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Major Modern and Post-Modern Trends Absurdism

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Major Modern and Post-Modern Trends Absurdism 1 Major Modern and Post-Modern trends Absurdism: ‗Theatre of the Absurd‘, dramatic works of certain European and American dramatists of the 1950s and early ‘60s who agreed with the Existentialist philosopher Albert Camus‘s assessment, in his essay ―The Myth of Sisyphus‖ (1942), that the human situation is essentially absurd, devoid of purpose. The term is also loosely applied to those dramatists and the production of those works. Though no formal Absurdist movement existed as such, dramatists as diverse as Samuel Beckett, Eugène Ionesco, Jean Genet, Arthur Adamov, Harold Pinter, and a few others shared a pessimistic vision of humanity struggling vainly to find a purpose and to control its fate. Humankind in this view is left feeling hopeless, bewildered, and anxious. The ideas that inform the plays also dictate their structure. Absurdist playwrights, therefore, did away with most of the logical structures of traditional theatre. There is little dramatic action as conventionally understood; however frantically the characters perform, their busyness serves to underscore the fact that nothing happens to change their existence. In Beckett‘s Waiting for Godot (1952), plot is eliminated, and a timeless, circular quality emerges as two lost creatures, usually played as tramps, spend their days waiting—but without any certainty of whom they are waiting for or of whether he, or it, will ever come. Language in an Absurdist play is often dislocated, full of cliches, puns, repetitions, and non sequiturs. The characters in Ionesco‘s The Bald Soprano (1950) sit and talk, repeating the obvious until it sounds like nonsense, thus revealing the inadequacies of verbal communication. The ridiculous, purposeless behavior and talk give the plays a sometimes dazzling comic surface, but there is an underlying serious message of metaphysical distress. This reflects the influence of comic tradition drawn from such sources as commedia dell‘arte, vaudeville, and music hall combined with such theatre arts as mime and acrobatics. At the same time, the impact of ideas as expressed by the Surrealist, Existentialist, and Expressionist schools and the writings of Franz Kafka is evident. Originally shocking in its flouting of theatrical convention while popular for its apt expression of the preoccupations of the mid-20th century, the Theatre of the Absurd declined somewhat by the mid-1960s; some of its innovations had been absorbed into the mainstream of theatre even while serving to inspire further experiments. Some of the chief authors of the Absurd have sought new directions in their art, while others continue to work in the same vein. http://www.britannica.com/EBchecked/topic/2002/Theatre-of-the-Absurd Feminism: Feminism is a collection of movements aimed at defining, establishing, and defending equal political, economic, and social rights and equal opportunities for women. Its concepts overlap with those of women's rights. Feminism is mainly focused on women's issues, but because feminism seeks gender equality, some feminists argue that men's liberation is therefore a necessary part of feminism, and that men are also harmed by sexism and gender roles. Feminists are "person[s] whose beliefs and behavior[s] are based on feminism." Feminist theory emerged from these feminist movements, and includes general theories and theories about the origins of inequality, and, in some cases, about the social construction of sex and gender, in a variety of disciplines. Feminist activists have campaigned for women's rights—such as in contract, property, and voting—while also promoting women's rights to bodily integrity and 2 autonomy and reproductive rights. They have opposed domestic violence, sexual harassment, and sexual assault. In economics, they have advocated for workplace rights, including equal pay and opportunities for careers and to start businesses. Some of the earlier forms of feminism have been criticized for being geared towards white, middle- class, educated perspectives. This led to the creation of ethnically-specific or multiculturalist forms of feminism. The feminist movement produced both feminist fiction and non-fiction, and created new interest in women's writing. It also prompted a general reevaluation of women's historical and academic contributions in response to the belief that women's lives and contributions have been underrepresented as areas of scholarly interest. Mary Wollstonecraft wrote one of the first works of feminist philosophy, A Vindication of the Rights of Woman which called for equal education for women in 1792 and her daughter, Mary Shelley became an accomplished author best known for her 1818 novel Frankenstein. The Female Eunuch, by Australian feminist Germaine Greer, was first published in 1970, and became an international bestseller and an important text in the feminist movement. Beginning in the 1960s, authors used the genre of science fiction to explore feminist themes. Notable books in this genre include Ursula K. Le Guin's The Left Hand of Darkness (1969), Joanna Russ' The Female Man (1970). Octavia Butler's Kindred, and Margaret Atwood's The Handmaid's Tale. Russ, Le Guin, and other authors also engaged in feminist criticism of science fiction in the 1960s and 70s. http://en.wikipedia.org/wiki/Theatre_of_the_Absurd New Criticism A literary movement that started in the late 1920s and 1930s and originated in reaction to traditional criticism that new critics saw as largely concerned with matters extraneous to the text, e.g., with the biography or psychology of the author or the work's relationship to literary history. New Criticism proposed that a work of literary art should be regarded as autonomous, and so should not be judged by reference to considerations beyond itself. A poem consists less of a series of referential and verifiable statements about the 'real' world beyond it, than of the presentation and sophisticated organization of a set of complex experiences in a verbal form (Hawkes, pp. 150-151). Major figures of New Criticism include I. A. Richards, T. S. Eliot, Cleanth Brooks, David Daiches, William Empson, Murray Krieger, John Crowe Ransom, Allen Tate, F. R. Leavis, Robert Penn Warren, W. K. Wimsatt, R. P. Blackmur, Rene Wellek, Ausin Warren, and Ivor Winters. http://www.kristisiegel.com/theory.htm#newcriticism 3 Impressionism Impressionism was a 19th-century art movement that originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The name of the style is derived from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satiric review published in the Parisian newspaper Le Charivari. Characteristics of Impressionist paintings include relatively small, thin, yet visible brush strokes; open composition; emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time); common, ordinary subject matter; the inclusion of movement as a crucial element of human perception and experience; and unusual visual angles. The development of Impressionism in the visual arts was soon followed by analogous styles in other media which became known as Impressionist music and Impressionist literature. The term "Impressionism" can also be used to describe art created in this style, but not during the late 19th century. Musical Impressionism is the name given to a movement in European classical music that arose in the late 19th century and continued into the middle of the 20th century. Originating in France, musical Impressionism is characterized by suggestion and atmosphere, and eschews the emotional excesses of the Romantic era. Impressionist composers favored short forms such as the nocturne, arabesque, and prelude, and often explored uncommon scales such as the whole tone scale. Perhaps the most notable innovations used by Impressionist composers were the first uses of major 7th chords and the extension of chord structures in 3rds to five and six part harmonies. The influence of visual Impressionism on its musical counterpart is debatable. Claude Debussy and Maurice Ravel are generally considered the greatest Impressionist composers, but Debussy disavowed the term, calling it the invention of critics. Erik Satie was also considered to be in this category although his approach was considered to be less serious, more of musical novelty in nature. Paul Dukas is another French composer sometimes considered to be an Impressionist but his style is perhaps more closely aligned to the late Romanticists. Musical Impressionism beyond France includes the work of such composers as Ralph Vaughan Williams, Ottorino Respighi (Italy) and Allan Willcocks, Cyril Scott and John Ireland (England.) The term Impressionism has also been used to describe works of literature in which a few select details suffice to convey the sensory impressions of an incident or scene. Impressionist literature is closely related to Symbolism, with its major exemplars being Baudelaire, Mallarmé, Rimbaud, and Verlaine. Authors such as Virginia Woolf and Joseph Conrad have written works which are Impressionistic in the way that they describe, rather than interpret, the impressions, sensations and emotions that constitute a character's mental life. Expressionism A term used to denote the use of distortion and exaggeration for emotional effect, which first surfaced in the art literature of the early twentieth century. When applied in a stylistic sense, with reference in particular to the use of intense colour, agitated brushstrokes, and disjointed space. 4 Rather than a single style, it was a climate that affected not only the fine arts but also dance, cinema, literature and the theatre .The name of the style is derived from the title of a Claude Monet work, Impression, soleil levant (Impression, Sunrise), which provoked the critic Louis Leroy to coin the term in a satiric review published in the Parisian newspaper Le Charivari. Expressionism is an artistic style in which the artist attempts to depict not objective reality but rather the subjective emotions and responses that objects and events arouse in him.
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