Content. Introduction. Chapter. I. Famous Irish Poet

Thе thеmе оf thе cоursе work is about The aspects of modernism in The Wild Swans of Coole by W.B. Yeats.
Thе аim оf thе cоursе is tо an exploration of William Butler Yeat’s biography.
The topicality of the work is to learn about great poet William Butler Yeat.
Thе tаsks оf thе invеstigаtiоn includе:

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  Tо givе infоrmаtiоn аbоut William Butler Yeat’s and his biography.
  

Thе оbjеct оf thе cоursе of study is tо Exploring the life and writings of William Butler Yeat
Thе subjеct оf thе cоursе work is tо cоnduct rеsеаrch аbоut оnе оf William Butler Yeat’s fаmоus work.
Thе mаin lаnguаgе mаtеriаl оf thе rеsеаrch work hаs bееn gаthеrеd frоm thе litеrаry wоrks оf vаriоus аuthоrs аnd intеrnеt sоurcе. Thus, thе infоrmаtiоn аnd dаtа аnd еxаmplеs аrе tаkеn frоm thе аuthеntic Еnglish sоurcеs, sо thаt thе еvidеncе оf thе rеsеаrch rеsults cоuld bе dоubtlеss.
Thе cоursе pаpеr includеs: intrоductiоn, 2 chаptеrs, cоnclusiоn аnd references.

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  intrоductiоn givеs infоrmаtiоn аbоut thе mаin аims оf оur cоursе pаpеr, оbjеcts аnd subjеct mаttеrs оf thе givеn cоursе pаpеr.
  
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  chаptеr I includеs infоrmаtiоn About William Butler Yeat’s and his biography;
  
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  chаptеr II аlsо includеs The aspects of modernism in The Wild Swans of Coole by W.B. Yeats.
  
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  cоnclusiоn will еnd thе cоursе pаpеr by giving gеnеrаl, privаtе оpiniоn rеgаrding thе prоcеss оf prеpаring cоursе pаpеr.
  
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  list оf usеd litеrаturе includеs thе nаmеs оf thе bооks аnd mаgаzinеs thаt I utilizеd during thе rеsеаrch.
  

Chapter.I. Famous Irish Poet.
1.1 Modernism in literature.
In the fine arts, modernism signifies a rupture with the past and an ongoing search for fresh means of expression. From the late 19th to the mid-20th centuries,modernism encouraged artistic innovation, especially in the years after World War I. Modernists sensed an increasing alienation from Victorian morality, optimism, and convention in an era marked by industrialization, the practically universal adoption of capitalism, fast social change, and discoveries in science and the social sciences (such as Freudian theory). New concepts in political theory, philosophy, and psychology sparked a search for fresh ways to express oneself. The search for a honest reaction to a drastically altered reality, as well as industrialization and urbanization, feed the modernist urge in a variety of literary works. Henry James, Joseph Conrad, and other authors' prewar writings are considered modernist, but modernism as a literary trend is primarily connected to the years following World War I. Postwar Modernist literature represented a sense of disappointment and fragmentation as a result of how seriously the war had taken the foundations of Western civilization and culture. The quest for rebirth and redemption in a barren and spiritually empty terrain is a central theme of T.S. Eliot's epic poem The Waste Land (1922), a key work of Modernism. The poem is typical of Modernism in that it calls for the reader to actively participate in understanding the text because of its jumbled images and cryptic connections. The majority of Modernist poets did not share Eliot's perspective. Robert Frost and Carl Sandburg both vividly depicted their home states' regions—New England and the Midwest, respectively—in the United States. A talented group of poets emerged from the Harlem Renaissance, including Countee Cullen, Langston Hughes, Claude McKay, and Alice Dunbar Nelson. In 1912, Harriet Monroe established Poetry magazine in Chicago, making it the most significant publication for poetry throughout the English-speaking world as well as the United States. Edna St. Vincent Millay, Marianne Moore, and E.E. Cummings all wrote poetry in the 1920s that reflected a spirit of exploration and change. Many works of American Modernist fiction are marked by a sense of loss and disappointment. It's possible for such perception to be focused on particular people, on American society, or on civilization in general. It might inspire a destructive, nihilistic urge, or it might represent optimism for the possibility of transformation. In The Great Gatsby (1925), F. Scott Fitzgerald mocked the American Dream; in Native Son (1940), Richard Wright exposed and denounced American racism; in Their Eyes Were Watching God (1937), Zora Neale Hurston detailed the three marriages of a Black woman; and in The Sun Also Rises (1926) and A Farewell to Arms (1929), Ernest Hemingway expressed the disillusionment of the Lost Generation. Meanwhile, John Steinbeck depicted the challenging lives of migrant workers in Of Mice and Men (1937) and The Grapes of Wrath (1939), Willa Cather told upbeat tales of the American frontier, mostly set on the Great Plains, in O Pioneers! (1913) and My Antonia (1918), and William Faulkner broke with established literary conventions in The Sound and the Fury by using stream-of-consciousness monologues and other formal devices (1929). The release of Ulysses by Irish author James Joyce in 1922 was a turning point for Modernist literature on the other side of the Atlantic. The dense, protracted, and contentious book uses the stream-of-consciousness writing style, which typically omits ordered sentence structure and adds thought fragments in an effort to depict the flow of characters' thoughts, to describe the events of one day in the lives of three Dubliners. Because of the book's indecent content, Ulysses was outlawed in English-speaking nations for a very long time. Virginia Woolf, Marcel Proust, and American exile Gertrude Stein were among the other European Modernist writers whose works ignored chronological and narrative coherence. Other literary trends besides the early to mid-20th century American and European movements are also referred to as modernism. Modernismo in Latin American literature first appeared in the writings of Manuel Gutiérrez Nájera and José Mart in the latter half of the 19th century. Rubén Daro's poetry marked the apex of the movement, which persisted into the early 20th century. (Also see Latin American and American literature.) The origins of modernism in the visual arts can be attributed to Édouard Manet, a painter who, starting in the 1860s, not only captured images of modern life but also defied convention by forgoing attempts to represent the real world through perspective and modeling. Instead, he called attention to the fact that his artwork was merely paint on a flat canvas, applied with a paintbrush that occasionally left a trace on the composition's surface. Modernism broadly refers to the avant-garde movements that came after, including Impressionism, Post-Impressionism, Cubism, Futurism, Expressionism, Constructivism, de Stijl, and Abstract Expressionism. Over the course of these movements, artists progressively shifted their attention away from ingrained ideas of what constitutes art and toward the inherent features of their media, such as line, shape, and color. By the turn of the 20th century, architects had also begun to progressively eschew earlier fashions and traditions in favor of a style of construction centered on primary functional considerations. The development of construction technologies like the steel frame and curtain wall aided them. Following World War I, these trends were formalized as the International Style, which abandoned all historical references and employed straightforward geometric shapes and plain facades. Examples of this style include the steel-and-glass structures designed by Ludwig Mies van der Rohe and Le Corbusier. This design was most prominent in mass housing developments and glass towers with clean lines and minimal ornamentation in the middle to late 20th century.² Arnold Schoenberg, Igor Stravinsky, and Anton Webern were among the composers who experimented with tonality and explored novel solutions inside novel forms. When Schoenberg rejected the traditional harmonic concepts of consonance and discord, he paved the way for the creation of atonality and the 12-tone approach (in which all 12 tones of the octave are serialized, or given an ordered relationship). While focusing on metric imbalance and percussion discord, Stravinsky's revolutionary style—differently referred to as "dynamism," "barbarism," or "primitivism"—introduced a decade of intense experimentation that overlapped with World War I, a time of significant social and political upheaval. The work of Rudolf Laban, who studied and organized human motion into a system he called Labanotation (for more information, see dance notation), Loie Fuller, an American actress turned dancer, and Émile Jaques-Delcroze, a proponent of the eurythmics system of musical instruction, laid the groundwork for a dance rebellion against both balletic and interpretive traditions. She received praise from both artists and ordinary audiences for her simultaneous use of dramatic lighting and transparent lengths of China silk fabrics. She established a company, made films, and rebelled against any conventional technique before other modern dancers. Each of these pioneers contributed to the development of contemporary dance by focusing on a certain component of dance. While Ted Shawn and Ruth St. Denis founded the nonballet school Denishawn in 1915, two of their pupils introduced a new seriousness of style and started modern dance as we know it today. Doris Humphrey developed the use of groupings and intricacy in ensembles while emphasizing workmanship and organization in choreography. Martha Graham started to introduce novel dance expressions of emotion. Graham's and Humphrey's dancing styles were based on the principles of contraction and release and fall and recovery, respectively. In parallel, Mary Wigman, Hanya Holm, and other artists in Germany were developing formal and expressionist aesthetics. The body and pelvis were used as the movement centers, just like in Duncan's dancing. Modern dance adopted horizontal movement that was near to the ground, just as ballet does with an upright stance. Modern dance expressed some feelings that ballet at the time avoided through the stiff, frequently purposefully unattractive, bent limbs and flat feet of the dancers. Furthermore, unlike the formal, classical, and frequently narrative elements of ballet, modern dance dealt with urgent and contemporary issues. It attained a new level of directness and expressive intensity. Dancer, choreographer, and anthropologist Katherine Dunham was a significant forerunner of contemporary dance who studied and interpreted the dances, rituals, and folklore of the Black diaspora in the subtropical Americas and the Caribbean. She pushed the limits of modern dance by combining genuine regional dance moves and creating a technical system that trained her students both academically and physically. Even in the twenty-first century, she had an impact. A backlash against modernism began to emerge in the late 20th century. The use of decoration for the purpose of decoration itself was occasionally seen in architecture, notably in the work of Michael Graves and, after the 1970s, that of Philip Johnson. Irony and self-awareness have become popular literary devices, and blurring the lines between fiction and nonfiction is a preferred technique. In their writing, postmodern authors like Kurt Vonnegut, Thomas Pynchon, and Angela Carter used this strategy.³