文学第八周.pptVIP

Women’s Changing Roles Two flappers dancing the Charleston on the roof of Chicago’s Sherman Hotel (1926). 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 Modernism: Techniques “making it new” — radical use of a kind of formlessness Collapsed plots Fragmentary techniques Shifts in perspective, voice, and tone Stream-of-consciousness point of view Associative techniques Collapsed Plots begin arbitrarily → advance without explanation → end without resolution vivid segments juxtaposed without cushioning or integrating transitions. suggest rather than assert: symbols images instead of statements. reader must participate: coherent structure → search for meaning, even if not successful, becomes meaningful in itself Rhetoric: understated, ironic Fragmentary Techniques Omits: explanations, interpretations, connections, summaries, and distancing → no continuity, definite perspective Abandons: order, sequence, and unity → actual reflections of reality Collage: long work → assemblage of fragments; short work → carefully realized fragment Reflect: the reality of the flux fragmentation of life Fragments: diverse areas of experience, private or public, ancient or contemporary Shifts in Perspective, Voice, and Tone Language: the colloquial, slangy, dialect, and the popular Key words: directness, compression, and vividness First person perspective: limited point of view → “truth:” the product of a personal interaction with reality Narrator: a na?ve or marginal person—a child or an outsider—to convey better the reality of confusion rather than the myth of certainty Associative Techniques a collection of seemingly random impressions literary, historical, philosophical, or religious allusions readers expected to make the connections on their own to present details of the past: a way of remind