Faculty of philology department of english philology viktorija mi

1.1. The Historical Overview of Modernist Movement 
 
Indeed, as can be seen from the above-mentioned theorists’ attitudes, the term Modernism 
covers a range of spheres, cultural movements, and aesthetic tendencies. Originally, the rise and 

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development of this phenomenon established their initial steps in a series of radical aesthetic and 
cultural changes in Western society in the late nineteenth and early twentieth centuries. (Morris et 
al. 2004:212). According to Baldic (1996), although the new modernist point of view did not reject 
all the formalist prejudice and norms, during this period traditional forms of art, architecture, 
literature, religious beliefs, social conventions, and daily life experienced a significant break and 
were changed by the new economic, social, and political beliefs of the modern world based on 
improving technology innovations. 
Onega and Landa (1996) define Modernism as a certain philosophy that is difficult to put 
between strict historic or temporal boundaries. The linguists speak of this period of changes in 
human philosophy, in the cultural, political, and social spheres of human life on the basis of its 
specific features. Indeed, Modernism is marked by a strong and intentional break with tradition that 
manifests through a strong reaction against established religious, political, and social views. Onega 
and Landa explain (1996:48) that modernists believe the world can be understood in the act of 
perceiving it; that is, the world of the notions, places, events, and experiences that people see, hear, 
feel, or describe verbally. Indeed, as the critics say, the absence of the absolute truth and the 
understanding of all the existing things as relative show that modernists feel no connection with 
history or social institutions. Their experience and constant state of mind is that of alienation, loss, 
and despair, and they basically see history as a constant deterioration leading the world to a total 
loss and degradation. However, Stevenson claims convincingly that modernists fight for the 
individual rights and possibilities; they appreciate inner strength and praise the power of mind. 
Indeed, according to modernists, life is chaotic and vague, and can be endured only with the help 
of the analysis of the sub-conscious human nature. (Stevenson 1998) 
Allen (1954:249) broadens the definition of Modernism provided by Stevenson by adding that 
besides being a human philosophy, Modernism is also a widely understood as a style of art. Modern 
artists made the assumption that colour and shape, not the depiction of the natural world, formed the 
essential characteristics of art. Interestingly enough, modernist architects and designers believed 
that old styles and forms no longer met the needs of developing and changing society because of the 
possibilities and innovations that the new technology introduced. They typically rejected small 
decorative details and elements and emphasized the general innovative shape and image. In other 
words, as Peter Nicholls says ( 1995 :16), modernist art revealed simplicity and clarity of forms, 
variety of interrelated elements, and tried to create new forms by combining separate pieces of 
traditional already existing details.
Baldic (1996:8) complements Allen and Nicholls by expressing the opinion that in literature 
and visual art some modernists wanted to make their art more vivid and to force the audience to 

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reflect on their own personal experience, individual strength and weaknesses, to clarify their own 
aims and objectives in life. Consequently, modernist art can be treated as a significant contribution 
to the process of growth and development of human mental abilities. In Baldic’s words (1996:11), 
“readers need to be unsettled and challenged by unfamiliar forms of narrative and language, not