Montano suffers. He is pressed up too close to literature. The world itself seems to be a system of literary tropes, literary associations. Montano can't even dream of suicide, about putting it all to an end, since death is 'precisely what literature talks about most'. There is no way out - there's no course of action he can follow that does not risk becoming thereby some kind of literary cliché, literary kitsch. For Montano's predicament is not only that is trapped in Literature, it is that Literature itself appears like a tawdry stage set.
Literature at the Turn of the Century - Ruth Nestvold
Write about this world, whatever else you're writing about, a world dominated by dead dreams. Mark the absence of Hope, of Belief, of Commitments, of high-flown Seriousness. Mark the past from which we are broken and the future that will destroy us. Write about a kind of hope that was once possible as Literature, as Politics, as Life, but that is no longer possible for us.
.in English Literature - Chhatrapati Shahu Ji Maharaj
More detailed technical information may be found in Monash University Department of Computer Science Technical Report 96/769: 8775 On the Simulation of Postmodernism and Mental Debility Using Recursive Transition Networks 8775 .
Importance of Literature: Essay
Fair warning, fair Shmoopers: this one's a doozy. The word modern has a whole boatload of different meanings, and what constitutes modernism has been hotly debated for decades.
World War I brought Americans to Europe, exposing them to ideas and influences that probably seemed pearl-clutchingly shocking to their sheltered sensibilities and, yeah, shattering their faith in humanity with the horrors of war.
This fearsome foursome changed a great many things about the way folks thought about the world. And that's actually an understatement. Our point here is that all this revolutionary thinking was unsettling to say the least, and writers wanted their work to be unsettling, too. Let's buck tradition, they said, in favor of new, innovative writing that reflects all the changes being thrown our way.
Modernists were the original bad boys of art, whose self-appointed task it was to break-no, scratch that: blow to smithereens-everything that came before them. What were they rebelling against?
See, the world wasn't quite the same anymore, and writers and artists were struggling to find new ways to create art that reflected those big changes. When it came to style, that meant that writers began to play games with time and order, perspective, point of view, and form. You began to see a lot more novels with fragmented plots than, say, ones with clear beginnings, middles, and ends. In poetry, that meant strange metaphors stacked on top of each other, mixing meters and free verse, and allusions to the past.
But that didn't mean that the Modernists were stuck in a garret being sad all the time. Even today, we love hearing stories about their wild party lifestyle. Their sexual inhibition. Their "Who's going to stop us?" attitude.
8775 Truth is intrinsically dead, 8776 says Debord however, according to Werther [5] , it is not so much truth that is intrinsically dead, but
rather the genre of truth. The primary theme of the works of Fellini is a
mythopoetical reality. However, Baudrillard uses the term 8766 precapitalist
dematerialism 8767 to denote not sublimation, as Debord would have it, but
postsublimation.
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