Affect: Eliot ’s Classicism‚ Pound ’s Symbolism‚ and the Drafts of "The Waste Land"" Journal of Modern Literature 18.1 (1992): 77-93. Web. Donoghue‚ Denis. "The Word Within a Word" in The Waste Land in Different Voices. London: A.D. Edward Arnold‚ 1974. 185-201. Print. Donoghue‚ Denis. "The Word Within a Word" in The Waste Land in Different Voices. London: A.D. Edward Arnold‚ 1974. Print. Eliot‚ T.S. "The Metaphysical Poets." Selected Prose of T.S Eliot‚ T.S Eliot (1975): 59-67. Print. Eliot‚ Valerie
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absolute . * 3. A few dates 1909 First “Manifesto” of Italian Futurism 1910 Death of Edward VII Post-impressionist exhibition in London 1913 Russian Cubo-futurism English Verticism 1916-20 Dada 1912-17 Imagism Tradition and individual Talent by TS Eliot 1922 Ts. Eliot’s The Waste Land J. Joyce’s Ulysses Death of M.Proust * 4. Modernism as a movement Modernism as a movement can be recognized not only in literature but also in The sciences Philosophy Psychology Anthropology Painting Music Sculpture
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In 1930‚ just three years after his baptism and confirmation into the Anglican Church‚ T. S. Eliot published his conversion story. It was his poem Ash Wednesday.[i] He had converted amid tides of intellectuals rebelling against the over-secular society of the early twentieth century. Ash Wednesday is the chronicle of this conversion‚ told in beautiful allegories and metaphors. It portrays the struggle Eliot faced in converting. “It is a poem about the difficulty of religious belief‚ about the
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Personalization of History in "Murder in the Cathedral" T. S. Eliot was born in St. Louis‚ Missouri. He went to school at Harvard and‚ after graduating‚ lived in England. It was here that he was employed as a schoolmaster‚ a bank clerk‚ and a literary editor for a publishing house called Faber & Faber. After working there for a number of years he became a director. Eliot ’s poetry shows the growth of a poet with devout religious views‚ but Eliot was always careful not to become a religious poet. He
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126 The Ocean-Desert: The Ancient Mariner and. The Waste Land FLORENCE MARSH WHEN Coleridge’s The Ancient Mariner and T. S. Eliot’s The Waste Land are juxtaposed‚ the two poems become mutually illuminating. Nor is the juxtaposition arbitrary‚ since both are essentially religious poems concerned with salvation. In both‚ the protagonist needs to recover from a living death‚ from spiritual dryness. Structurally‚ The Waste Land has almost no narrative thread‚ no story‚ but it sounds motifs that
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Eliot writes of culture as "the way of life of a particular people living together in one place. That culture is made visible in their arts‚ in their social system‚ in their habits and customs‚ in their religion.(Milner‚ A (1994) Contemporary Cultural Theory: An Introduction. London: UCC Press.) A culture‚ then according to Eliot is one which is shared in common by a whole people‚ although he believed it was not shared equally between the people. Eliot divided the people into two groups‚ the elite
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Stability versus Change and Metamorphosis in T.S. Eliot ’s The Waste Land. When one reads The Waste Land for the first time‚ it may be difficult to extract some clear meanings out of the poem. The common reader is used to expect some uniformity and wholeness‚ some kind of unity or continuity in one or various aspects in any piece of writing he or she comes across. Therefore‚ when one has to face a poem like this one‚ the sensation of puzzlement‚ confusion and powerlessness is unavoidable. Even
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"The Waste Land" is a modernist poem by T. S. Eliot caused a sensation when it was published in 1922. It is today the most widely translated and studied English-language poem of the twentieth century. This is perhaps surprising given the poem’s length and its difficulty‚ but Eliot’s vision of modern life as plagued by sordid impulses‚ widespread apathy‚ and pervasive soullessness packed a punch when readers first encountered it. Pound’s influence on the final version of "The Waste Land" is significant
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1 AWARENESS OF THE CHURCH IN THE MODERN WORLD IN CHORUSES FROM ‘THE ROCK’ BY T.S. ELIOT Comments by Monsignor Luigi Giussani 1 Choruses from ‘The Rock’ 2by T. S. Eliot can be read according to a sequence of three stages. It starts with the chorus in which the position of the Church is opposed to the position of a world that doesn’t want it any longer (Chorus I). The Christians (Chorus II) must try to resist and live‚ to walk‚ to struggle in this world that doesn’t want them any longer. But they
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enrichment of content and meaning in the poem. There is an attempt to convey the Cubist traits and find concrete examples in the poem. This study will try to specify evidences for conformity of cubism and multiplicity of narration in the poem. While Eliot juxtaposed so many perspectives in seemingly set of disjointed images‚ there is “painful task of unifying ..‚ jarring and incompatible perspectives“ in The Waste Land. Like a cubist painting‚ there is a kind of variety of narration in unity through
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