NOTES

Another notable poet is Gerard Manley Hopkins (H-O-P-K-I-N-S), who was celebrated for his
unique innovations in poetry. Hopkins was not just a poet; he was a remarkable one. You can
include more poets and expand your points, perhaps transitioning from a few key ideas to
develop more material. Hopkins’s contributions, particularly his original approaches to rhythm
and the coining of words, laid the groundwork for the formative period of self-taught artists,
which gained popularity in the modern age.
Aviation, for many co-pilots, was nearly an impossible experience. The most horrific reports
from this era were dominated by what I call the "Doctrines of Imagination." During this age of
war, before it reached a practical phase, our small but influential group of American and British
poets, known as the "Imagists," existed between 1912 and 1917. We were initially led by Ezra
Pound, who rejected much of 19th-century poetry for being overly ornate and unclear. Instead,
this era sought a new caliber of poetry characterized by exactness and brevity, influenced by the
Japanese haiku (H-A-I-K-U) and ancient Greek lyrics.
The Imagists focused on cultivating consciousness and direction in their work, crafting short
poems centered around vivid images. They preferred a minimalist use of language, which
allowed for a reduction in structural rules. This movement moved away from the dreamy and
pastoral themes typical of earlier poetry. Imagist poems were brief, often lacking adjectives and
adverbs, blurring the lines between poetry and natural language. This marked a significant
departure from the verbose, ornamental style that had previously dominated.
Moreover, the modernist era brought about a short-lived artistic movement known as Vorticism,
which emerged in London in 1914. Led by painter and writer Wyndham Lewis (W-I-N-D-H-A-
M L-E-W-I-S), Vorticism aimed to capture the dynamic energy of the machine age. Ezra Pound,
who began as a musician, viewed Vorticism as a progression from his earlier phase of Imagism.
This manifesto called for an end to sentimentality in art and literature, emphasizing a
concentrated energy that could be found in modern existence.
Futurism, too, criticized for romanticizing the machine, became a monolithic movement
characterized by a lack of critical engagement with its implications. The term "avant-garde"
refers to artists and writers committed to innovation and experimentation, often in revolt against
traditional forms and religious constraints. We conclude that artists serve as the engineers of
thought, emphasizing the importance of staying ahead of the curve through continuous
innovation in both form and subject.
In conclusion, a short list of avant-garde movements in European art and literature includes the
Futurist movement, launched in 1909 by Italian poet Filippo Tommaso Marinetti (F-I-L-I-P-P-O
T-O-M-M-A-S-O M-A-R-I-N-E-T-T-I). The first of many Futurist manifestos rejected previous
artistic traditions and grammatical conventions, aiming to express the dynamism and speed of the
Using history and biography as dramatic techniques, the Irish Oasis, or the Irish Granary, played
a significant role in the Celtic Revival. The term "Celtic" can be pronounced both ways, and both
pronunciations are correct. The Celtic Revival in Minnesota, influenced by figures such as J.M.
Synge, P.P. Murray, M.U. Ghatak, E.Y., and W.B. Yeats, represented a resistance in drama,
becoming an expression of the hopes and aspirations of the Irish people. This period also saw a
revival of the comedy of manners, which became a defining characteristic of this literature. Thus,
the answer is the comedy of manners, a genre enshrined in the G.H.L.F.
Impressionism also emerged as a key feature of modern drama, reflecting the artist's subjective
experiences and impressions of reality. These impressions may not be entirely objective, but they
capture the essence of past realities. As noted in Chris Baldick's Oxford Literary Terms,
impressionism in literature involves a focus on personal perceptions rather than objective
representations.
Another approach was to explore the expression of D-Capital through movements focused on
conveying feelings and emotions rather than merely depicting objects and frames. This
movement, which began in Germany, integrated English grammar with modern practices from
figures like J.B. Priestley, G.B. Shaw, and others. Their works contributed significantly to the
development of expressionism in modern drama.
The bottom line is that this material does not lend itself to easy reading; it requires a deeper
understanding of modern humanity and its relationships with religion, societal order, psychology,
and more. Modern trauma, tragedies, and illnesses must be understood dialectically, challenging
contemporary notions of equality.
20th-century British drama, often believed to have originated in Dublin with the foundation of
the Irish Literary Theatre by W.B. Yeats and J.M. Synge, aimed to provide a venue for works
reflecting the profound emotions of Ireland. In England, this theatrical movement emerged as
younger, socially conscious, and politically engaged. Playwrights such as G.B. Shaw, H.
Brandon Barker, Thomas S. Monk, and John Gunther Lee created characters that sparked new
stereotypes and scandals.
By the 1840s, 20th-century drama had become political, sensational, and rebellious, mirroring
the unrest among workers. Some plays delved into philosophical inquiries about human
existence, while others addressed revolutionary themes, including colonization and evolving
political ideologies such as socialism and the rising prominence of women in society.
The evolution of humans is increasingly affected by space in a mechanical world. The impetus
for space exploration arose from the war, leading to the emergence of new writers with diverse
perspectives. Many explored the nature of reality, with some adopting radical political stances
while others rejected nationalism. This raises questions about the legitimacy of previously
unthinkable dreams.
By the century's end, the term "space" was frequently used to conceptualize paths for
constructing and accessing new dimensions. Significant playwrights of this era included Samuel
Beckett, Harold Pinter, and Tom Stoppard, who contributed to a renewed focus on realism in
drama. Historic theatre began to flourish after 1945.
It's important to note that the term "verb-adverb" derives from the existential philosophy of
Albert Camus and aligns with modern interpretations of human purpose in a universe perceived
as lacking inherent meaning or value. Many 20th-century prose writers highlighted the absurdity
of human existence, with Franz Kafka exemplifying this through his portrayal of characters in
incomprehensible situations. The critic Martin S. N. coined the phrase "Kafkaesque" in 1961 to
describe works from the 1950s, particularly those by Samuel Beckett and Eugene Ionesco.
Kafka's writing is marked by a logical structure in character and dialogue, combined with
realistic illusions.
The concept of external data, or "waiting for growth," is fundamental to research. This phrase,
originating from the play Waiting for Godot, emphasizes the conventions of clarity and power in
representing the paralysis of human action. For further exploration of this concept, please let me
know.