Literary modernism

Literary modernism, or modernist literature, originated in the late 19th and early 20th centuries and is characterized by a self-conscious break with traditional ways of writing in both poetry and prose fiction writing. Modernism experimented with literary form and expression, as exemplified by Ezra Pound's maxim to "Make it new." This literary movement was driven by a conscious desire to overturn traditional modes of representation and express the new sensibilities of the time. The horrors of the First World War saw the prevailing assumptions about society reassessed, and much modernist writing engages with the technological advances and societal changes of modernity moving into the 20th century. In Modernist Literature, Mary Ann Gillies notes that these literary themes share the "centrality of a conscious break with the past", one that "emerges as a complex response across continents and disciplines to a changing world". In the 1880s, increased attention was given to the idea that it was necessary to push aside previous norms entirely, instead of merely revising past knowledge in light of contemporary techniques. The theories of Sigmund Freud (1856–1939), and Ernst Mach (1838–1916) influenced early Modernist literature. Ernst Mach argued that the mind had a fundamental structure, and that subjective experience was based on the interplay of parts of the mind in The Science of Mechanics (1883). Freud's first major work was Studies on Hysteria (with Josef Breuer) (1895). According to Freud, all subjective reality was based on the play of basic drives and instincts, through which the outside world was perceived. As a philosopher of science, Ernst Mach was a major influence on logical positivism, and through his criticism of Isaac Newton, a forerunner of Albert Einstein's theory of relativity. Many prior theories about epistemology argued that external and absolute reality could impress itself, as it were, on an individualfor example, John Locke's (1632–1704) empiricism, which saw the mind beginning as a tabula rasa, a blank slate (An Essay Concerning Human Understanding, 1690).

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