LITERARY MOVEMENTS for Students LITERARY MOVEMENTS for Students Presenting Analysis, Context, and Criticism on Literary Movements SECOND EDITION ª2009Gale,CengageLearning LiteraryMovementsforStudents,Second Edition ALLRIGHTSRESERVED.Nopartofthisworkcoveredbythecopyrighthereinmaybe ProjectEditor:IraMarkMilne reproduced,transmitted,stored,orusedinanyformorbyanymeansgraphic, electronic,ormechanical,includingbutnotlimitedtophotocopying,recording, RightsAcquisitionandManagement:Jennifer scanning,digitizing,taping,Webdistribution,informationnetworks,orinformation Altschul,MollikaBasu,LeithaEtheridge-Sims, storageandretrievalsystems,exceptaspermittedunderSection107or108ofthe1976 BarbMcNeil UnitedStatesCopyrightAct,withoutthepriorwrittenpermissionofthepublisher. Composition:EviAbou-El-Seoud Sincethispagecannotlegiblyaccommodateallcopyrightnotices,the Manufacturing:DrewKalasky acknowledgmentsconstituteanextensionofthecopyrightnotice. 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Printed in the United States of America 1 2 3 4 5 6 7 13 12 11 10 09 Table of Contents Volume 1 NOVELS THAT INCLUDE THE NAMES OF FRENCH SOUPS . . . . . . . . . . xi (byChrisSemansky) INTRODUCTION . . . . . . . . . xiii LITERARY CHRONOLOGY . . . . . . xvii ACKNOWLEDGMENTS . . . . . . . xxxiii CONTRIBUTORS . . . . . . . . xxxvii ABSURDISM. . . . . . . . . . . . 1 RepresentativeAuthors . . . . . . 2 RepresentativeWorks . . . . . . . 5 Themes . . . . . . . . . . . . 8 Style . . . . . . . . . . . . . 9 MovementVariations . . . . . . . 10 HistoricalContext . . . . . . . . 11 CriticalOverview. . . . . . . . . 12 Criticism. . . . . . . . . . . . 13 Sources . . . . . . . . . . . . 27 FurtherReading . . . . . . . . . 28 BEAT MOVEMENT. . . . . . . . . . 29 RepresentativeAuthors. . . . . . . 30 RepresentativeWorks . . . . . . . 33 Themes . . . . . . . . . . . . 36 Style . . . . . . . . . . . . . 37 v T a b l e o f C o n t e n t s MovementVariations . . . . . . . 38 ENLIGHTENMENT. . . . . . . . . 185 HistoricalContext . . . . . . . . 40 RepresentativeAuthors. . . . . . 186 CriticalOverview. . . . . . . . . 42 RepresentativeWorks . . . . . . 188 Criticism. . . . . . . . . . . . 43 Themes . . . . . . . . . . . 191 Sources . . . . . . . . . . . . 62 Style . . . . . . . . . . . . 192 FurtherReading . . . . . . . . . 62 MovementVariations . . . . . . 193 HistoricalContext . . . . . . . 193 CriticalOverview. . . . . . . . 196 BILDUNGSROMAN. . . . . . . . . . 64 Criticism. . . . . . . . . . . 197 RepresentativeAuthors. . . . . . . 65 Sources . . . . . . . . . . . 220 RepresentativeWorks . . . . . . . 67 FurtherReading . . . . . . . . 220 Themes . . . . . . . . . . . . 69 Style . . . . . . . . . . . . . 71 MovementVariations . . . . . . . 71 EXISTENTIALISM. . . . . . . . . 222 HistoricalContext . . . . . . . . 72 RepresentativeAuthors. . . . . . 223 CriticalOverview. . . . . . . . . 74 RepresentativeWorks . . . . . . 225 Criticism. . . . . . . . . . . . 75 Themes . . . . . . . . . . . 228 Sources . . . . . . . . . . . . 95 Style . . . . . . . . . . . . 230 FurtherReading . . . . . . . . . 95 MovementVariations . . . . . . 232 HistoricalContext . . . . . . . 233 CLASSICISM. . . . . . . . . . . . 97 CriticalOverview. . . . . . . . 235 RepresentativeAuthors. . . . . . . 98 Criticism. . . . . . . . . . . 237 RepresentativeWorks . . . . . . 101 Sources . . . . . . . . . . . 251 Themes . . . . . . . . . . . 103 FurtherReading . . . . . . . . 251 Style . . . . . . . . . . . . 104 MovementVariations . . . . . . 105 EXPRESSIONISM . . . . . . . . . 253 HistoricalContext . . . . . . . 106 RepresentativeAuthors. . . . . . 254 CriticalOverview. . . . . . . . 107 RepresentativeWorks . . . . . . 256 Criticism. . . . . . . . . . . 108 Themes . . . . . . . . . . . 258 Sources . . . . . . . . . . . 120 Style . . . . . . . . . . . . 260 FurtherReading . . . . . . . . 121 MovementVariations . . . . . . 260 HistoricalContext . . . . . . . 261 COLONIALISM . . . . . . . . . . 122 CriticalOverview. . . . . . . . 263 RepresentativeAuthors. . . . . . 123 Criticism. . . . . . . . . . . 264 RepresentativeWorks . . . . . . 125 Sources . . . . . . . . . . . 279 Themes . . . . . . . . . . . 129 FurtherReading . . . . . . . . 279 Style . . . . . . . . . . . . 131 MovementVariations . . . . . . 132 GOTHIC LITERATURE . . . . . . . 281 HistoricalContext . . . . . . . 133 RepresentativeAuthors. . . . . . 282 CriticalOverview. . . . . . . . 135 RepresentativeWorks . . . . . . 285 Criticism. . . . . . . . . . . 136 Themes . . . . . . . . . . . 288 Sources . . . . . . . . . . . 151 Style . . . . . . . . . . . . 290 FurtherReading . . . . . . . . 151 MovementVariations . . . . . . 291 HistoricalContext . . . . . . . 293 ELIZABETHAN DRAMA . . . . . . . 153 CriticalOverview. . . . . . . . 294 RepresentativeAuthors. . . . . . 154 Criticism. . . . . . . . . . . 296 RepresentativeWorks . . . . . . 157 Sources . . . . . . . . . . . 307 Themes . . . . . . . . . . . 159 FurtherReading . . . . . . . . 308 Style . . . . . . . . . . . . 161 MovementVariations . . . . . . 162 GREEK DRAMA. . . . . . . . . . 310 HistoricalContext . . . . . . . 164 RepresentativeAuthors. . . . . . 311 CriticalOverview. . . . . . . . 165 RepresentativeWorks . . . . . . 313 Criticism. . . . . . . . . . . 167 Themes . . . . . . . . . . . 315 Sources . . . . . . . . . . . 183 Style . . . . . . . . . . . . 317 FurtherReading . . . . . . . . 183 MovementVariations . . . . . . 319 v i L i t e r a r y M o v e m e n t s f o r S t u d e n t s , S e c o n d E d i t i o n , V o l u m e 1 T a b l e o f C o n t e n t s HistoricalContext . . . . . . . 320 MEDIEVAL MYSTICS . . . . . . . . 466 CriticalOverview. . . . . . . . 322 RepresentativeAuthors. . . . . . 467 Criticism. . . . . . . . . . . 323 RepresentativeWorks . . . . . . 469 Sources . . . . . . . . . . . 334 Themes . . . . . . . . . . . 472 FurtherReading . . . . . . . . 334 Style . . . . . . . . . . . . 474 MovementVariations . . . . . . 476 HARLEM RENAISSANCE. . . . . . . 335 HistoricalContext . . . . . . . 477 RepresentativeAuthors. . . . . . 336 CriticalOverview. . . . . . . . 479 RepresentativeWorks . . . . . . 339 Criticism. . . . . . . . . . . 481 Themes . . . . . . . . . . . 341 Sources . . . . . . . . . . . 492 FurtherReading . . . . . . . . 493 Style . . . . . . . . . . . . 343 MovementVariations . . . . . . 344 MODERNISM . . . . . . . . . . 494 HistoricalContext . . . . . . . 345 RepresentativeAuthors. . . . . . 495 CriticalOverview. . . . . . . . 347 RepresentativeWorks . . . . . . 498 Criticism. . . . . . . . . . . 349 Themes . . . . . . . . . . . 501 Sources . . . . . . . . . . . 372 FurtherReading . . . . . . . . 372 Style . . . . . . . . . . . . 504 MovementVariations . . . . . . 505 HUMANISM . . . . . . . . . . . 374 HistoricalContext . . . . . . . 506 RepresentativeAuthors. . . . . . 375 CriticalOverview. . . . . . . . 508 RepresentativeWorks . . . . . . 378 Criticism. . . . . . . . . . . 510 Themes . . . . . . . . . . . 379 Sources . . . . . . . . . . . 533 Style . . . . . . . . . . . . 381 FurtherReading . . . . . . . . 533 MovementVariations . . . . . . 382 HistoricalContext . . . . . . . 384 NATURALISM . . . . . . . . . . 534 CriticalOverview. . . . . . . . 386 RepresentativeAuthors. . . . . . 535 Criticism. . . . . . . . . . . 387 RepresentativeWorks . . . . . . 537 Sources . . . . . . . . . . . 403 Themes . . . . . . . . . . . 539 FurtherReading . . . . . . . . 403 Style . . . . . . . . . . . . 541 MovementVariations . . . . . . 541 IMAGISM. . . . . . . . . . . . 405 HistoricalContext . . . . . . . 542 RepresentativeAuthors. . . . . . 406 CriticalOverview. . . . . . . . 543 RepresentativeWorks . . . . . . 408 Criticism. . . . . . . . . . . 544 Themes . . . . . . . . . . . 411 Sources . . . . . . . . . . . 554 Style . . . . . . . . . . . . 414 FurtherReading . . . . . . . . 554 MovementVariations . . . . . . 415 HistoricalContext . . . . . . . 416 NEOCLASSICISM . . . . . . . . . 556 CriticalOverview. . . . . . . . 417 RepresentativeAuthors. . . . . . 557 Criticism. . . . . . . . . . . 418 RepresentativeWorks . . . . . . 560 Sources . . . . . . . . . . . 434 Themes . . . . . . . . . . . 562 FurtherReading . . . . . . . . 435 Style . . . . . . . . . . . . 563 MovementVariations . . . . . . 564 Volume 2 HistoricalContext . . . . . . . 565 CriticalOverview. . . . . . . . 567 MAGIC REALISM . . . . . . . . . 437 Criticism. . . . . . . . . . . 568 RepresentativeAuthors. . . . . . 438 Sources . . . . . . . . . . . 592 RepresentativeWorks . . . . . . 440 FurtherReading . . . . . . . . 592 Themes . . . . . . . . . . . 443 Style . . . . . . . . . . . . 445 POSTCOLONIALISM . . . . . . . . 593 MovementVariations . . . . . . 446 RepresentativeAuthors. . . . . . 594 HistoricalContext . . . . . . . 447 RepresentativeWorks . . . . . . 597 CriticalOverview. . . . . . . . 449 Criticism. . . . . . . . . . . 450 Themes . . . . . . . . . . . 599 Sources . . . . . . . . . . . 464 Style . . . . . . . . . . . . 601 FurtherReading . . . . . . . . 465 MovementVariations . . . . . . 601 L i t e r a r y M o v e m e n t s f o r S t u d e n t s , S e c o n d E d i t i o n , V o l u m e 1 v i i T a b l e o f C o n t e n t s HistoricalContext . . . . . . . 603 SCIENCE FICTION AND FANTASY CriticalOverview. . . . . . . . 604 LITERATURE . . . . . . . . . . 744 RepresentativeAuthors. . . . . . 745 Criticism. . . . . . . . . . . 605 RepresentativeWorks . . . . . . 747 Sources . . . . . . . . . . . 613 Themes . . . . . . . . . . . 750 FurtherReading . . . . . . . . 614 Style . . . . . . . . . . . . 752 POSTMODERNISM. . . . . . . . . 615 MovementVariations . . . . . . 753 RepresentativeAuthors. . . . . . 616 HistoricalContext . . . . . . . 754 RepresentativeWorks . . . . . . 619 CriticalOverview. . . . . . . . 755 Themes . . . . . . . . . . . 622 Criticism. . . . . . . . . . . 757 Style . . . . . . . . . . . . 624 Sources . . . . . . . . . . . 775 MovementVariations . . . . . . 625 FurtherReading . . . . . . . . 776 HistoricalContext . . . . . . . 627 CriticalOverview. . . . . . . . 629 SURREALISM . . . . . . . . . . 777 RepresentativeAuthors. . . . . . 778 Criticism. . . . . . . . . . . 630 RepresentativeWorks . . . . . . 780 Sources . . . . . . . . . . . 652 Themes . . . . . . . . . . . 781 FurtherReading . . . . . . . . 653 Style . . . . . . . . . . . . 783 REALISM. . . . . . . . . . . . 654 MovementVariations . . . . . . 784 RepresentativeAuthors. . . . . . 655 HistoricalContext . . . . . . . 785 RepresentativeWorks . . . . . . 658 CriticalOverview. . . . . . . . 787 Themes . . . . . . . . . . . 661 Criticism. . . . . . . . . . . 788 Style . . . . . . . . . . . . 662 Sources . . . . . . . . . . . 800 MovementVariations . . . . . . 663 FurtherReading . . . . . . . . 800 HistoricalContext . . . . . . . 664 CriticalOverview. . . . . . . . 666 SYMBOLISM. . . . . . . . . . . 802 Criticism. . . . . . . . . . . 668 RepresentativeAuthors. . . . . . 803 Sources . . . . . . . . . . . 680 RepresentativeWorks . . . . . . 805 FurtherReading . . . . . . . . 680 Themes . . . . . . . . . . . 807 Style . . . . . . . . . . . . 809 RENAISSANCE LITERATURE . . . . . 682 MovementVariations . . . . . . 809 RepresentativeAuthors. . . . . . 683 HistoricalContext . . . . . . . 810 RepresentativeWorks . . . . . . 685 CriticalOverview. . . . . . . . 812 Themes . . . . . . . . . . . 688 Criticism. . . . . . . . . . . 814 Style . . . . . . . . . . . . 689 MovementVariations . . . . . . 690 Sources . . . . . . . . . . . 834 HistoricalContext . . . . . . . 691 FurtherReading . . . . . . . . 835 CriticalOverview. . . . . . . . 693 Criticism. . . . . . . . . . . 693 TRANSCENDENTALISM . . . . . . . 836 Sources . . . . . . . . . . . 704 RepresentativeAuthors. . . . . . 837 FurtherReading . . . . . . . . 704 RepresentativeWorks . . . . . . 839 Themes . . . . . . . . . . . 842 ROMANTICISM. . . . . . . . . . 705 Style . . . . . . . . . . . . 844 RepresentativeAuthors. . . . . . 706 MovementVariations . . . . . . 845 RepresentativeWorks . . . . . . 709 HistoricalContext . . . . . . . 846 Themes . . . . . . . . . . . 712 CriticalOverview. . . . . . . . 847 Style . . . . . . . . . . . . 713 Criticism. . . . . . . . . . . 848 MovementVariations . . . . . . 713 HistoricalContext . . . . . . . 715 Sources . . . . . . . . . . . 858 CriticalOverview. . . . . . . . 717 FurtherReading . . . . . . . . 858 Criticism. . . . . . . . . . . 718 Sources . . . . . . . . . . . 743 SMALLER MOVEMENTS AND SCHOOLS. . 859 FurtherReading . . . . . . . . 743 Sources . . . . . . . . . . . 871 v i i i L i t e r a r y M o v e m e n t s f o r S t u d e n t s , S e c o n d E d i t i o n , V o l u m e 1 T a b l e o f C o n t e n t s GLOSSARY OF LITERARY TERMS. . . . xxxix CUMULATIVE AUTHOR/TITLE INDEX . . lxxiii CUMULATIVE NATIONALITY/ETHNICITY INDEX. . . . . . . . . . . . . lxxix CUMULATIVE SUBJECT/THEME INDEX. . lxxxv L i t e r a r y M o v e m e n t s f o r S t u d e n t s , S e c o n d E d i t i o n , V o l u m e 1 i x Novels That Include the Names of French Soups I.A.Richards,thewell-knownliterarycritic,once discussion, no way of developing knowledge said, ‘‘A book is a machine to think with.’’ In about them, of understanding how a poem or a making this observation, Richards underscored noveloraplayfitsintoitstimeorwhatitshares the reciprocal relationship between reader and incommonwithothertexts.Academiaorganizes text and the fact that words don’t just sit there itself,forbetterandworse,indisciplines,andthe full of meaning waiting to be discovered, but disciplineofliteratureorganizesitselfinperiods, rather gain their meaning by the breadth and whichthemselvesareassociatedwithmovements. qualityofknowledgereadersbringtothem.Lit- Thiskindofpackagingenablescloserscrutinyof erary Movements for Students provides readers theobjectstudied,whichparadoxicallyresultsin withthisknowledgebydescribingvariouslitera- a more comprehensive understanding of the tures intheir historicaland culturalcontexts, by material. By organizing texts and writers in providing representative examples of the best- terms of literary movements, this series aims to knownmovements,andbyencouragingstudents providereaderswithafootinthedoor,awayto toexplorethosemovementsmoredeeply. think about well-known texts and tools with which to think about them. It’s important to ‘‘LiteraryMovements’’isreallyamisnomer, remember, however, that it is just one way, not for often the texts described under this heading theonlyway,tostudyliterature. were considered neither literary nor part of a discernible movement when they were written. Theword‘‘literary’’gaineditscurrentmean- Labels are often attached to certain writers or ing as a term used to denote a quality of poems, texts by critics and literary historians for effi- plays,andfictionintheeighteenthcentury,when ciency’s sake and with the benefit of hindsight, writingitselfproliferated,andprofessionalliterary often decades, sometimes centuries, after a text criticsemergedtopoliceitbygivingnamestothis hasbeenwritten.Partofidentifyingamovement or that kind of writing. An adjectival form of is arguing for what features define the writing ‘‘literature,’’ ‘‘literary’’ was used to exclude other associated with it, and then locating those fea- types of writing such as philosophy and history. turesinspecifictexts.Thisnecessarilymeansthat Todayithasanevennarrowerconnotation,serv- thedescriptionofmovementsisnotobjective,but ing to mark literature that is ‘‘serious’’ and ‘‘cere- colored by a critic or literary historian’s own bral,’’asopposedto‘‘popular’’suchastheromance particular agendas, whether or not he or she is novelorthesuspensethriller.Onerecentexample awareofsuchagendas.Thatsaid,therestillneeds ofboththemeritsandpitfallsofassociatingone’s tobesomekindoforganizingprincipleforstudy- workwiththetermisnovelistJonathanFranzen’s ing texts, or else there would be no basis for now well-known spat with talk show host Oprah x i