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Modernism is the first truly global literary movement in history and thus difficult to encapsulate in ideological or stylistic terms. Throughout the world, foundations of thought and aesthetics were undermined in the late nineteenth century. As a result, in places as far flung as France, Germany, and Great Britain on the one hand, and Japan, China, and Taiwan in East Asia on the other, as well as in Eastern Europe, Latin America, South Asia, and the Middle East, emerging writers everywhere were overturning received forms, contesting received notions of epistemology and morality, and creating poetry anew. In continental Europe, Nietzsche and Kierkegaard leveled devastating critiques upon state religion, metaphysics, and moral philosophy. The implications of this radical philosophical and religious break from established thinking reverberated through literary circles. In Japan, Masaoka Shiki and Yosano Akiko revamped haiku and tanka . In England and the United States, poets rewrote the rulebook for what constituted imagery and prosodic structures. In Chinese, traditional structures such as “regulated verse” shi poetry and ci lyrics were largely shunted aside in favor of free verse. These changes came in response to rapid industrialization and urbanization, innovations that made communication around the globe much quicker and easier, and sentiments of alienation and exile throughout the world.
Modernism is the first truly global literary movement in history and thus difficult to encapsulate in ideological or stylistic terms. Throughout the world, foundations of thought and aesthetics were undermined in the late nineteenth century. As a result, in places as far flung as France, Germany, and Great Britain on the one hand, and Japan, China, and Taiwan in East Asia on the other, as well as in Eastern Europe, Latin America, South Asia, and the Middle East, emerging writers everywhere were overturning received forms, contesting received notions of epistemology and morality, and creating poetry anew. In continental Europe, Nietzsche and Kierkegaard leveled devastating critiques upon state religion, metaphysics, and moral philosophy. The implications of this radical philosophical and religious break from established thinking reverberated through literary circles. In Japan, Masaoka Shiki and Yosano Akiko revamped haiku and tanka . In England and the United States, poets rewrote the rulebook for what constituted imagery and prosodic structures. In Chinese, traditional structures such as “regulated verse” shi poetry and ci lyrics were largely shunted aside in favor of free verse. These changes came in response to rapid industrialization and urbanization, innovations that made communication around the globe much quicker and easier, and sentiments of alienation and exile throughout the world.
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