Discuss literary movements

These are the literary movements which I could find...would like it if other members could add some more or discuss these movements, how they came into being, the creators, the authors who were influenzed by them etc...

http://en.wikipedia.org/wiki/Literary_movement

List of literary movements


This is a list of modern literary movements: that is, movements after the Renaissance. These terms, helpful for curricula or anthologies, evolved over time to group writers who are often loosely related. Some of these movements (such as Dada and Beat) were defined by the members themselves, while other terms (the metaphysical poets, for example) emerged decades or centuries after the periods in question. Ordering is approximate, as there is considerable overlap.

These are movements either drawn from or influential for literature in the English language.

Amatory fiction

Romantic fiction written in the 17th century and 18th century, primarily written by and for women.
Notable authors: Eliza Haywood, Aphra Behn

Cavalier Poets

17th century English royalist poets, writing primarily about courtly love, called Sons of Ben (after Ben Jonson).
Notable authors: Richard Lovelace, William Davenant

Metaphysical poets

17th century English movement using extended conceit, often (though not always) about religion.
Notable authors: John Donne, George Herbert

The Augustans

An 18th century literary movement based chiefly on classical ideals, satire and skepticism.
Notable authors: Alexander Pope, Jonathan Swift

Romanticism

18th to 19th century movement emphasizing emotion and imagination, rather than logic and scientific thought. Response to the Enlightenment.
Notable authors: Victor Hugo, Lord Byron

Gothic novel

Fiction in which Romantic ideals are combined with an interest in the supernatural and in violence.
Notable authors: Mary Shelley, Bram Stoker

Lake Poets

A group of Romantic poets from the English Lake District who wrote about nature and the sublime.
Notable authors: William Wordsworth, Samuel Taylor Coleridge

American Romanticism

Distinct from European Romanticism, the American form emerged somewhat later, was based more in fiction than in poetry, and incorporated a (sometimes almost suffocating) awareness of history, particularly the darkest aspects of American history.
Notable authors: Washington Irving, Nathaniel Hawthorne

Pre-Raphaelitism

19th century, primarily English movement based ostensibly on undoing innovations by the painter Raphael. Many were both painters and poets.
Notable authors: Dante Gabriel Rossetti, Christina Rossetti

Transcendentalism

19th century American movement: poetry and philosophy concerned with self-reliance, independence from modern technology.
Notable authors: Ralph Waldo Emerson, Henry David Thoreau


Dark romanticism

19th century American movement in reaction to Transcendentalism. Finds man inherently sinful and self-destructive and nature a dark, mysterious force.
Notable authors: Edgar Allan Poe, Nathaniel Hawthorne, Herman Melville

Realism

Late-19th century movement based on a simplification of style and image and an interest in poverty and everyday concerns.
Notable authors: Honoré de Balzac, Leo Tolstoy, Frank Norris


Naturalism

Also late 19th century. Proponents of this movement believe heredity and environment control people.
Notable authors: Émile Zola, Stephen Crane


Symbolism

Principally French movement of the fin de siècle based on the structure of thought rather than poetic form or image; influential for English language poets from Edgar Allan Poe to James Merrill.
Notable authors: Stéphane Mallarmé, Paul Valéry

Stream of consciousness

Early-20th century fiction consisting of literary representations of quotidian thought, without authorial presence.
Notable authors: Virginia Woolf, James Joyce

Modernism

Variegated movement of the early 20th century, encompassing primitivism, formal innovation, or reaction to science and technology.
Notable authors: T.S. Eliot, H.D.


The Lost Generation

It was traditionally attributed to Gertrude Stein and was then popularized by Ernest Hemingway in the epigraph to his novel The Sun Also Rises,. and his memoir A Moveable Feast. It refers to a group of American literary notables who lived in Paris and other parts of Europe from the time period which saw the end of World War I to the beginning of the Great Depression.
Notable Authors: F. Scott Fitzgerald, Ernest Hemingway, Ezra Pound, Waldo Pierce
Dada

Touted by its proponents as anti-art, dada focused on going against artistic norms and conventions.
Notable authors: Guillaume Apollinaire, Kurt Schwitters

First World War Poets

Poets who documented both the idealism and the horrors of the war and the period in which it took place.
Notable authors: Siegfried Sassoon, Rupert Brooke

Imagism

Poetry based on description rather than theme, and on the motto, "the natural object is always the adequate symbol."
Notable authors: Ezra Pound, Richard Aldington

Harlem Renaissance

African American poets, novelists, and thinkers, often employing elements of blues and folklore, based in the Harlem neighborhood of New York City in the 1920s.
Notable authors: Langston Hughes, Zora Neale Hurston

Surrealism

Originally a French movement, influenced by Surrealist painting, that uses surprising images and transitions to play off of formal expectations and depict the unconscious rather than conscious mind.
Notable authors: Jean Cocteau, Dylan Thomas

Southern Agrarians

A group of Southern American poets, based originally at Vanderbilt University, who expressly repudiated many modernist developments in favor of metrical verse and narrative. Some Southern Agrarians were also associated with the New Criticism.
Notable authors: John Crowe Ransom, Robert Penn Warren
Oulipo

Mid-20th century poetry and prose based on seemingly arbitrary rules for the sake of added challenge.
Notable authors: Raymond Queneau, Walter Abish

Postmodernism

Postwar movement skeptical of absolutes and embracing diversity, irony, and word play.
Notable authors: Jorge Luis Borges, Thomas Pynchon

Black Mountain Poets

A self-identified group of poets, originally based at Black Mountain College, who eschewed patterned form in favor of the rhythms and inflections of the human voice.
Notable authors: Charles Olson, Denise Levertov

Beat poets

American movement of the 1950s and '60s concerned with counterculture and youthful alienation.
Notable authors: Jack Kerouac, Allen Ginsberg, William S. Burroughs, Ken Kesey

Confessional poetry

Poetry that, often brutally, exposes the self as part of an aesthetic of the beauty and power of human frailty.
Notable authors: Robert Lowell, Sylvia Plath

New York School

Urban, gay or gay-friendly, leftist poets, writers, and painters of the 1960s.
Notable authors: Frank O'Hara, John Ashbery

Magical Realism

Literary movement in which magical elements appear in otherwise realistic circumstances. Most often associated with the Latin American literary boom of the 20th century.
Notable authors: Gabriel García Márquez, Octavio Paz, Günter Grass

Postcolonialism

A diverse, loosely connected movement of writers from former colonies of European countries, whose work is frequently politically charged.
Notable authors: Jamaica Kincaid, V.S. Naipaul

Hey, that's a nice list wordsworth. Thanks for putting that together.

Yes, thank you for that. It reminded me that there are a lot of authors and areas of literature that I need to explore...

Southern Gothic

Tennessee Williams described Southern Gothic as a style that captured "an intuition, of an underlying dreadfulness in modern experience."

A subgenre of the Gothic writing style, unique to American literature. Like its parent genre, it relies on supernatural, ironic, or unusual events to guide the plot. Unlike its predecessor, it uses these tools not for the sake of suspense, but to explore social issues and reveal the cultural character of the American South.

The Southern Gothic author usually avoids perpetuating Antebellum stereotypes like the contented slave, the demure Southern belle, the chivalrous gentleman, or the righteous Christian preacher. Instead, the writer takes classic Gothic archetypes, such as the damsel in distress or the heroic knight, and portrays them in a more modern and realistic manner — transforming them into, for example, a spiteful and reclusive spinster, or a white-suited, fan-brandishing lawyer with ulterior motives.

One of the most notable features of the Southern Gothic is "The Grotesque" — this includes situations, places, or stock characters that often possess some cringe-inducing qualities, typically racial bigotry and egotistical self-righteousness — but enough good traits that readers find themselves interested nevertheless. While often disturbing, Southern Gothic authors commonly use deeply flawed, grotesque characters for greater narrative range and more opportunities to highlight unpleasant aspects of Southern culture, without being too literal or appearing to be overly moralistic.

This genre of writing is seen in the work of such famous Southern writers as William Faulkner,Herper Lee

The Absurdist

A genre of fiction, drama or poetry that centers on the behavior of absurd characters, situations or subjects. While a great deal of absurdist fiction is humorous in nature, the hallmark of the genre is not humor, but rather the study of human behavior under circumstances that are highly unusual. Absurdist fiction posits little judgement about characters or their actions; that task is left to the reader.

Unlike many other forms of literature, absurdist works will not necessarily have a traditional plot structure (ie rising action, climax, falling action). Similarly, the "moral" of the story is generally not explicit, and the characters are often ambiguous in nature.

Due to its non-conformist nature, many readers struggle with Absurdism when they are first exposed to it. Indeed, it would be accurate to describe absurdism and absurdist fiction as an "acquired taste." Conversely, this genre is a favorite among scholars because it lends itself so well to interpretation, discussion, and debate.

Absurdism grew out of the modernist literature of the late 19th and early 20th century as a direct opposition to the Victorian literature which was prominent just prior to this period.

Notable Authors: Albert Camus, Samuel Beckett

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Originally Posted by NickAdams

Southern Gothic

A subgenre of the Gothic writing style, unique to American literature. Like its parent genre, it relies on supernatural, ironic, or unusual events to guide the plot. Unlike its predecessor, it uses these tools not for the sake of suspense, but to explore social issues and reveal the cultural character of the American South.

The Southern Gothic author usually avoids perpetuating Antebellum stereotypes like the contented slave, the demure Southern belle, the chivalrous gentleman, or the righteous Christian preacher. Instead, the writer takes classic Gothic archetypes, such as the damsel in distress or the heroic knight, and portrays them in a more modern and realistic manner — transforming them into, for example, a spiteful and reclusive spinster, or a white-suited, fan-brandishing lawyer with ulterior motives.

One of the most notable features of the Southern Gothic is "The Grotesque" — this includes situations, places, or stock characters that often possess some cringe-inducing qualities, typically racial bigotry and egotistical self-righteousness — but enough good traits that readers find themselves interested nevertheless. While often disturbing, Southern Gothic authors commonly use deeply flawed, grotesque characters for greater narrative range and more opportunities to highlight unpleasant aspects of Southern culture, without being too literal or appearing to be overly moralistic.

This genre of writing is seen in the work of such famous Southern writers as William Faulkner, Erskine Caldwell, Flannery O'Connor, Carson McCullers, Eudora Welty, Tennessee Williams, Truman Capote, Harper Lee, Harry Crews, Lee Smith, Cormac McCarthy, Barry Hannah, Lewis Nordan, and William Gay among others.

Tennessee Williams described Southern Gothic as a style that captured "an intuition, of an underlying dreadfulness in modern experience."

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Interesting you put Cormac McCarthy in with southern gothic. Do you know if he considers himself that way. He's certainly southern, but is he gothic? I've read a couple of his novels and find them excellent. He may be our best American living writer. I would love to learn more about him.

That's a very interesting topic. I'm actually studying certain literary works that apply to some of the names on the list. The Cavalier poets, my least favorite. The Metaphysical poets..And realism. Thank you for putting them together..I think I have to read more about some of them though :D

Virgil,

Some movements share qualities, so I might have been generalizing too much. I'll edit it, until I'm certain.

Perhaps this thread was buried and too difficult for anyone to find. I've raised it back to the surface, just incase someone has something they would like to add.

Romanticism is my favorite to read, regardless of the situation. I can always sit down with Hardy or Melville or Dickens and enjoy myself in a relaxing manner.

Mere constructs - the only real "movements" are either groups of people who share work with each other, such as Coleridge and Wordsworth, or chronological ones.

It is notable that, for instance, Keats criticized Wordsworth, and really they are completely different poets in so many respects, yet chronologically they are placed together. I would also think Byron would have placed better with 18th century poets, rather than the romantics, but that is a very lose proposition.


In truth, all these little movements are rather artificial. They overlap to such a degree that using them isn't even plausible.

For instance, Salman Rushdie is a "post-colonial" author, yet also a Magic realist one. Chuine Achebe is also a post-colonialist, yet shares very little with Rushdie, beyond that.

I think, with post-modernism basically blurring distinctions of genre to such a high degree, such movements really don't work. Take, for instance, Autobiography of Red - how can you place that? Prose or verse? Realism, magical realism, allegory, classicist, what? It can't really be placed.

Really, when you think of it, most of these are rather silly. Donne, Herbert, and Marvell couldn't be more different poets, with the exception that they both rely on long-winded conceits, and dense wordplay. Other than that though, they are so different, that grouping them together is rather silly. Donne Shares more with Hopkins than with Marvell anyway, yet time makes a "movement" between them impossible.

Really though, when it comes down to it, were merely chronologically categorize, and call that "movement" a time focus, based on language conventions. With that notion, Wyatt and Milton technically are grouped together as renaissance poets, yet couldn't be farther apart, chronologically and in terms of poetics. All these "schools" are rather just geographical outputs, usually associated around a regional periodical that likes to get more attention by calling itself a movement.

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Originally Posted by Dr. Hill

Romanticism is my favorite to read, regardless of the situation. I can always sit down with Hardy or Melville or Dickens and enjoy myself in a relaxing manner.

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Technically, neither Dickens nor Hardy are romantics, especially not Hardy. Dickens seems more of a realist, whereas Hardy is described as a "naturalist", and I would say later, during his poetic career after Jude the Obscure, a modernist, though that may be a stretch for some people. Certainly though, those guys weren't romantics.

"stream of consciousness" is not a literary movement; it is a narrative technique and james joyce and virginia woolf are associated with modernism.
also, post-colonialism is not a literary movement. post-colonialism is associated with postmodernism. but on the other hand, postmodernism can hardly be named "literary movement". PoMo does not have a "manifesto", a literary program, like surrealism or romanticism, for example. PoMo just happened in different parts of the world. "magic realism" is also associated with PoMo. after 1960-1970's we cannot talk anymore about literary movements like those belonging to the XIX century, like: naturalism, realism, transcendentalism, symbolism and others.

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Originally Posted by JBI

Technically, neither Dickens nor Hardy are romantics, especially not Hardy. Dickens seems more of a realist, whereas Hardy is described as a "naturalist", and I would say later, during his poetic career after Jude the Obscure, a modernist, though that may be a stretch for some people. Certainly though, those guys weren't romantics.

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You can speak about Victorian novelists. Dickens is an early Victorian, and Hardy a late one. :D Both "realism" and "naturalism" are debatable concepts, by the way: Zola and Huysmans have both been considered as naturalists, yet they are very different; and calling Dickens a realist is ignoring lots of aspects of his work.

But I think we need such concepts. First, they're fun to work with and to bicker over! :p Then, we do need a teeny bit of rigour in literary studies, and that means some kind of classification, even if everyone is going to argue about it. Of course some authors or books are going to be difficult to pigeonhole, but maybe that also points to their status as great works?

Edit: thought of another "school": Vorticism! Founded by Wyndham Lewis, it seems to be part of the larger movement of Modernism, and to be related to/influenced by Futurism (another interesting movement that hasn't been evoked!! For Futurism, see Marinetti and his love of machines, speed and violence - a proto-Fascist, in a way).

Why is Frank Norris classed as a realist when it is a known fact that he came to writing via Emil Zola`s work? I have just finished reading `The Pit: a story of Chicago` by Norris and as with `McTeague` and `The Octopus`, the influence of Zola is striking and clearly places Norris among the naturalists.

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Originally Posted by wordsworth

Beat poets

American movement of the 1950s and '60s concerned with counterculture and youthful alienation.
Notable authors: Jack Kerouac, Allen Ginsberg, William S. Burroughs, Ken Kesey

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Ken Kesey was not a member of the Beat Generation. He was, however, friends with Neal Cassady (who was a Beat) and met Ginsberg and Kerouac in the 60s. Kesey was a Merry Prankster, and not affiliated with the Beats more than by friendship.

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Originally Posted by wordsworth

[I]

Realism

Late-19th century movement based on a simplification of style and image and an interest in poverty and everyday concerns.
Notable authors: Honoré de Balzac, Leo Tolstoy, Frank Norris

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Dostoevsky surely must be added to notables; if not the best author of realism.

Really though, Realism isn't a movement in the sense that it never really died out, and can't really be limited to a few authors. Realism, or its conventions anyway, are the basis of all Quebec fiction up until the last 30 or so years. Realism generally was the mode in English Canada up until 1960 or so, and it was believed until recently that modernist novels simply weren't written in Canada (which but a couple of years ago was found false, with the unearthing of some unpublished manuscripts in various archives around the country).


As for the necessity of these groups for literary studies, I disagree with that. Only a few groups are really mentioned, and those are chronological more than stylistic. Wordsworth and Keats are grouped together despite their differences, because they are reacting to similar political events, and worlds. That is interesting grouping, but grouping by "movement" for much else is rather pointless, and often closes people off.

Metafiction: Post-modernist school of writing in which the writing is self-conscious and self-referential. The text draws attention to the fact that it is merely a piece of writing and addresses the relationship between fiction and reality.It is characterized by alinear narratives, unorthodox structure, and relies heavily on the anticipation of readers' reactions to the writing.
Some metafictionalists include John Barth, Italo Calvino, Robert Coover, and David Foster Wallace.

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Originally Posted by toology514

Metafiction: Post-modernist school of writing in which the writing is self-conscious and self-referential. The text draws attention to the fact that it is merely a piece of writing and addresses the relationship between fiction and reality.It is characterized by alinear narratives, unorthodox structure, and relies heavily on the anticipation of readers' reactions to the writing.
Some metafictionalists include John Barth, Italo Calvino, Robert Coover, and David Foster Wallace.

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True to an extent, but what about, for instance, Don Quixote, Gargantua and Pantagruel, and Tristam Shandy, which all, to an extent, are metafictions. I am reluctant to, also, recognize that as a movement, since it is more a technique than anything else.

The historiographic metafiction is most certainly a post-modern concept, but I would call the "movement" if such a thing exists, post-modernism, and not metaficiton.

Isn't there a distinction between those like Thomas Pynchon and Donald Barthelme who were pure postmodernists both formally and in subject matter, versus someone like David Foster Wallace who used postmodern formal elements but whose subjects were more traditional rather than focusing on entropy and wordplay and cynicism as an end to itself?

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Originally Posted by NickAdams

The Absurdist

A genre of fiction, drama or poetry that centers on the behavior of absurd characters, situations or subjects. While a great deal of absurdist fiction is humorous in nature, the hallmark of the genre is not humor, but rather the study of human behavior under circumstances that are highly unusual. Absurdist fiction posits little judgement about characters or their actions; that task is left to the reader.

Unlike many other forms of literature, absurdist works will not necessarily have a traditional plot structure (ie rising action, climax, falling action). Similarly, the "moral" of the story is generally not explicit, and the characters are often ambiguous in nature.

Due to its non-conformist nature, many readers struggle with Absurdism when they are first exposed to it. Indeed, it would be accurate to describe absurdism and absurdist fiction as an "acquired taste." Conversely, this genre is a favorite among scholars because it lends itself so well to interpretation, discussion, and debate.

Absurdism grew out of the modernist literature of the late 19th and early 20th century as a direct opposition to the Victorian literature which was prominent just prior to this period.

Notable Authors: Albert Camus, Samuel Beckett

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Maybe add Alfred Jarry's Ubu Roi play up?

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Originally Posted by JBI

True to an extent, but what about, for instance, Don Quixote, Gargantua and Pantagruel, and Tristam Shandy, which all, to an extent, are metafictions. I am reluctant to, also, recognize that as a movement, since it is more a technique than anything else.

The historiographic metafiction is most certainly a post-modern concept, but I would call the "movement" if such a thing exists, post-modernism, and not metaficiton.

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the key phrase being "to an extent." Cervantes, Rabelais, and Stern all employed metafictional techniques, but i would not consider their works metafiction per se. I believe it was most certainly a movement-- a countermovement, a rebellion against romanticism and realism in a traditional sense.

I meant by to an extent to specify the fact that their cultures read the books differently, not that they don't employ the same devices. As it is, Don Quixote is far more metaficticious than most contemporary metafictions. The difference is in the original readership, who read less, and, I would argue, were more easily detached from their realities.

In truth though, most historical novels, or old novels, to an extent contain reader-metaficticious elements, being that the reader removes herself from their setting, and into the authors, knowingly. The act blurs things in the sense that the subject is so foreign as to require a willful and acknowledged movement from reality.

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Originally Posted by JBI

In truth though, most historical novels, or old novels, to an extent contain reader-metaficticious elements, being that the reader removes herself from their setting, and into the authors, knowingly.

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This i must disagree with. one of the major tenets of metafiction is the rejection of causing the reader suspension of disbelief. Readers are not meant to remove themselves from their own settings and place themselves into that which the author is creating, even knowingly. I find this to be a distinguishing factor between say Don Quijote and modern metafiction, for example, Calvino's writing-- the subject matter is not foreign in the slightest, it is simply the re-exploration of <u> our</u> reality. There are reminders built into the text that will dissuade us as readers from suspending our disbelief, but instead toy with the idea of an alternate, often impossible take on what we consider to be real.

Hi, I'm doing some research on recent (as in last two decades) influential works in the field of satirizing science and technology in society and the moral issues provoked by such works. Can anyone name some of the major works that would fall into such a category? Margaret Atwood's 'Oryx and Crake' is already on my list but I'm having trouble finding a comprehensive list of the major works in this field. Thought this might help the list you all are contributing to as well.

Cheers

but reading it is about as far As I want to go with it. Sometimes I consider myself luchy that I have never taken a course in literature. I can just read all the books without categorizing them or their authors. The important thing is to read literatue, and not get too involved in reading about literature. What is that old saying about Pedagogues? Those who can, do. Those who can't, teach.

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Originally Posted by toology514

This i must disagree with. one of the major tenets of metafiction is the rejection of causing the reader suspension of disbelief. Readers are not meant to remove themselves from their own settings and place themselves into that which the author is creating, even knowingly. I find this to be a distinguishing factor between say Don Quijote and modern metafiction, for example, Calvino's writing-- the subject matter is not foreign in the slightest, it is simply the re-exploration of <u> our</u> reality. There are reminders built into the text that will dissuade us as readers from suspending our disbelief, but instead toy with the idea of an alternate, often impossible take on what we consider to be real.

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I disagree - the metaficticious narrator really just creates a new diagesis outside of the content of the book, and the reader's reality. Me reading Pynchon is not me, from Pynchon's narrator's perspective reading the book - it is me removing myself to the narrator's perspective, and overseeing the content of the book - there is still a removal. The book isn't engaged with one removal, but really two.

wow, its great to see all the literary movements listed here. Thanks wordsworth for doing us the favor. I am studying a few of them nowadays including existentialism, though have a few reservations to it but would like to discuss it with you guys!!

I agree with JBI-modern metafiction indeed leads to a willing suspention of disbelief. But I find it quite strange that the very notion of self-consciousness has been inconsistent in most of the postmodern literary theories.
If metafiction is something between fiction and criticism then there comes a point of convergence between the two where both fiction and criticism embrace each others' insights, generating a kind of self consciousness at both ends. Criticism affirms the literariness of fiction and creates critical insights within fiction, while fiction incorporates in itself a critical perspective along with a self awareness and consciousness of the artificiality of its content and constructions. Thereby if metafiction is about self knowledge and self-distance does it not at any instance become essential for metafiction to be conscious of its being METAFICTION?

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Originally Posted by JBI

Wordsworth and Keats are grouped together despite their differences, because they are reacting to similar political events, and worlds. That is interesting grouping, but grouping by "movement" for much else is rather pointless, and often closes people off.

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What do you think of the recent trend to use the phrase "The Romantic Period" more as a historical marker, for that window between the Enlightenment and revolution, and the early Victorian age of empire and industry, while "Romanticism" stands in for the 'spirit of the age' - valorisation of genius, endeavour, progress, experiment and critical debate often shared by writers that were at odds ideologically and politically- that is more of a cultural movement than a specifically literary one; ie. Romanticism in science?

I think we have to redefine "Romantic", bearing in mind it is an anachronistic term and our understanding of the canon is skewed by Victorian prejudices. Even a couple of years ago as an undergrad I was only taught the six male poets, whereas now we are rediscovering women writers, journalists and playwrights, etc, and so our understanding of "Romantic" writers surely has to change?

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Originally Posted by apothecary

I think we have to redefine "Romantic", bearing in mind it is an anachronistic term and our understanding of the canon is skewed by Victorian prejudices. Even a couple of years ago as an undergrad I was only taught the six male poets, whereas now we are rediscovering women writers, journalists and playwrights, etc, and so our understanding of "Romantic" writers surely has to change?

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I couldn't agree more. {saying in jest} But doesn't it mean gushy and mushy, lovey and dovey? (<---hyperbole)

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Originally Posted by bazarov

Dostoevsky surely must be added to notables; if not the best author of realism.

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Alright I don't mean to offend, but to a degree can't Dostoevsky be considered as the first modernist? His works incorporate a lot of Modernist stylistic variations for example his quasi-omniscent third person narration in Crime and Punishment. Also when you analyze other realist authors you notice a difference in their styles comparatively to Dostoevsky. Look I understand that I might get a lot of opposition for this statement but to all you adamant skeptics read "Dream of a Ridiculous Man" and you'll see what I'm talking about.

By the way very well done list.

How could you omit Blake from the metaphysical poets?

I wouldn't call 'To Kill A Mockingbird' particularly Southern Gothic. Yeah, you've got Boo but...I'd say Tennessee Williams and Carson McCullers are the best examples.Orpheus Descending and The Ballad of The Sad Cafe are definitely Southern Gothic. It sort of imbues your Southern stereotypes with a romantic quality.

What about French gothic, stuff like The Hunchback of Notre Dame?

Naturalism- a literary movement taking place from 1880's to 1940's that used detailed realism to suggest that social conditions, heredity, and environment had inescapable force in shaping human character. Stuff like Zola.

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Originally Posted by kelby_lake

Naturalism- a literary movement taking place from 1880's to 1940's that used detailed realism to suggest that social conditions, heredity, and environment had inescapable force in shaping human character. Stuff like Zola.

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This is on the list.

Blake was one of the Romantics.

Great list! Why not put the movements in alphabetic order at the top of the page? That would make them easier to find if, say, you are just looking to see if your favourite movement is included. You could then click on the entry to move down into your current date-ordered list. Some other movements:

aesthetes (Wilde, Pater, Bloom...)
Angry Young Men (Kingsley Amis...)
Bloomsbury group (Woolf, Keynes,...)
Irish revival (Yeats, ...)
existentialists (Sartre, Camus,...)
Tolstoyans (More a literary dead end, but certainly 'a movement'...)

JBI-- good point so the overlap. Woolf is Bloomsbury and modernist (Joyce is certainly not Bloomsbury!)

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Originally Posted by wessexgirl

This is on the list.

Blake was one of the Romantics.

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Ah. I'm sure he wrote metaphysical stuff though...

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Originally Posted by mal4mac

Great list! Why not put the movements in alphabetic order at the top of the page? That would make them easier to find if, say, you are just looking to see if your favourite movement is included. You could then click on the entry to move down into your current date-ordered list. Some other movements:

aesthetes (Wilde, Pater, Bloom...)
Angry Young Men (Kingsley Amis...)
Bloomsbury group (Woolf, Keynes,...)
Irish revival (Yeats, ...)
existentialists (Sartre, Camus,...)
Tolstoyans (More a literary dead end, but certainly 'a movement'...)

JBI-- good point so the overlap. Woolf is Bloomsbury and modernist (Joyce is certainly not Bloomsbury!)

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Angry Young Men was more of a theatre movement, really.

hemingway's fiction is known by the notions of primitivism and violence do you have an idea about these two notions and how to deal with them in a new way
answer pls

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Originally Posted by karimera

hemingway's fiction is known by the notions of primitivism and violence do you have an idea about these two notions and how to deal with them in a new way
answer pls

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Primitivism is an arts movement. Violence is not.

Primitivism is basically art inspired by primitive cultures and tribes.

I think you have misunderstood. Hemingway's fiction, in terms of literary movements, falls under modernism or 'The Lost Generation'. Content-wise, he deals with masculinity, basically.