By Francis Bulhof (auth.), Francis Bulhof (eds.)
FRANCIS BULHOF "What used to be Modernism?" that's the identify of an tackle introduced in June of 1960 by way of the eminent comparatist Harry Levin at Queen's college in King ston, Ontario.1 it seems that, greater than a decade in the past, within the eyes of this in line with ceptive analyst of literature and the humanities, the modernist circulate had turn into a specific thing of the prior. Having got complete citizenship within the republic of letters, modernism had outlived itself. The name of Harry Levin's lecture bears an seen resemblance to that of Fritz Martini's book-length essay used to be conflict Expressionismus?,2 which dealt solely with the German variation of the expressionist circulation. in relation to German expressionism there's a lot dispute in regards to the distinctive second of its decline and fall, however the political stipulations offer a minimum of a vital dividing line within the 12 months 1933. the tip of modernism, although, a much more finished stream which used to be not only restricted to 1 kingdom, isn't really easy to figure out. and there's additionally nonetheless a lot dialogue approximately its roots.
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Additional resources for Nijhoff, Van Ostaijen, “De Stijl”: Modernism in the Netherlands and Belgium in the First Quarter of the 20th Century. Six Essays
FLEMISH LITERATURE - EARLY 20TH CENTURY 25 gium, which was characterized at that time by a remarkable advancement to the level of European thought. Other historians affirm that the twentieth century, that is the modern period in literature, starts only with or after World War I. This view of course finds strong arguments in the fact that modernism by that time had spread throughout Europe: "la belle epoque" was over, we experienced the "roaring twenties" - the famous "Zwanziger Jahre" in Germany - and the explosion of Dada throughout the Western world.
In these reviews and articles he himself has outlined his position as a modernist. He has done it sharply and clearly, with a precise argumentation and with the lucidity and perspicuity of reasoning that will be familiar to those of you who know his prose-grotesques. His logic was rarely wasted upon idle appraisement, but was constantly to serve the expression and propagation of his own ideas. His criticism is creative rather than descriptive. The few poets he valued and praised as well as those who fell victim to his destructive criticism were but a provocation for him to come to terms with the principles of modernism that formed the basis of his own work.
M. Musschoot (Ghent), who helped me a great deal in the elaboration of this paper. 24 A. VAN ELSLANDER lands, could have been of greater importance for a renaissance of language and literature in the Flemish provinces, if it had not been followed by the foundation in 1830 of a new kingdom in which the official language was first exclusively, and later on predominantly, French. But at that time, shortly after 1830, a nationalist movement came into being. 1 It ought to be stressed, however, that French was still used in Flanders by the ruEng classes up to about forty years ago, a circumstance that explains the important contribution to French-speaking literature of Flemish authors such as the Nobel Prize winner Maurice Maeterlinck, who was born in Ghent in 1862.