For my DH final project I propose to analyze the subgenres of modernism. I plan to research their individual characteristics and how they relate to the broader themes of the modernist movement. The categories that I plan to use are: symbolism, imagism, regionalism, war poetry, and the Harlem Renaissance. I plan to focus on the first generation of modernist poets, according to Ramazani, and how they have evolved from one another. The connections would be based on their cultural and environmental influences. I would also explore their reasons for creating a new movement using these influences. I hope to show the interplay between the subgenres and how they are all similar to the overall themes of modernism.
I plan on extensively researching each subgenre’s individual characteristics and their backgrounds. I also plan on researching authors to use as examples in each category that I decide to explore. I believe that a Prezi would be the best online tool to use. It will allow me to show connections and zoom in on important features to create a visually interesting presentation.
Bibliography
Perkins, David. A History of Modern Poetry. Cambridge: Harvard UP, 1987. Print.
Ramazani, Jahan, Richard Ellmann, and Robert O’Clair. The Norton Anthology of Modern and Contemporary Poetry. New York: W.W. Norton, 2003. Print.
Hughes, Glenn. Imagism & the Imagists; a Study in Modern Poetry. New York: Humanities, 1960. Print.
“Poetic Modes: Symbolism, Imagism, Modernism.” Poetic Modes: Symbolism, Imagism, Modernism. Grand Vally State University, n.d. Web. 20 Mar. 2014.
Baker, Jr. Houston A. “Modernism and the Harlem Renaissance.” American Quarterly 39.1, Special Issue: Modernist Culture in America (1987): 84-97. JSTOR. Web. 21 Mar. 2014.
“A Brief Guide to the Symbolists.” Poets.org. Academy of American Poets, n.d. Web. 21 Mar. 2014.
You might consider partnering with Sarah, whose project on “thirteen ways of looking at modernist poetry” attempt a similar overview sensitive to the many varieties of modernism.
One thing to be careful about would be the mixture of retrospective critical terms (“High Modernism” for example) and actual movements (Imagism). It might be best to stick with actual movements–they might be easier to distinguish from one another. Also, many of these modernisms are international, so I’m not sure what you meant by another country’s take on modernism.
The source you seek to create here–as with Sarah’s–would be largely pedagogical. That is, you would be synthesizing, for a non-expert audience and in a compelling and concise way, multiple strands of modernism, showing how they are distinct and how they overlap. That seems like a rather large undertaking for a single person, though, so I would recommend pairing up if possible.
Thanks for the revision here. I would reconsider the inclusion of “war poetry,” though. You might also put a finer point on “Harlem Renaissance” poetry. Whereas imagism and symbolism have clearer aesthetic criteria, “war poetry” is just any poetry written in a time of war with some awareness of that war. And the Harlem Renaissance also names an extremely diverse set of approaches to poetry. Perhaps “blues” or “jazz” poetry would offer a clearer focus.
You might also clarify what you mean by “sub-genre” or “movement.” However you frame the things you hope to discuss, you’ll want to make sure the things you discuss are related, or of a kind. “Imagism,” “Objectivism,” and “Symbolism” all offer “movements” in a way. I suppose “war poetry” and “regionalism” are more like sub-genres, or more accurately retrospective critical frameworks for viewing a certain kind of poetry.
We can talk more about this during our conference this week.