C&C: 1/11: Welcome Back!
Sit wherever you would like. We will change seats
tomorrow.
1. If you have a reasonable preference, write it on
the clipboard on my desk.
2. If you were NOT in my class last semester, please
check in with me.
3. Schedulesz
1.
1/11: Welcome Back!
Please grab ONE new composition notebook from
the box on the back table.
2. Sit wherever you would like. We will change seats
tomorrow.
1. If you have a reasonable preference, write it on
the clipboard on my desk.
3. If you were NOT in my class last semester, please
check in with me.
4. Notebook prep:
1. Front cover: Full Name, English 12: Jennings, per
2. Reserve 2 sets of pgs for Table of Contents
3. Enter: Syllabus: 1L
1.
1/11: Intro Quickwrite pg. 1R
► Respond
to each of the following questions
individually.
1. What is the purpose of literature in today’s
society?
2. Why do people write?
3. Why do people read?
4. How does society influence literature AND
how does literature affect society?
1/12: Groups
► Separate
into groups by questions number.
► Share your responses and brainstorm other
possibilities to your question.
► Synthesize your lists into the best 3-4
answers.
► Poster Paper: Write your question and bullet
point your responses.
► Be prepared to share 
New Year’s Resolutions 
What are 1-2 specific goals you can make to
improve your reading or writing this
semester?
2. What is 1 specific goal you have for my class
(Modern Lit English 12) this semester?
3. What is 1 specific goal you have for school
this semester?
Ex: Instead of saying, “I want to be a better
writer,” say, “I want to improve my ability to
1.
write complete and thoughtful commentary.”
Modern Literature
TOC:
1/12 2L – 2R Modernist Vocabulary
1/12: 3L-3R (2 sets) Intro to Modernism Notes
Intro to MODERNISM:
American Literature
1914-1950’s
Timeline of Relevant Literary Eras
► Romanticism
(1800’s)
► Modernism (early 1900’s)
► Post-Modernism (1950’s-2000)
► Contemporary (2000’s-present)
Romanticism (1800’s)
► humans
were essentially good and could
perfect both themselves and their societies
► Think: “flowers, sunlight, rainbows, beauty
of people, happiness, prosperity, God and
religion, and the inherent good of people.”
► Emotion and imagination were seen as
superior to logic and thought.
Romantic Art: The Morning
Philipp Otto Runge, 1808
Romantic Literature
► Examples:
► Moby
Dick, by
Herman Melville,
► The
Scarlett
Letter, by
Nathaniel
Hawthorne, and
► poetry by Emily
Dickinson 
“How Happy is the Little Stone”
By Emily Dickinson
How happy is the little stone
That rambles in the road alone,
And doesn’t care about careers,
And exigencies never fears;
Whose coat of elemental brown,
A passing universe put on;
And independent as the sun,
Associates or glows alone,
Fulfilling absolute decree
In casual simplicity.
Based on this knowledge, write
1-2 poetic lines in the style of
Romanticism.
► My
example:
I walked along the babbling brook, eyes wide and
heart profound;
The sun was peeking through the clouds, and
my lover’s song in the air, abound.
 Why do these lines demonstrate Romanticism?
►Emotional,
flowery language, beauty, happiness, etc.
Most often,
a new literary movement is
birthed from 1 of 2 ways:
1.
2.
►
As a reaction or contrast to a previous
literary movement or way of thinking
As a reaction to historical events of the time
*Modernism and Modernist styles are
contrasted with Romanticism and the
romantic ideas that came before the era.
*Overview of Modern Literature
► Mainly
darker, with many feelings of
abandonment, isolation, fear, and despair.
► Went against Romantic, flowery language, and
sought deliberate, and intentional literary choices
to make a point.
► Focused on the individual psyche and individuals’
interpretations of literature in making personal
meaning.
► Questioned established entities of religion, politics,
and social systems.
► Reactionary – birthed primarily of the historical
contexts of the time period.
Causes of the Modernist Temper:
1.
2.
3.
4.
5.
6.
7.
WWI
8. Growth of Modern
Science
Urbanization
9. Influence of Austrian
Industrialization
Sigmund Freud
Immigration
(1856-1939)
Technological
10. Influence of German
Evolution
Karl Marx (1818The Great Depression
1883)
WWII
1/12: Freewrite – 5 minutes pg.
(Continue on pg. 3)
► Without
stopping, summarize what you
learned about Modernism, so far, from
today’s notes.
► Based on what you know already, what do
you think Modernist Literature will be like?
MODERNISM: American
Literature 1914-1950’s
Causes of the Modernist Temper:
► WWI
► Urbanization
► Industrialization
► Immigration
► Technological
Evolution
► Growth of Modern
Science
► Influence
of Austrian
Sigmund Freud (18561939)
► Influence of German
Karl Marx (1818-1883)
► The Great Depression
► WWII
WWI
WWI: 1914 - 1918
► Caused
American artists and thinkers to
experience the brutal actualities of largescale modern war and the consequences
that followed.
► The senses of a great civilization being
destroyed or destroying itself, of social
breakdown, and of individual powerlessness
became part of the American experience as
a result of its participation in WWI
► resulted in feelings of fear, discrimination,
despair.
new term, une generation perdue, came to be
used to describe the generation of men and
women who came to maturity between WWI and
the Depression of the 1930s.
► Coined by writer Gertrude Stein, this phrase
described the dislocation, rootlessness, and
disillusionment experienced in the wake of the
war.
► Stein later expanded the meaning of the phrase in
conversation with Ernest Hemingway, saying that
his was a decadent generation that was drinking
itself to death.
► It applied to all Americans who, after the war,
found life in the United States to be shallow,
empty, vulgar, and unfulfilling.
►A
URBANIZATION
► The
Urbanization
migration of people from rural farm lands
to the urban cities in order to seek out work
► led to job opportunities in new bustling cities
► technological advancements in transportation,
sanitation, and engineering, which led to an
improved standard of living.
► Was the cause of “ghettos”
 –pockets of the city where multiple families lived in
small, impoverished housing developments to live in
the city where they worked.
 Were usually ethnically and culturally grouped,
which led to much discrimination.
INDUSTRIALIZATION
Industrialization
and the Industrial
Revolution
► 1877-1913
► major
changes in agriculture,
manufacturing, mining, transportation, and
technology
► had a profound effect on productivity
► Caused a spike in the use of child labor and
resulted in the creation of child labor laws.
IMMIGRATION
Large scale immigration (both
foreign and domestic) occurred as
people flocked to booming cities
looking for work and “The
American Dream.”
► Between 1880 and 1920, some 23
million immigrants came to a
country that numbered only 76
million in 1900.
► Immigrants made up 15% of the
total population in 1900; in the first
decade of the 20th century,
immigrants constituted nearly 70%
of industrial workforce.
►
IMMIGRATION
► Oscar
Handlin states,
“Once I thought to
write a history of the
immigrants in America.
Then I discovered that
the immigrants were
American history.”
The S.S. Patricia, an Atlantic liner, full of
immigrants. Photo by Edwin Levick, 1906.
TECHNOLOGICAL EVOLUTION
Technological Evolution
► Telephones
and electricity in homes changed the gap
between better- and worse-off Americans.
 Those without electricity and phones were, literally,
out of the network.
► Phonograph record and record player, the motion
picture which acquired sound in 1929, and radio
► Automobile: millions of jobs were created; geography of
the nation was altered by a new system of highways,
which changed measure of distance, doomed some
small towns to obscurity, and, put others, literally, on
the map; made interstate trucking an alternative to
railroading, cities changed shapes, suburbs came into
being.
GROWTH OF MODERN SCIENCE
Scientists became aware that…
►
►
►
►
►
►
►
the atom was not the smallest unit of matter
matter was not indestructible
both time and space were relative to an
observer’s position
some phenomena were so small that attempts at measurement
would alter them
Some outcomes could be predicted only in terms of statistical
probability
the universe might be infinite in size and yet infinitely expanding
In short, much of the commonsense basis of nineteenth-century
science had to be put aside in favor of far more powerful but
also far more complicated theories. The prevalent assumption
was that nonscientific thinking could not explain anything.
SIGMUND FREUD (1856-1939)
Austrian psycho-analyst who invented
the use of psychoanalysis to study one’s
“unconscious” or “subconscious.”
► Theorized about the individual psyche
► Much of his philosophies were rooted in
unacceptable sexual nature and desires that stemmed
form birth, are repressed or locked away, and left
lifelong scars on the adult personality.
► “forbidden” desires, traumas, and emotions were
locked in the unconscious, but unlocking and
understanding them could give clarity to certain
personality behaviors
►
KARL MARX (1818-1883)
Believed that all human behaviors could be
explained by economic desires.
► Society was broken into class systems
(Power class, Working class, Poor) etc.
► Americans who thought of themselves as
Marxists in the 1920s and 1930s identified
with the world’s workers and with a society in
which workers would control the means of production.
► In other words, power should be in the hands of the worker,
not the boss. The workers are the means of production and,
yet, they are being paid the least.
► “The history of all hitherto existing society is the history of
class struggles.”
►
INFLUENCES OF FREUD AND MARX
►
Modernist writers concerned themselves with the inner
being more than the social being and looked for ways to
incorporate these new views into their writing.
►
Modernist writers looked inside themselves for their
answers instead of seeking truth, for example, through
formal religion or the scientific assumptions of previous
eras.
►
Marxism showed artists that the individual was being lost
in a mass society.
►
Although Marx and Freud didn’t necessarily agree
analytically, both seemed better suited to explain the
terrible things that were happening in the twentieth
century through their philosophies.
1920’s: THE JAZZ AGE
To F. Scott Fitzgerald it was an “age of miracles, an age of art, an age of
excess, an age of satire.”
1930’s: THE DEPRESSION
“True individual freedom cannot exist without economic security and
independence. People who are hungry and out of a job are the stuff of
which dictatorships are made.” – Franklin D. Roosevelt
The Great Depression
► Stark
contrast to the excess of “The Roaring
Twenties”
► After the fall of the stock market, widespread
panic set in. Banks collapsed, people couldn’t
access money they had in the bank, and
many people were left jobless, homeless, and
hungry.
► Caused many “ghost towns” as people left
cities looking for something better.
► Once again, people felt isolated, disillusioned
and in despair.
WWII (1939-1945)
WWII (1939 – 1945)
► Americans
were, once again, involved in the
atrocities of war.
► Horrific events of the Holocaust, concentration
camps, gruesome genocide, terrors of new
wartime technology (bombs, fighter planes)
and general fear added to the ideas of
disillusionment, despair, and isolation.
► Caused many to question religion, politics, and
the good of humanity all over again.
SHIFTS IN THE MODERN NATION
► from
country to city
► from farm to factory
► from native born to new citizen
► introduction to “mass” culture (pop culture)
► continual movement
► split between science and the literary
tradition (“science vs. letters”)
1/13: Summary and Discussion (p.3)
► Summarize
the causes and influences of the
Modernist movement and describe your
feelings about the time period.
Critical Thinking / Discussion Protocol
Time
Presentation
Presenter’s share their quickwrite response and their opinion; Audience
listens ONLY!
1 minute
Notes
Audience takes notes on pg. __ about the presenter’s Point of view;
presenter waits – no discussion
1 minute
Audience Commentary
Audience responds to the presenter’s ideas with what they like, dislike,
or agree/disagree with. Presenter listens.
1 minute
Reflection/ Final Commentary
Final discussion point on the topic – anyone may speak within the
group, presenter responds to the audience’s comments
1 minute
Characteristics of Modernist
Literature
1/19: 4L-4R (2 sets) Characteristics of
Modern Lit Notes
THE SPIRIT OF MODERNIST LITERATURE
►
Previously sustaining structures of human life, whether social,
political, religious, or artistic, had been either destroyed or
shown up as falsehoods or fantasies. Therefore, art had to be
renovated.
►
Modernist writing is marked by a strong and conscious break
with tradition. It rejects traditional values and assumptions.
►
“Modern” implies a sense of alienation, loss, and despair.
►
Writers exhibited a skeptical, apprehensive attitude toward pop
culture; writers criticized and deplored its manipulative
commercialism (aka “buying into” anything mainstream or
popular – the O.G. hipsters... )
►
Literature, especially poetry, becomes the place where the one
meaningful activity, the search for meaning, is carried out; and
therefore literature is, or should be, vitally important to society.
Modernists believed that we create the world in the act of
perceiving it.
CHARACTERISTICS OF MODERNIST
WRITING
A movement away from realism into abstractions
► Deliberately complex, forcing readers to be very welleducated in order to read these works
► A high degree of self-consciousness
► Questions the nature of being and what is the source of
meaning
► A breaking with tradition and conventional modes of
form, resulting in fragmentation and bold, highly
innovative experimentation
► A variety in content due to instability of surrounding
world, so artists were more subjective and opinionated
►
Themes of Modernism
► Isolation,
*This is an important slide*
loneliness, anxiety, and dislocation
► Disillusionment
 def: a feeling of disappointment resulting from the
discovery that something is not as good as one believed
it to be.
► The
benefits and consequences of “The American
Dream”
► Disintegration of social norms
 such as politics, the family unit, religion, and the
inherent sense of the ‘good’ of humanity.
► Focus
on the individual’s thoughts, psyche, and
search for personal meaning.
TECHNIQUES IN MODERNIST WORKS
The modernists were highly conscious that they were
being modern—that they were “making it new”—and
this consciousness is manifest in the modernists’
radical use of a kind of formlessness.
2. Modernist Writers used various techniques to depict
their themes:
1.






Collapsed plots
Fragmentary techniques
Shifts in perspective, voice, and tone
Stream-of-consciousness point of view
Associative techniques
Elements of style: (Ambiguities, symbolism, diction, figures of
speech, sentence structure, syntax, etc.)
COLLAPSED PLOTS
►
Plot will seem to begin randomly, to advance without
explanation, and to end without resolution,
 segments one after the other with little transition or explanation
►
Plot lines are often complex, rather than linear or chronological
(use of flashbacks, dreams, and jumps in the plot)
►
It will suggest rather than clearly or blatantly state things,
making use of symbols and images instead of statements.
►
The reader must participate in the making of the poem or story
by searching for meaning
►
Traditional elements (setting, dialogue, resolution) are gone.
FRAGMENTARY TECHNIQUES
►
Compared with earlier writing, modernist literature is notable for
what it omits—the explanations, interpretations, connections,
summaries, and distancing that provide continuity, perspective,
and security in traditional literature.
►
The idea of order, sequence, and unity in works of art is
sometimes abandoned.
►
The long work will be an assemblage of fragments, the short
work a carefully realized fragment. Some modernist literature
registers more as a collage. This fragmentation in literature was
meant to reflect the reality of the flux and fragmentation of one’s
life.
►
Fragments will be drawn from diverse areas of experience.
 Vignettes of contemporary life, chunks of popular culture, dream imagery,
and symbolism drawn from the author’s private repertory of life experiences.
 A work built from these various levels and kinds of material may move
across time and space, shift from the public to the personal, and open
literature as a field for every sort of concern.
SHIFTS IN PERSPECTIVE, VOICE,
AND TONE
►
The inclusion of all sorts of material previously deemed
“unliterary” in works of high seriousness involved the use of
language that would also previously have been thought improper,
including representations of the speech of the uneducated and
the inarticulate, the colloquial, slangy, and the popular.
 The traditional educated literary voice, conveying truth and
culture, lost its authority.
►
Prose (poetry, short stories, novels) writers strove for directness,
compression, and vividness. They were sparing of words.
 The average novel became quite a bit shorter than it had been
in the nineteenth century.
►
Modern fiction tends to be written in the first person or to limit
the reader to one character’s point of view on the action.
STREAM-OF-CONSCIOUSNESS
► Stream-of-consciousness
is a literary practice that
attempts to depict the mental and emotional reactions
of characters through the practice of reproducing the
unedited, continuous sequence of thoughts that run
through a person’s head, most usually without
punctuation or literary interference.
► Ultimately,
S.O.C. writing is long, ramblings of the
brain, (more so like we think than how we speak,)
often sounds random, and lacks punctuation.
STREAM-OF-CONSCIOUSNESS
► The
writers of the stream-of-consciousness novel
seem to share these common assumptions:
 existence of human beings is found in their mentalemotional processes, not in the outside world (so
look into the psyche)
 that this mental-emotional life is disjointed and
illogical, &
 that a pattern of free psychological association
determines the shifting sequence of thought and
feeling
ASSOCIATIVE TECHNIQUES
► Modernists
sometimes used a collection of seemingly
random impressions and literary, historical,
philosophical, or religious allusions with which readers
are expected to make the connections on their own.
► Writers
associate or relate their own ideas with
previous ideas of others.
Eliot’s The Waste Land is arguably the greatest
example of this allusive manner of writing; it includes
a variety of Buddhist, Christian, Greek, Judaic,
German and occult references, among others.
► T.S.
►A
IMAGISM
reaction against a the previously “weak” and “soft”
Romantic art.
► The
imagists aimed to strip away poetry’s tendency
toward dense wordiness and sentimentality and to
crystallize poetic meaning in clear, neatly juxtaposed
images.
 Like a snapshot that clearly shows what is happening without all
the flowery, fake, Romantic fluff
► Early
influences on the imagists included the symbolist
poets, classical Greek and Roman poetry, and Chinese
and Japanese verse forms, in particular the haiku.
Modernism can be seen through
other “isms” that arose in art:
► Fauvism
► Cubism
► Dadaism
► Expressionism
► Surrealism
FAUVISM
►
A number of French artists such as
Rouault, Derain, Dufy, Vlaminck,
and Braque who grouped around
Matisse and exhibited together from
1905 to 1907.
►
The outraged critical reaction to their
free use of color and distortion of form
led to their being called Les Fauves
(“the wild beasts”).
►
characterized by artists’ use of strident color and
seemingly wild brushwork.
Henri Matisse. Woman with a Hat, 1905.
CUBISM
► Objects
Georges Braque.
Woman with a Guitar,
1913
are broken up and
reassembled into abstract forms.
► Analytic cubism used geometric
shapes rather than color to
represent the real world.
► Incorporated the idea of collage:
pulling together a variety of
materials to create a new whole.
► Cubist poetry attempts to do in
verse what cubist painters do on canvas; take the
elements of an experience, fragment them, and then
rearrange them in a meaningful new ways.
DADAISM
►
A movement in Europe during
and just after WWI, which
ignored logical relationships,
argued for absolute freedom, and
delivered itself of numerous
provocative manifestoes.
►
It was founded in Zurich in 1916
by Tristan Tzara with the
destructive intent of demolishing
art and philosophy
 intended to replace art & philosophy
with intentional madness as a protest
against the insanity of the war.
Marcel Duchamp.
Nude Descending a Staircase, No. 2
1912
EXPRESSIONISM
A subjective art form in which
an artist distorts reality for an
emotional effect.
► The growing mass and mechanism
►
of society, with its tendency to
depress the value of the arts, made
artists seek new ways of making
art forms valuable
►
The Scream. 1893. Edvard Munch
Expressionistic drama
flourished in the 1920s and
was marked by:
 unreal atmosphere;
nightmarish action; distortion
and oversimplification; the deemphasis of the individual; antirealistic settings; the spiritual
awakening and sufferings of
their protagonists; and staccato,
telegraphic dialogue.
Expressionism (continued)
►
In Modern poetry, the revolt against realism, the
distortion of the objects of the outer world, and the
violent dislocation of time sequence and spatial logic
was created in an effort to accurately, but not
representationally, show the world as it appears to a
troubled mind.
SURREALISM
A movement in art
emphasizing the
expression of the
imagination as realized
in dreams and presented
without conscious control.
► Paintings were not literal
depictions of the known
world but disconcerting,
“realistic” representations of the subconscious.
► Surrealism is often regarded as an outgrowth of Dada.
►
The Persistence of Memory. 1931. Salvador Dali
Works Cited
►
►
►
►
Baym, Nina, ed. The Norton Anthology of American Literature. New
York: W.W. Norton & Company, Inc., 1998.
Harmon, William, and C. Hugh Homan, eds. A Handbook to Literature.
New Jersey: Prentice-Hall, Inc., 1996.
Kimmelman, Burt, ed. The Facts on File Companion to 20th Century
American Poetry. New York: Facts on File, Inc., 2005.
Lathbury, Roger. American Modernism (1910-1945): American
Literature in its Historical, Cultural, and Social Contexts.
►
Backgrounds to American Literature Series. New York: Facts On
File, Inc., 2006.
Siepmann, Katherine Baker, ed. Benét’s Reader’s Encyclopedia.
New York: Harper-Collins Publishers, Inc., 1948.
Modernism Vocabulary: Pg 2L-2R
1.
2.
3.
4.
5.
Abandonment
Abstract
Alienate
Anxiety
Associate
Assumptions/
Assume
7. Conscious/Su
bconscious/U
nconscious
8. Context
6.
9.
10.
11.
12.
13.
14.
15.
16.
17.
18.
19.
Despair
Disillusionment
Disintegration
Dislocation
Distortion
20.
Isolation
21. Psyche
22. Psychoanalysis
23. Reaction
Fragmentation
Ghettos
Industrialization
Influence
Intentional
Interpretation
24.
25.
26.
27.
28.
Repression/r
epress
Subjective
Theories
Tradition
Urbanization
Practice with Modernist
Vocabulary
► In
groups of 6
► Complete the word
cube to the right on an
index card for each of
your words 
► Then, add your word
to the class tier chart
► When everyone in your
group has completed
their cubes, take a
picture of them.
Put the vocab word
on the blank side
of the card
Tenses or
variations of the
word
Easy, tier 1
definition of the
word
Quick pic
Describe the
connection
between this
word and
Modernism
For Homework… 1/21
► Transfer
your vocab cube pictures to an
index card.
► You should have 1 card each of the 28 (or,
technically, 31) vocabulary words.
► Study, study, study!
► These will be due on Friday, 1/22!
Modernism Vocabulary:
1.
2.
3.
4.
5.
Abandonment:
 Being forgotten, deserted, or left alone.
Abstract
 Not concrete; theoretical; something you cannot
see or touch
Alienate
 To push away; to be unfriendly or hostile
Anxiety
 Uneasy feelings; being on edge
Associate
 To connect or join
6.
7.
6.
Assumptions / Assume
 To suppose without having evidence
Conscious
 Awareness; alertness
Subconscious
 Partial awareness; not completely aware
Unconscious
 Without alerted control; not aware
Context
 The surrounding events; setting
Despair
 Complete hopelessness, gloom
10. Disillusionment
 Disappointment after finding out something isn’t
as good as you may have previously thought
11. Disintegration
 Falling apart; crumbling
12. Dislocation
 Separation; not having a permanent location or
place
13. Distortion
 Changing the shape or view of something
9.
Fragmentation
 Breaking off into parts
15. Ghettos
 Parts of a city where minorities of similar
cultures live together in extremely close quarters
16. Industrialization
 Shift from agricultural business (farming) to
industries like factories and machinery
17. Influence
 A power affecting a person, event, or thing
(oftentimes without direct contact)
18. Intentional
 Done in a way that is planned by specific choice
14.
Interpretation
 An explanation
20. Isolation
 Separating one thing from another
21. Psyche
 The individual, cognitive mind involving the
memory, soul, and personality of a person
22. Psycho-analysis
 Study of the brain involving therapy that focuses
on one’s unconscious thoughts
23. Reaction
 Feelings or actions in response to something that
occurs
19.
Repression/repress
 Not allowing yourself to remember something,
whether on purpose or unconsciously; usually
because of a harmful or traumatic event
25. Subjective
 Based on feelings or opinions instead of
objective facts
26. Theories
 Principles used to explain something
27. Tradition
 Belief or behavior passed down from generations
28. Urbanization
 Transition of life from rural farmland to city living
24.
1/25: Examples of Modernism
Minstrel Man by Langston Hughes, 1925
Because my mouth
Is wide with laughter
And my throat
Is deep with song,
You did not think
I suffer after
I've held my pain
So long.
Because my mouth
Is wide with laughter
You do not hear
My inner cry:
Because my feet
Are gay with dancing,
You do not know
I die.
Modernist
Perspective
Freudian
Perspective
Marxist
Perspective
a. Who is the speaker and who are they talking to?
b. Why are they suffering? What factors have led to and
continue their suffering?
c. What is a possible theme of this poem? Explain and use
textual evidence to support your idea.
1/26: “Araby” by James Joyce
Characteristic
1. Modernist
Influences
2. Modernist
Theme
3. Collapsed Plot
4.
Fragmentation
5. Perspective
6. Stream-ofConsciousness
7. Associative
Techniques
Textual Example
Explanation
Minstrel Man
by Langston Hughes, 1925
Because my mouth
Is wide with laughter
And my throat
Is deep with song,
You did not think
I suffer after
I've held my pain
So long.
1
Because my mouth
9
Is wide with laughter
You do not hear
4 My inner cry:
12
Because my feet
Are gay with dancing,
You do not know
8 I die.
16
Practice with Modernist Analysis
► Analyze
the poem “Minstrel Man” for ONE of the
following elements of style:
1) imagery, 2)tone, 3)sentence structure, 4) symbolism.
What stylistic element are you analyzing?
2. Give 2 textual examples of how the element is used
throughout the poem and EXPLAIN your examples
with reasoning.
3. Explain the effect that the element of style has in
developing your personal and Modernist
interpretation of the poem.
► Then, do the same for “Araby.”
1.
Quiz Game Creation
►½
sheet of paper and write your name
► Create 4 test questions as a review for our
Modernism Exam:
1. Two questions from the intro to Modernism
notes
2. One question from the vocab
3. One question from the Elements of Style
notes
► Write the correct answer and/or answer
choices under the question.
1/28: Causes of the Modernist Temper:
► In
groups, become an expert on
your cause and its Modernist
influence.
► On a poster paper, writw the
following:
1. Cause, Time period and region
2. Summary points of the historical
context/event/or person
3. Main ideas or ideals
4. How do you think your cause
may have influenced literature/
art, and American life?
5. Be prepared to share 
►
►
►
►
►
►
►
►
►
WWI
Urbanization
Industrialization
Immigration
Technological
Evolution
Influence of Austrian
Sigmund Freud
Influence of German
Karl Marx
The Great Depression
WWII
Growth of Modern
Science
Abandonment
Repression
Influence
Disillusionment
Theory
Abstract
Subconscious
Ghettos
Intentional
Conscious
Interpretation
Fragmentation
Unconscious
Associate
Isolation
Psyche
Assumptions
Alienate
Subjective
Distortion
Despair
Disintegration
Anxiety
Urbanization
Reaction
Tradition
Industrialization
Dislocation
Psychoanalysis
Context