numerous later theorists and critics believe that Freud?s own theories about the function and nature of the mind uncovered some fundamental truths about how an individual?s notions of ?self? are formed and how culture and civilization operate and are affected by these notions. Coinciding with Freud?s own account, the significance of everyday action is determined by motives that are far more numerous and complex than people are aware of or commonsense understanding takes into account. The most basic and constant of motives that influence our actions are those of the unconscious, moreover, those that are difficult to acknowledge or avow. Freud?s conception of the unconscious and his rediscovery of the importance of dreams encouraged painters, sculptors and writers to pay serious attention to their inner world of dreams; to find significance in thoughts and images they previously would have dismissed as absurd or illogical. Therefore it is plausible that notions of art and literature as described by Sigmund Freud, are created through the ramifications of the unconscious or the sublimation of an unsatisfied carnal appetite."
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Greek Art, Architecture and Literature, 2002.
A look Greek culture as effected by art, architecture and literature.
650 words (approx. 2.6 pages), 3 sources, AU$ 38.95
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Abstract
This paper discusses the basic themes of Greek artistic endeavors, such as individualism, rationalism, and humanism, and analyzes how Greek art, architecture, and literature reflected the society in which they were created.
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Brutality in Art and Literature, 2002.
This paper deals with brutality in art and literature and how it was portrayed - both individual and militaristic brutality.
1,305 words (approx. 5.2 pages), 3 sources, MLA, AU$ 64.95
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Abstract
This paper basically argues that we all have evil in us and we all have the potential of being evil. In other words, we all have the capability of being the next Hitler, but due to our restraints and good will, we will not. This paper also analyzes through literature and artwork, what happens when those restraints fail and evil is unleashed.
From the Paper
"If I were to say that you could be the next Hitler, you would probably think I was crazy and didn't know what I was talking about. Unfortunately this statement cannot be impossible, for everybody has the possibility of being the next Hitler. We all have that possibility because we all have our human nature and this nature covers a vast spectrum. There are people who strive to emerge on the loving side of the spectrum, like Mother Theresa, who gave the world an idea of the infinite beauty and love of the human spirit. She showed everyone how just one woman with love in her heart could affect the world in such a monumental way. Unfortunately the world was also affected in monumental ways by those who represent the other end of the spectrum, people like Pol Pot, who gave the world a grim awakening of just how low the human spirit could fall and how a human spirit absent of love can result in the deaths of millions. Though atrocities such as this may have occurred in the past, the capabilities of human nature have not changed. We are still able to act in same ways as Pol Pot, just as we are able to act in the same was of Mother Theresa. What seems to confuse us all is that even though we are all capable love, some still choose to hate. It is this breach in reason that intrigues a number of authors, poets, and artists and results in their exploration of human nature in such stories as A Modest Proposal and Ladies and Gentlemen, to the gas chambers and pieces of art like "Third of May" and "Massacre of Chois.""
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Trend of Modernist Art, 2008.
This paper looks at the trend of modernist art and discusses art from realism toward abstraction.
833 words (approx. 3.3 pages), 3 sources, APA, AU$ 42.95
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Abstract
In this article, the writer looks at realism and notes that realism was also considered to be illusionism. The writer explains that this was because, in realism, the artist made every attempt to create the illusion that what was being seen was as though the viewer were looking through a window into a moment in life. The writer points out that illusionism required a strong focus on shadow and light, as well as the composition of the figure in relationship to the canvas. The writer discusses the concept of illusion in painting, focusing on paintings by Ingres, Cezanne and Matisse, small copies of which are included in the paper.
From the Paper
"In the painting by Ingres the painter has utilized black background in order to give the illusion that the subject is close in proximity to the viewer. The line of the drapes serves to draw the viewer's eye closer to the subject, leading into the line of the woman that is the center of focus. The artist then uses shadow and light to accentuate the figure, detailing the shape of her form. Color is also used to add to the portrait, with blues in the drapes and on the bed. This serves as an additional background for the flesh tones that are used, which are mildly distorted on the legs, as the artist attempted to give the illusion of leg length and realism in relation to the woman's position on the bed. Additionally, naturalistic tones have been used in the painting that adds to the realistic affect of the work."
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Cubist Ideas and the Modernist Arts, 2005.
A look at the link between cubist and modernist art.
1,214 words (approx. 4.9 pages), 5 sources, MLA, AU$ 60.95
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Abstract
The cubist art work has certain attributes which define its construction and conception. These ideas, clustering around these works of art, were applied to other art forms with varying results. This paper explores how these new and original ideas about cubism manifested themselves in the productions of art in other genres.
From the Paper
"The Cubist style must be viewed as an extension of the anti-Romanic, anti-Impressionistic mood expressed by progressive artists in many creative genres in the fin de siecle period and later. As Cocteau wrote in his "Le Coq et l'Arlequin," the artists were sickened "by the vague, the melting, the superfluous"(82). It had its most intensely creative period between roughly 1908 and beginning of the First World War. The most important center for this "reaction" in all of the arts was Paris. Picasso and Braque are generally seen as the seminal artists in this new form called Cubism. They were interested in getting beyond what they saw as the limiting concept of perspective, which the artistic tradition had inherited from the Renaissance."
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Art and Pop Art, 2002.
A comparative analysis of art with pop art using the works of Andy Warhol and Leonardo Da Vinci.
1,150 words (approx. 4.6 pages), 6 sources, AU$ 64.95
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Abstract
This discusses art and pop art, and distinguishes between the two by noting the characteristics of each form. As examples of each, two works of Andy Warhol are compared and contrasted to Da Vinci's "Last Supper" and Rembrandt's "Syndic of the Clothmaker's Guild.
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?Literature; Ancient Greek Literature?, 2002.
A discussion of the relationship between ancient Greek burial and death rites and ancient Greek literature.
1,409 words (approx. 5.6 pages), 6 sources, MLA, AU$ 67.95
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Abstract
This paper focuses upon illustrating the relevance of the obvious emphasis and taboo regarding Greek burial or death rites as it is portrayed in a significant amount of ancient Greek literature. It examines how literature has long been a relevant source that historians as well as other scholars can turn to so as to glean at least a marginal understanding regarding the societal norms of the era or culture in particular.
Outline
Introduction
Generalities Regarding Ancient Greek Burial Rites
Relevance of Literary Illustrations Regarding Ancient Greek Perspectives on Death
Burial Rites Within Ancient Greek literature
Conclusion
From the Paper
"One of the first things that essentially needs to be taken into consideration is that, as a result of their significantly un-advanced and superstitiously primitive preconceptions and beliefs, that nearly all kinds of ancient literature is tinged, to some degree or another, with elements of the super natural or paranormal. The occult, witches, curses and ghosts, all are things that are mentioned, with varying degree of figurativeness and realism, within ancient British as well as Greek literature. Moreover, there appears to be a particular degree of emphasis upon the relevance and effectuality of such things as oaths and curses, especially in regard to the likes of such being implemented in concern to a particular person?s death or burial. This something that is quite strongly portrayed when Euripides? Hippolytus, the protagonist within the play, reasserts his confidence to his father in so much as taking an oath that in death may neither sea nor earth receive my flesh, if I have proved false (Lawson, 1964)."
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The "Art" of Art Forgery, 2002.
Shows that forgery is more than just a copying process, involving complex techniques found in art.
2,900 words (approx. 11.6 pages), 5 sources, AU$ 154.95
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Abstract
This paper examines the skill involved in producing 'true' forgeries within the world of art. It is stressed that the forger is to be seen as an artist, in that he or she must sometimes enter the mind of the original artist, master his or her techniques,and otherwise execute works that can withstand the expert eye. Forgery is a normal aspect of the art world.
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Family Betrayal in Myth, Modernist and Post-Modernist Drama, 2008.
A comparison of Susan Hazen Hammond's short story "The Kidnapped Wife and the Dream Helper," Arthur Miller's drama "All My Sons" and P.J. Gibson's play "Long Time Since Yesterday".
1,316 words (approx. 5.3 pages), 3 sources, MLA, AU$ 64.95
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Abstract
The paper examines Susan Hazen Hammond's short story "The Kidnapped Wife and the Dream Helper," Arthur Miller's drama "All My Sons" and P.J. Gibson's play "Long Time Since Yesterday" that all dramatize the struggles of individuals trapped in uncomfortable family relationships. The paper shows how the three works contain vastly different conceptions of what constitutes the human character and how a character should be dramatized over the course of a story. The paper highlights, however, the consistent themes in these works, such as the family relationships that are based on lies and the lesson that true fulfillment cannot be found in material success or in the esteem of the world.
From the Paper
"Hammond's tale is a retelling of a Native American myth. The character, even the most dynamic character of the piece that of the male warrior, father, and husband, is not what a modern reader would call a well-rounded character. He is compltetly 'bad' at the beginning of the piece, ignoring his wife, then suddenly shifts to being a 'good' character, in the quest to recover her. In the Miller piece, Joe Keller and his son Christ are depicted as far more complex, psychologically rounded characters. Joe Keller wants to do good things, and help his family prosper, but he commits evil actions in his quest. Unlike the Native American fable, character, and the failures of character drive the plot of the tale. Finally, the Gibson work, takes a post-modernist view of the characters of Janeen and Layer. The play is a 'memory play,' dramatizing the differences between how we remember the past and the reality of the past."
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Classical Marxist Theory and Literature, 2005.
This paper discusses the classical Marxist approach to literature, which views literature as essentially a social and cultural production.
8,870 words (approx. 35.5 pages), 85 sources, MLA, AU$ 267.95
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Abstract
This paper explains that in its classical sense, Marxist theory does not deal explicitly with literature and art and does not develop an aesthetic of culture or literature. However, the theoretical trajectory of Marxist thought has impacted radically on art and literature as aspects of societal and cultural discourse. The author points out that the concept of dialectic refers specifically to the methodology or method of analysis, which is peculiar to Marxist theory;. In this sense, literature and art, as cultural products, are analyzed in relation to their social and historical context. The paper analyzes specifically " Heart of Darkness" by Joseph Conrad, "A Passage to India" by E. M. Forster's and the writings of Charles Dickens and William Shakespeare.
Table of Contents
Introduction
Overview
Foundation of Marxist Theory and Literary Criticism
Marxism - Extrinsic and Intrinsic Approaches to Literature
The Premises of Marxist Criticism
Base and Superstructure
The Dialectic
Ideology and Alienation
Semiology and Psychoanalytic Theory.
Reader - Response Theories
A Marxist Critique of Literature
Analysis of the Echo in "A Passage to India": A dialectical reading
" Heart of Darkness" by Joseph Conrad
Dickens
Shakespeare
Conclusion
From the Paper
"From this perspective, literary works are essential structures of ideological formations. In other words, literature expresses and represents the ideals and aims of class formation that persist and maintain the society. "Literature is for Marxism a particular kind of signifying practice which tends to make up what can be termed an ideological formation". Therefore, Marxist critical perspectives will attempt to explain literature from within its social context and in relation to that particular historical time period. This in turn relates to basic strategies, such as the identification of class structures and class struggle within the literature of a certain historical period."
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F. Scott Fitzgerald and the Modernist Movement, 2002.
Discusses the main characteristics of the modernist movement in literature and F. Scott Fitzgerald's role in the movement.
1,636 words (approx. 6.5 pages), 5 sources, MLA, AU$ 77.95
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Abstract
This paper looks at the emergence of F. Scott Fitzgerald as a leader in the modernist movement of literature. It looks at the defining characteristics of modernism and how the uniqueness and newness of Fitzgerald's style of writing put him in the forefront of modernist writers. Fitzgerald's famous works of art and the characters within them are used to aptly illustrate Fitzgerald as one who spearheaded the modernist movement.
From the Paper
"Modernist literature is also the result of the writer seeking to save mankind from the ?deadening features? of what became known as everyday life. The Modern artist, according to Paul Lauter, editor of The Heath Anthology of American Literature, felt a need to ?challenge and reinvigorate? the ever-growing urban, industrial society. (935) In order for this reinvigoration to be successful, new styles of writing were needed to express the new ideas and values. From this need, Modernism arose and became what one critic called a ?tradition of the new? (935). However, more than anything, modernism meant breaking away from traditional responses and ?predictable forms?."
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