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Introduction
The vast intellectual movement which made its appearance at the close of the "Glorious
Revolution" in England (1688) and continued until the French Revolution (1789) is
called Illuminism, or the Enlightenment. The new culture, advancing under the aegis of
"reason," launched itself in bitter opposition to all the past in general, and in particular to
the Middle Ages. According to the Illuminati -- the exponents of the Enlightenment -- the
Middle Ages, victim of philosophical and religious prejudices, had not made use of
"reason," and hence they called it the age of obscurantism, or the Dark Ages. The new
philosophy, on the other hand, was to introduce an age of enlightenment; it was to dispel
the darkness of the past.
Opposition to the immediate past had manifested itself, though to a limited degree, during
the Renaissance. Humanism had in fact minimized and ignored the Middle Ages, and had
accentuated and lauded the classical world of ancient Greece and Rome; and
Protestantism had extolled "primitive Christianity."
Illuminism attempted to go further still, to excel the past in its various manifestations of
culture, religion and government -- for its philosophers considered the entire past to be
the work of "non-reason" (Anti-historicalism). Everything appeared before the tribunal of
"reason" to receive its condemnation. With all science of the past discredited, man was
brought back at last to his origins, to his natural state; Illuminism then worked to
formulate a new philosophical system, a rational system because it was evolved by reason
purified of all prejudice. It is a system which embraces all human activity -- civil,
juridical and religious (Naturalism).
Reason, as understood by the Illuminati, is the faculty which Descartes had called "good
sense" and is equally distributed and common to all men. The rational order means the
association of one phenomenon with another, not by reason of finality or causality but
simply by virtue of mechanical necessity.
In order to understand the strange trend of the philosophy of the Enlightenment, we must
bear in mind that this age is witness to the establishment of modern physics as the science
of nature; and physics, as we know, is regulated by mechanical necessity. Illuminism
attempted to apply the same laws and methods of mechanical necessity to every field of
human knowledge. With all authority and finalism banished and mechanism proclaimed
in their stead as the single rational means of solving the problems of nature, there
inevitably emerges a natural right, a natural society, a natural religion. Everything
consists in a succession of phenomena starting from the so-called "state of nature" and
proceeding one from another by mechanical necessity. All these suppositions of
naturalism were to find violent manifestation in the great upheaval of the French
Revolution.
I. ENGLISH ILLUMINISM
Illuminism in England was concerned with defending religion and morality against the
atheistic conclusion of empiristic philosophy, particularly as expressed by Thomas
Hobbes. This aim gave rise to two manifestations, namely, the moralism of Cambridge,
and the "common sense" of the Scottish School (Thomas Reid).
The first, starting from a world Platonically conceived, tried to defend and justify the
laws of "natural religion" and "natural morality." The second held that morality finds its
justification in certain primitive judgments which are intuitively known as "common
sense." (Note: the use of the term "common sense" here is not the same as we use it in
traditional commonsense philosophical realism.)
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Definitions
Characteristics
Practioners
Mark Twain
William Dean Howells
Rebecca Harding Davis
John W. DeForest
Henry James
ENGLISH ROMANTICISM
Romanticism in English literature began in the 1790s with the publication of the
Lyrical Ballads of William Wordsworth and Samuel Taylor Coleridge.
Wordsworth's "Preface" to the second edition (1800) of Lyrical Ballads, in which
he described poetry as "the spontaneous overflow of powerful feelings," became
the manifesto of the English Romantic movement in poetry. William Blake was
the third principal poet of the movement's early phase in England. The first phase
of the Romantic movement in Germany was marked by innovations in both
content and literary style and by a preoccupation with the mystical, the
subconscious, and the supernatural. A wealth of talents, including Friedrich
Hlderlin, the early Johann Wolfgang von Goethe, Jean Paul, Novalis, Ludwig
Tieck, A.W. and Friedrich Schlegel, Wilhelm Heinrich Wackenroder, and Friedrich
Schelling belong to this first phase. In Revolutionary France, the Vicomte de
Chateaubriand and Mme de Stal were the chief initiators of Romanticism, by
virtue of their influential historical and theoretical writings.
The second phase of Romanticism, comprising the period from about 1805 to the
1830s, was marked by a quickening of cultural nationalism and a new attention to
national origins, as attested by the collection and imitation of native folklore, folk
ballads and poetry, folk dance and music, and even previously ignored medieval
and Renaissance works. The revived historical appreciation was translated into
imaginative writing by Sir Walter Scott, who invented the historical novel. At about
this same time English Romantic poetry had reached its zenith in the works of
John Keats, Lord Byron, and Percy Bysshe Shelley.
Characteristics of Romanticism
Resulting in part from the libertarian and egalitarian ideals of the French Revolution,
the romantic movements had in common only a revolt against the prescribed rules of
classicism. The basic aims of romanticism were various: a return to nature and to
belief in the goodness of humanity; the rediscovery of the artist as a supremely
individual creator; the development of nationalistic pride; and the exaltation of the
senses and emotions over reason and intellect. In addition, romanticism was a
philosophical revolt against rationalism
Romanticism
(European) Romanticism 1820-1865: A European artistic and intellectual
movement of the early 19th century, characterized by an emphasis on individual
freedom from social conventions or political restraints, on human imagination,
and on nature in a typically idealized form. Romantic literature rebelled against
the formalism of 18th century reason. Many Romantic writers had an interest in
the culture of the Middle Ages, an age noted for its faith, which stood in contrast
to the age of the Enlightenment and pure logic.
Romanticism was evident not only in literature, but also in art, music and
architecture.
Frontier promised opportunity for expansion, growth, freedom; Europe lacked this
element.
Spirit of optimism invoked by the promise of an uncharted frontier.
Immigration brought new cultures and perspectives
Growth of industry in the north that further polarized the north and the agrarian
south.
Search for new spiritual roots.
Literary Themes:
Highly imaginative and subjective
Emotional intensity
Escapism
Common man as hero
Nature as refuge, source of knowledge and/or spirituality
Characteristics:
Characters and setting set apart from society; characters were not of our own
conscious kind
Static characters--no development shown
Characterization--work proves the characters are what the narrator has stated or
shown
Universe is mysterious; irrational; incomprehensible
Gaps in causality
Formal language
Good receive justice; nature can also punish or reward
Silences of the text--universals rather than learned truths
Plot arranged around crisis moments; plot is important
Plot demonstrates
o romantic love
o honor and integrity
o idealism of self
Supernatural foreshadowing (dreams, visions)
Description provides a "feeling" of the scene
Sub Genre:
American European
Romanticists: Romanticists:
William Blake
James Fenimore Cooper Lord Byron (George
Emily Dickinson Gordan)
Frederick Douglass Samuel Coleridge
Ralph Waldo Emerson John Keats
Margaret Fuller Ann Radcliffe
Nathaniel Hawthorne Mary Wollstonecraft
Washington Irving Shelley
Henry Wadsworth Percy Bysshe Shelley
Longfellow
Herman Melville
Edgar Allen Poe
Henry David Thoreau
Walt Whitman
Realism
Realism 1861- 1914 (American Realism 1865-1890): An artistic movement
begun in 19th century France. Artists and writers strove for detailed realistic and
factual description. They tried to represent events and social conditions as they
actually are, without idealization.
Realism aims to interpret the actualities of any aspect of life, free from subjective
prejudice, idealism, or romantic color. It is in direct opposition to concerns of the
unusual, the basis of Romanticism. Stresses the real over the fantastic. Seeks to
treat the commonplace truthfully and used characters from everyday life. This
emphasis was brought on by societal changes such as the aftermath of the Civil
War in the United States and the emergence of Darwin's Theory of Evolution and
its effect upon biblical interpretation.
Characteristics:
European/International
American Realists:
Realists:
Henry James Gustave Flaubert (French)
Rebecca Harding Davis Guy de Maupassant (French)
Sarah Orne Jewett Anton Chekhov (Russian)
Mark Twain George Eliot (English
William Dean Howells
Ambrose Bierce
Naturalism (1890 - 1915): The term Naturalism describes a type of literature that
attempts to apply scientific principles of objectivity and detachment to its study of human
beings. Unlike, Realism which focuses on literary technique, naturalism implies a
philosophical position: for naturalistic writers, since human beings are, in Emile Zola's
phrase, "human beasts," characters can be studied through their relationships to their
surroundings. The Naturalist believed in studying human beings as though they were
"products" that are to be studied impartially, without moralizing about their natures.
Naturalistic writers believed that the laws of behind the forces that govern human lives
might be studied and understood through the objective study of human beings.
Naturalistic writers used a version of the scientific method to write their novels; they
studied human beings governed by their instincts and passions as well as the ways in
which the characters' lives were governed by forces of heredity and environment. This is
a logical extension of Realism. The term was invented by Emile Zola partially because he
was seeking for a striking platform from which to convince the reading public that it was
getting something new and modern in his fiction. Naturalism is considered as a
movement to be beyond Realism. Naturalism is based more on scientific studies.
Darwin's Theory of Evolution is a basis for the Naturalist writer. Natural selection and
survival of the fittest help to depict the struggle against nature as a hopeless fight.
Characteristics:
Objective
Darwinistic--survival of the fittest
Detached method of narration
Language--formal; piling on of images ("wretched excess")
Human beings unable to stand up against enormous weight of circumstances.
Deterministic--natural and socioeconomic forces stronger than man.
Heredity determines character
Violence--force against force
Taboo topics
Animal imagery
Attention to setting to the point of saturation
Characters--lower socioeconomic class
Static characters
Naturalists observe, then write. Often about the black, darker side of life.
"Pessimistic materialistic determinism" (Pizer)
Characters conditioned or controlled by environment, heredity, instinct or chance
but they have a compensating humanistic value that affirms the significance of the
individual (Pizer).
Characters do not have free will (determinism)
Themes:
"The conflict in naturalistic novels is often 'man against nature' or 'man against
himself' as characters struggle to retain a 'veneer of civilization' despite external
pressures that threaten to release the 'brute within' " (Campbell).
Nature is indifferent to man
The universe is deterministic
In literature, the movement is associated with the works of (among others) Eliot, James
Joyce, Virginia Woolf, W.B. Yeats, Ezra Pound, Gertrude Stein, H.D., Franz Kafka and
Knut Hamsun. In their attempt to throw off the aesthetic burden of the realist novel, these
writers introduced a variety of literary tactics and devices:
Modernism is often derided for abandoning the social world in favour of its narcissistic
interest in language and its processes. Recognizing the failure of language to ever fully
communicate meaning ("That's not it at all, that's not what I meant at all" laments Eliot's
J. Alfred Prufrock), the modernists generally downplayed content in favour of an
investigation of form. The fragmented, non-chronological, poetic forms utilized by Eliot
and Pound revolutionized poetic language.
Modernist formalism, however, was not without its political cost. Many of the chief
Modernists either flirted with fascism or openly espoused it (Eliot, Yeats, Hamsun and
Pound). This should not be surprising: modernism is markedly non-egalitarian; its
disregard for the shared conventions of meaning make many of its supreme
accomplishments (eg. Eliot's "The Wasteland," Pound's "Cantos," Joyce's Finnegans
Wake, Woolf's The Waves) largely inaccessible to the common reader. For Eliot, such
obscurantism was necessary to halt the erosion of art in the age of commodity circulation
and a literature adjusted to the lowest common denominator.
It could be argued that the achievements of the Modernists have made little impact on the
practices of reading and writing as those terms and activities are generally understood.
The opening of Finnegans Wake, "riverrun, past Eve's and Adam's, from swerve of shore
to bend of bay, brings us by a commodious vicus of recirculation back to Howth Castle
and Environs," seems scarcely less strange and new than when it was first published in
1939. Little wonder, then, that it is probably the least read of the acknowledged
"masterpieces" of English literature. In looking to carry on many of the aesthetic goals of
the Modernist project, hypertext fiction must confront again the politics of its
achievements in order to position itself anew with regard to reader. With its reliance on
expensive technology and its interest in re-thinking the linear nature of The Book,
hypertext fiction may find itself accused of the same elitism as its modernist
predecessors.
Puritan Times
1650-1750
Content:
errand into the wilderness
be a city upon a hill
Christian utopia
Genre/Style:
sermons, diaries
personal narratives
captivity narratives
jeremiads
written in plain style
Effect:
instructive
reinforces authority of the Bible and church
Historical Context:
a person's fate is determined by God
all people are corrupt and must be saved by Christ
1750-1800
Content:
national mission and American character
democratic utopia
use of reason
history is an act of individual and national self-assertion
Genre/Style:
political pamphlets
travel writing
highly ornate writing style
fiction employs generic plots and characters
fiction often tells the story of how an innocent young woman is tested by a seductive
male
Effect:
patriotism grows
instills pride
creates common agreement about issues
shows differences between Americans and Europeans
Historical Context:
tells readers how to interpret what they are reading to encourage Revolutionary War
support
instructive in values
American Renaissance/Romanticism
1800-1855
Content:
writing that can be interpreted 2 ways, on the surface for common folk or in depth for
philosophical readers
sense of idealism
focus on the individual's inner feelings
emphasis on the imagination over reason and intuition over facts
urbanization versus nostalgia for nature
burden of the Puritan past
Genre/Style:
literary tale
character sketch
slave narratives,
political novels
poetry
transcendentalism
Effect:
helps instill proper gender behavior for men and women
fuels the abolitionist movement
allow people to re-imagine the American past
Historical Context:
expansion of magazines, newspapers, and book publishing
slavery debates
Gothic
sub-genre of Romanticism
1800-1850
Content:
sublime and overt use of the supernatural
individual characters see themselves at the mercy of forces our of their control which
they do not understand
motif of the "double": an individual with both evil and good characteristics
often involve the persecution of a young woman who is forced apart from her true love
Style:
short stories and novels
hold readers' attention through dread of a series of terrible possibilities
feature landscapes of dark forests, extreme vegetation, concealed ruins with horrific
rooms, depressed characters
Effect:
today in literature we still see portrayals of alluring antagonists whose evil
characteristics appeal to one's sense of awe
today in literature we still see stories of the persecuted young girl forced apart from
her true love
Historical Context:
industrial revolution brings ideas that the "old ways" of doing things are now irrelevant
Realism
1855-1900
Content:
common characters not idealized (immigrants, laborers)
people in society defined by class
society corrupted by materialism
emphasizes moralism through observation
Style:
novel and short stories are important
prefers objective narrator
dialogue includes many voices from around the country does not tell the reader how to
interpret the story
Effect:
social realism: aims to change a specific social problem
aesthetic realism: art that insists on detailing the world as one sees it
Historical Context:
Civil War brings demand for a "truer" type of literature that does not idealize people
or places
Naturalism
(sub-genre of realism)
1880-1900
Content:
dominant themes: survival fate violence taboo
nature is an indifferent force acting on humans
"brute within" each individual is comprised of strong and warring emotions such as
greed, power, and fight for survival in an amoral, indifferent world.
Genre/Style:
short story, novel
characters usually lower class or lower middle class
fictional world is commonplace and unheroic; everyday life is a dull round of daily existence
characters ultimately emerge to act heroically or adventurously with acts of violence, passion,
and/or bodily strength in a tragic ending
Effect:
this type of literature continues to capture audiences in present day: the pitting of man against
nature
Historical Context:
writers reflect the ideas of Darwin (survival of the fittest) and Karl Marx (how money and class
structure control a nation)
Modernism
1900-1946
Content:
dominant mood: alienation and disconnection
people unable to communicate effectively
fear of eroding traditions and grief over loss of the past
Genre/Style:
highly experimental
allusions in writing often refer to classical Greek and Roman writings
use of fragments, juxtaposition, interior monologue, and stream of consciousness
writers seeking to create a unique style
Effect:
common readers are alienated by this literature
Historical Context:
overwhelming technological changes of the 20th Century
World War I was the first war of mass destruction due to technological advances
rise of the youth culture
Harlem Renaissance
(runs parallel to modernism)
1920s
Content:
celebrated characteristics of African-American life
enjoyment of life without fear
writing defines the African-American heritage and celebrates their new identity as Americans
Genre/Style:
allusions in writing often refer to African-American spirituals
uses the structure of blues songs in poetry (ex-repetition of key phrases)
superficial stereotypes later revealed to be characters capable of complex moral judgments
Effect:
this period gave birth to a new form of religious music called "gospel music"
blues and jazz are transmitted across America via radio and phonographs
Historical Context:
mass African-American migration to Northern urban centers.
African-Americans have more access to media and publishing outlets after they move north.
Postmodernism
1946-Present
Content:
people observe life as the media presents it, rather than experiencing life directly
popular culture saturates people's lives
absurdity and coincidence
Genre/Style:
mixing of fantasy with nonfiction; blurs lines of reality for reader
no heroes
concern with individual in isolation
detached, unemotional
usually humorless
narratives
metafiction
present tense
magic realism
Effect:
erodes distinctions between classes of people
insists that values are not permanent but only "local" or "historical"
Historical Context:
post-World War II prosperity
media culture interprets values
Contemporary
(continuation of Postmodernism)
1980s-Present
Content:
identity politics
people learning to cope with problems through communication
people's sense of identity is shaped by cultural and gender attitudes
emergence of ethnic writers and women writers
Style:
narratives: both fiction and nonfiction
anti-heroes
concern with connections between people
emotion-provoking
humorous irony
storytelling emphasized
autobiographical essays
Historical Context:
people beginning a new century and a new millennium
media culture interprets values
Enlightenment (1750-1800) Called the Enlightenment period due to the influence of science and logic, this period is
marked in US literature by political writings. Genres included political documents, speeches, and letters. Benjamin
Franklin is typical of this period. There is a lack of emphasis and dependence on the Bible and more use of common
sense (logic) and science. There was not a divorce from the Bible but an adding to or expanding of the truths found there.
Characteristics of Literature
Most literature was nonfiction, which means it was based on fact rather than being made up by the
author's imagination. The literature of this period was realistic. Its aims were to instruct, to enlighten,
and to make people think. These people believed reason shows life as it is; whereas, the imagination
shows life as people wish it were or fear it may be.
The people of the Enlightenment revered the power of the mind to reason and to determine realities.
They deprecated passions and emotions. They saw reason as the ruling principle of life and the key
to progress and perfection. This was an optimistic, self-confident period of time in Europe. People
felt they knew all the answers; they were content, and they were smug!
The Enlightenment, also known as the Age of Reason, is the name given to the period in Europe
and America during the 1700s when mankind was emerging from centuries of ignorance into a new
age enlightened by reason, science, and respect for humanity. People of the Enlightenment were
convinced that human reason could (1) discover the natural laws of the universe and (2) determine
the natural rights of mankind; (3) thereby unending progress in knowledge, technical achievement,
and moral values would be realized.
This new way of thinking led to the development of a new religious thought known as (4) Deism.
Deists believed in God as a great inventor or architect who had created the universe then allowed it
to function like a machine or clock without divine intervention. Although Deists believed in a
hereafter, they believed human achievement and happiness should be the focus of this life rather
than the life to come.
Benevolence toward less fortunate people, (5) humanitarianism, resulted. Difficult though it is for us
to realize, the idea that people who are more fortunate should assist those who are less fortunate
was, in fact, a new concept during the Enlightenment. Prior to this, religious beliefs perceived
assistance to the unfortunate as interference with God because people thought if someone were
unfortunate, it was God's will and was punishment for wrongdoing.
The main stimulus for the Enlightenment was the scientific discoveries of natural laws. For example,
Galileo recognized the movement of planets, moons, and stars, and Sir Isaac Newton discovered
gravity.