Table Of ContentLITERARY
MOVEMENTS
for Students
LITERARY
MOVEMENTS
for Students
Presenting Analysis, Context, and Criticism on
Literary Movements
SECOND EDITION
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LiteraryMovementsforStudents,Second
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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
