Development of English poetry.

Постмодернізм як особлива світоглядна концепція -Postmodernism began in the sixties, when there developed on both sides of the Atlantic a feeling that poetry had become too ossified, backward-looking and restrained.

Irony, playfulness, black humor - Though the idea of employing these in literature did not start with the postmodernists (the modernists were often playful and ironic), they became central features in many postmodern works. It's common for postmodernists to treat serious subjects in a playful and humorous way. Intertextuality - Interdependence of literary texts based on the theory that a literary text is not an isolated phenomenon but is made up of a mosaic of quotations, and that any text is the "absorption and transformation of another". One literary text depends on some other literary work. Metafiction -It is often employed to undermine the authority of the author, for unexpected narrative shifts, to advance a story in a unique way, for emotional distance. Technoculture and hyperreality - technology has become a central focus in many lives, and our understanding of the real is mediated by simulations of the real. Many works of fiction have dealt with this aspect of postmodernity with characteristic irony and pastiche. Paranoia - The sense of paranoia, the belief that there's an ordering system behind the chaos of the world is another recurring postmodern theme. For the postmodernist, no ordering system exists, so a search for order is fruitless and absurd. Maximalism - The postmodern position is that the style of a novel must be appropriate to what it depicts and represents, and polytropic novels are one way of reflecting the postmodern world. Minimalism - Literary minimalism can be characterized as a focus on a surface description where readers are expected to take an active role in the creation of a story. Instead of providing every minute detail, the author provides a general context and then allows the reader's imagination to shape the story. Fabulation - A term used to describe the anti-novel. It involves allegory, verbal acrobatics and surrealistic effects. Magic Realism - The themes and subjects are often imaginary, somewhat outlandish and fantastic and with a certain dream-like quality. British poetry here is regarded as writing from Wales, Scotland, Northern Ireland and England in the English language.

The main movement in post - war 1940s poetry -was the New Romantic group that included Dylan Thomas, George Barker, W. S. Graham, Kathleen Raine, Henry Treece and J. F. Hendry. Dylan Thomas, in particular, helped Anglo-Welsh poetry to emerge as a recognisable force. The Fifties -The 1950s were dominated by three groups of poets, The Movement, The Group and a number of poets that gathered around the label Extremist Art. The Movement poets as a group came to public notice in Robert Conquest's 1955 anthology New Lines. The core of the group consisted of Philip Larkin, Elizabeth Jennings, D. J. Enright, Kingsley Amis, Thom Gunn and Donald Davie. Other Group poets included Martin Bell, Peter Porter, Peter Redgrove, George MacBeth and David Wevill. The term Extremist Art was first used by the poet A. Alvarez to describe the work of the American poet Sylvia Plath. Other poets associated with this group included Plath's one-time husband Ted Hughes, Francis Berry and Jon Silkin.

The 1960s and 1970s - In the 1960s and 1970s Martian poetry aimed to break the grip of 'the familiar', by describing ordinary things in unfamiliar ways. In the early part of the 1960s, the centre of gravity of mainstream poetry moved to Ireland, with the emergence of Seamus Heaney, Tom Paulin and others. In England, the most cohesive groupings can, in retrospect, be seen to cluster around what might loosely be called the modernist tradition and draw on American as well as indigenous models. The British Poetry Revival was a wide-reaching collection of groupings and subgroupings that embraces performance, sound and concrete poetry Leading poets - J. H. Prynne, Eric Mottram, Tom Raworth, Denise Riley and Lee Harwood. Contemporary poet Steve Turner has also been compared with them. About half-way from the Beats and the Angry Young Men stands Keith Barnes whose themes are WWII, love, social criitcism and death. His Collected Poems were published in France. Some writers emerged after the Second World War. Others demonstrated a greater interest in English language poetry.

Geoffrey Hill (1932-) has been considered to be among the most distinguished English poets of his generation, and on his 80th birthday was described in the House of Commons by Education Secretary, Michael Gove, as the United Kingdom's " greatest living poet ". Although frequently described as a "difficult" poet, Hill has retorted that poetry supposed to be difficult can be "the most democratic because you are doing your audience the honour of supposing they are intelligent human beings". Hill was awarded an honorary D.Litt. degree by the University of Leeds in 1988. In 2009 his Collected Critical Writings won the Truman Capote Award for Literary Criticism, the largest annual cash prize in English-language literary criticism. Hill was knighted in the 2012 New Year Honours for services to literature. In March 2010 Hill was confirmed as a candidate in the election of the Professor of Poetry in the University of Oxford, with a broad base of academic support. He was ultimately successful.

Alfred Charles Tomlinson, (born 8 January 1927) is a British poet and translator, and also an academic and artist. He was born and raised Staffordshire. He is another important English poet of an older generation, though "since his first publication in 1951, has built a career that has seen more notice in the international scene than in his native England; this may explain, and be explained by, his international vision of poetry". Tomlinson's first book of poetry was published in 1951, and his Collected Poems was published by the Oxford University Press in 1985, followed by the Selected Poems: 1955-1997 in 1997. His poetry has won international recognition and has received many prizes in Europe and the United States, including the 1993 Bennett Award from Hudson Review; the New Criterion Poetry Prize, 2002; the Premio Internazionale di Poesie Ennio Flaiano, 2001; and the Premio Internazionale di Poesia Attilio Bertolucci, 2004. He is an Honorary Fellow of the American Academy of the Arts and Sciences and of the Modern Language Association. His latest collection Cracks in the Universe was published in May 2006 in Carcanet Press' Oxford Poets series. Tomlinson has excelled as an authoritThe development his poems have shown is in the direction of greater humanity. Whereas, for instance, the poems of The Necklace were still lifes—objects and moments whose 'facets of copiousness' were presented separately to the eye of the reader, analyzed in a taut, vibrant verse, those of Seeing is Believing (1960) were organized in the sentences of careful conversation, words and rhythms pinpointing every nuance of meaning and inflection of voice. The poems of A Peopled Landscape (1963) were human in a different sense: previously, as Tomlinson has pointed out, the things he wrote about—houses, cities, walls, landscapes—were already saturated in human presence and traditions, and this was his point in writing about them, but now people themselves move to the centre. A Peopled Landscape showed yet another development in style, several of the poems having the look of Williams's and Marianne Moore's poems.ative translator of poetry from the Russian, Spanish and Italian.

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Постмодернізм в англійській літературі. Роман Джона Фаулза«Колекціонер».Susan Hill (born 5 February 1942) is an English author of fiction and non-fiction works. Her novels include The Woman in Black, The Mist in the Mirror and I'm the King of the Castle for which she received the Somerset Maugham Award in 1971. She was appointed Commander of the Order of the British Empire (CBE) in the 2012. Hill's novels are written in a descriptive gothic style, especially her ghost story The Woman in Black, which was published in 1983. She has expressed an interest in the traditional English ghost story, which relies on suspense and atmosphere to create its impact, similar to the classic ghost stories by Montague Rhodes James and Daphne du Maurier. The novel was turned into a play in 1987 and continues to run in the West End of London. VIDEO 6,7

John Robert Fowles (/faʊls/; 31 March 1926 – 5 November 2005) was an English novelist, much influenced by Sartre, and critically positioned between modernism and postmodernism. After leaving Oxford, Fowles taught at a school on the Greek island of Spetsai, a sojourn that inspired The Magus, an instant bestseller that was directly in tune with 1960's 'hippie' anarchism and experimental philosophy. Fowles was named by the Times newspaper as one of the 50 greatest British writers since 1945. Teaching career. Fowles spent his early adult life as a teacher. His first year after Oxford was spent at the University of Poitiers. In 1951, Fowles became an English master at the School of Spetses on the Peloponnesian island of Spetsai, a critical part of Fowles's life, as the island would be where he met his future wife Elizabeth Christy. On 2 April 1954, they were married and Fowles became stepfather to Elizabeth's daughter from her first marriage, Anna. After his marriage, Fowles taught English as a foreign language to students from other countries for nearly ten years at St. Godric's College, an all-girls in Hampstead, London.

In late 1960, though he had already drafted The Magus, Fowles began working on The Collector. He finished his first draft in a month, but spent more than a year making revisions before showing it to his agent. Michael S. Howard, the publisher at Jonathan Cape, was enthusiastic about the manuscript. The book was published in 1963 and when the paperback rights were sold in the spring of that year it was "probably the highest price that had hitherto been paid for a first novel," according to Howard. British reviewers found the novel to be merely an innovative thriller. The success of his novel meant that Fowles was able to stop teaching and devote himself full-time to a literary career. The Collector was also optioned and became a film in 1965. In 1965 Fowles left London, moving to a farm, Underhill, in Dorset, where the isolated farm house became the model for The Dairy in the book Fowles was then writing, The French Lieutenant's Woman (1969). The farm was too remote, "total solitude gets a bit monotonous," Fowles remarked, and in 1968 he and his wife moved to Lyme Regis in Dorset, where he lived in Belmont House, also used as a setting for parts of The French Lieutenant's Woman. His first wife Elizabeth died in 1990. With his second wife Sarah by his side, Fowles died 5 miles from Lyme Regis in Axminster Hospital on 5 November 2005. Many critics now consider his work on the cusp between modernism and postmodernism.

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