"For Whom the Bell Tolls" by Ernest Hemingway in 1940. - "Death of a salesman" by Arthur Miller in 1949. - "Nineteen Eighty-four" by George Orwell in 1949.
The period of contemporary literature is said to begin after the end of World War II in 1945 and is still occurring to this day.
Contemporary Literature: 1950 – Present. Historical events. Good Reads of the Time. - World War 2; September 1st 1939-September
Epiphany in literature refers generally to a visionary moment when a character has a sudden insight or realization that changes their understanding of themselves or their comprehension of the world.
The term has a more specialized sense as a literary device distinct to modernist fiction.
Author James Joyce first borrowed the religious term Epiphany and adopted it into a profane literary context in Stephen Hero (1904-1906), an early version of A Portrait of the Artist as a Young Man.
In that manuscript, Stephen Daedalus defines epiphany as a sudden spiritual manifestation, whether in the vulgarity of speech or of gesture or in a memorable phase of the mind itself. Stephen's epiphanies are moments of heightened poetic perception in the trivial aspects of everyday Dublin life, non-religious and non-mystical in nature.
They become the basis of Stephen's theory of aesthetic perception as well as his writing.
In similar terms, Joyce experimented with epiphany throughout his career, from the short stories he wrote between 1898 and 1904 which were central to his early work, to his late novel Finnegans Wake (1939).
Scholars used Joyce's term to describe a common feature of the modernist novel, with authors as varied as Virginia Woolf, Marcel Proust, Ezra Pound, and Katherine Mansfield all featuring these sudden moments of vision as an aspect of the contemporary mind.
Joycean or modernist epiphany has its roots in nineteenth-century lyric poetry, especially the Wordsworthian spots of time, as well as the sudden spiritual insights that formed the basis of traditional spiritual autobiography.
Philosopher Charles Taylor explains the rise of epiphany in modernist art as a reaction against the rise of a “commercial-industrial-capitalist society” during the early twentieth century.
