Modernist poetry and prose

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Introduction 3
Chapter 1. The modernist poetry 4
1.1 The beginnings in the late nineteenth century 4
1.2 Pollock and abstract influences 8
Chapter 2. Main poetry 20
2.1 Modernism continues: 1930–1945 20
Conclusion 25
Lest of bibliography 26

The Common European Framework of Reference (CEFR) is the most comprehensive, and the most widely used set of foreign language education standards throughout the world. The recent reforms in foreign language teaching in Uzbekistan have mainly touched upon teaching English language in all levels and stages of education. At this point CEFR plays as the main framework to be adopted in developing the national standard. In this article, we shall discuss reforms of adoption and implementation of the new standard which was a requirement of time and has started a new era in the whole system of foreign languages learning in Uzbekistan. One reason for Twain’s success is perhaps that he combined two of the major aims of literature at that time: frontier humor and local color writing or „regionalism“. Because on the one hand the frontier spirit and all ist consequences were very popular but on the other hand people were interested in reading about specific American regions and their specific features.

Chapter 1. Poetry s in the foreign language teaching in Uzbekistan
1.1 Language teaching in Uzbekistan
Modernism is both a philosophical and arts movement that arose from broad transformations in Western society during the late 19th and early 20th centuries. The movement reflected a desire for the creation of new forms of art, philosophy, and social organization which reflected the newly emerging industrial world, including features such as urbanization, architecture, new technologies, and war. Artists attempted to depart from traditional forms of art, which they considered outdated or obsolete. The poet Ezra Pound's 1934 injunction to "Make it New" was the touchstone of the movement's approach.
Modernist innovations included abstract art, the stream-of-consciousness novel, montage cinema, atonal and twelve-tone music, divisionist painting and modern architecture. Modernism explicitly rejected the ideology of realism[a][2][3] and made use of the works of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision and parody.[b][c][4] Modernism also rejected the certainty of Enlightenment thinking, and many modernists also rejected religious belief.[5][d] A notable characteristic of modernism is self-consciousness concerning artistic and social traditions, which often led to experimentation with form, along with the use of techniques that drew attention to the processes and materials used in creating works of art.[7]
While some scholars see modernism continuing into the 21st century, others see it evolving into late modernism or high modernism.[8] Postmodernism is a departure from modernism and rejects its basic assumptions.[9][10][11]
Some commentators define modernism as a mode of thinking—one or more philosophically defined characteristics, like self-consciousness or self-reference, that run across all the novelties in the arts and the disciplines.[12] More common, especially in the West, are those who see it as a socially progressive trend of thought that affirms the power of human beings to create, improve, and reshape their environment with the aid of practical experimentation, scientific knowledge, or technology.[e] From this perspective, modernism encouraged the re-examination of every aspect of existence, from commerce to philosophy, with the goal of finding that which was holding back progress, and replacing it with new ways of reaching the same end.
According to Roger Griffin, modernism can be defined as a broad cultural, social, or political initiative, sustained by the ethos of "the temporality of the new". Modernism sought to restore, Griffin writes, a "sense of sublime order and purpose to the contemporary world, thereby counteracting the (perceived) erosion of an overarching 'nomos', or 'sacred canopy', under the fragmenting and secularizing impact of modernity." Therefore, phenomena apparently unrelated to each other such as "Expressionism, Futurism, vitalism, Theosophy, psychoanalysis, nudism, eugenics, utopian town planning and architecture, modern dance, Bolshevism, organic nationalism – and even the cult of self-sacrifice that sustained the hecatomb of the First World War – disclose a common cause and psychological matrix in the fight against (perceived) decadence." All of them embody bids to access a "supra-personal experience of reality", in which individuals believed they could transcend their own mortality, and eventually that they had ceased to be victims of history to become instead its creators.[14]

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