Academic literature on the topic 'Eliot, T. S. 1888-1965 – Influence'
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Journal articles on the topic "Eliot, T. S. 1888-1965 – Influence"
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Da Universidade Coimbra, Biblioteca Geral. "Vida e obra de T. S. Eliot (1888-1965)." Boletim da Biblioteca da Universidade de Coimbra, no. 46/47 (December 22, 2016): 275–81. http://dx.doi.org/10.14195/1647-8436_46_47_16.
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Da Universidade Coimbra, Biblioteca Geral. "Vida e obra de T. S. Eliot (1888-1965)." Boletim da Biblioteca Geral da Universidade de Coimbra, no. 46/47 (December 22, 2016): 275–81. http://dx.doi.org/10.14195/2184-7681_46_47_16.
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Caldas Filho, Carlos Ribeiro. "teopoética de T. S. Eliot." TEOLITERARIA - Revista de Literaturas e Teologias 12, no. 26 (May 20, 2022): 12–30. http://dx.doi.org/10.23925/2236-9937.2022v26p12-30.
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A palavra teopoética tem sido usada para designar os diálogos possíveis entre a literatura e a reflexão teológica e/ou os estudos de religião. O presente artigo pretende apresentar um exercício de teopoética a partir da interpretação do poema The Journey of the Magi – “A viagem dos magos”, do poeta e crítico literário T. S. Eliot (1888-1965), um dos mais importantes poetas do século XX, contemplado com o Nobel de Literatura em 1948. Para tanto, o artigo apresentará em primeiro lugar breves notas biográficas de Eliot, seguidas de considerações gerais sobre o poema, com nossa proposta de tradução do mesmo, e ainda algumas considerações sobre a (im)possibilidade de traduzir poesia. Também serão apresentadas algumas observações sobre aspectos teológicos do poema, bem como considerações sobre a visão de Eliot do cristianismo. A hipótese defendida no artigo é que a viagem dos magos descrita por Eliot é uma metáfora de sua própria jornada de fé.
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Ushakova, Olga M. "Wagnerian Contexts and Wagner’s Codes of T.S. Eliot’s Poetry, 1910-20s." Literature of the Americas, no. 10 (2021): 266–309. http://dx.doi.org/10.22455/2541-7894-2021-10-266-309.
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The paper deals with the analysis of reception and poetic transformation of aesthetic concepts and music ideas of Richard Wagner (1813–1883) in the works by T. S. Eliot (1888–1965). The research material includes the poems of the 1910-20s (“Opera”, “Paysage Triste”, “The Love Song of J. Alfred Prufrock”, The Waste Land) as well the essay “Dante” and lectures “The Varieties of Metaphysical Poetry”, “The Music of Poetry”. The research is aimed to solve the problem of genesis of Eliot's Wagnerianism and identify the Wagnerian codes for his poetic texts. Following the representatives of literary Wagnerianism Eliot assimilated the ideas of revolutionary art, anti-bourgeois pathos, ideas of synthesis of arts, indivisibility of poetry and music, mythopoesis, etc. The poetry of the 1910–20s reflected Eliot’s interest in a wide cultural context (Wagnerianism and “Wagnerovschina”), Neo-Mythologism, etc. The poetry of this period is characterized by representation of Wagnerian “situations” and plots (the Grail plot), themes, composition strategies (system of leitmotifs, multi-layered text, etc.), music techniques (atonality, “endless melody”, suggestiveness, etc.), the direct quotations from Wagner’s works, etc. The author of the paper suggests that The Waste Land was created as a Gesamtkunstwerk, a complex multi-level poetic intermedial structure incorporating the elements of different arts (music, painting, scenography, dance, etc.).
Dissertations / Theses on the topic "Eliot, T. S. 1888-1965 – Influence"
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Fernández, Biggs Braulio. "La mujer en Tierra Baldía, de T. S. Eliot: Un viaje de liberación." Tesis, Universidad de Chile, 2005. http://www.repositorio.uchile.cl/handle/2250/108849.
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Tesis para optar al grado de Magíster en Lingüística.La tesis propone que el poema La Tierra Baldía es la dolorosa expresión del colapso de una época y la síntesis del derrumbe de la mujer; que T.S. Eliot, apoyándose en la inversión de las leyendas del Grial, logró fusionar con su propia tragedia personal. El poema sería la evidencia de la esterilidad y el fracaso del amor entre un hombre y una mujer, configurada poéticamente teniendo a la base una riquísima simbología sobre la infertilidad, el vacío y la muerte; en la que el sexo, por su radical función generativa y amorosa, ocupa un lugar eminente aunque no exclusivo.
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Azar, Marie-France. "Les modes de la théâtralité dans l'oeuvre de T. S. Eliot." Paris 3, 2006. http://www.theses.fr/2006PA030156.
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Une dimension théâtrale est perceptible dans toute l’oeuvre de T. S. Eliot. Ses poèmes sont souvent construits comme des œuvres théâtrales et inversement son théâtre est structuré par la versification. Le souvenir des minstrel shows et du ragtime dans le Missouri de son enfance peut être relié à une veine burlesque et à l’importance du nonsense. Le Black Hare de Uncle Remus et le March Hare de Lewis Carroll ont laissé des traces dans son écriture. L’interaction entre théâtre populaire et théâtre lettré, entre l’enfance de la langue et la tradition de textes anciens est envisagée par Eliot comme un champ d’expérimentation, et le nonsense comme l’équivalent ludique de la tabula rasa nécessaire au saut spirituel. La révolution théâtrale qu’il souhaite si ardemment dans tous ses essais est davantage morale qu’esthétique. En continuant à défendre avec intransigeance, après la deuxième guerre mondiale, le théâtre en vers dans la tradition un peu oubliée de la High Comedy anglaise, il a paradoxalement privé progressivement ses « comédies » d’une dimension théâtrale remarquable dans ses poèmes. Pourtant les dialogues de The Coktail Party ont sans doute ouvert la voie au théâtre de PinterA theatrical vein can be seen in the whole work of T. S. Eliot. His poems are often structured like plays and vice versa. His theatre is governed by versification. The memory of minstrel shows and ragtime in the Missouri of his childhood can be connected with a burlesque vein and with the importance of nonsense. The Black Hare of Uncle Remus and the March Hare of Lewis Carroll have left marks in his writings. The interaction between popular theatre and highbrow drama, between the infancy of language and the tradition of ancient texts, is apprehended by Eliot as a field for experimentation, and nonsense as the playful equivalent of the tabula rasa necessary to the spiritual leap. The revolution in the theatre he advocated so passionately for over thirty years is more a moral than an aesthetic revolution. By defending verse in the theatre, after the Second World War, in such an uncompromising way, in the somewhat forgotten English tradition of « High Comedy », he has paradoxically deprived his « comedies » of the theatricality of his poems. Nevertheless The Cocktail Party may have opened the way to Pinter’s drama
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EARLS, JOHN PATRICK. "THE MORAL ARGUMENT OF T. S. ELIOT'S "FOUR QUARTETS" (BRADLEY, ETHICS, NEO-HEGELIANISM, ROYCE)." Diss., The University of Arizona, 1986. http://hdl.handle.net/10150/183977.
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This study attempts to establish a connection between the moral philosophy of F. H. Bradley, particularly as expressed in his Ethical Studies and modified in the teaching of Josiah Royce, and the moral thought of Eliot's poetic writings, beginning with "The Love Song of J. Alfred Prufrock," culminating in Four Quartets, and finding a new mode of expression in the dramas. By tracing Eliot's moral thought to the nineteenth century anti-utilitarian moral controversies out of which Bradley's Ethical Studies grew, this study clarifies Eliot's position in the history of moral philosophy. For Bradley, the end of morality is not self-gratification; it is the realization of the universal will in the will of the individual. Hence the aim of moral action must be away from self-concern and toward the duties that society imposes on the individual. The Absolute, in which all individuals and societies culminate, invites us to true self-realization, while the egotistic self solicits us to physical and spiritual self-indulgence. Royce modifies Bradley's Absolute by making it a redemptive community in which the selfish actions of the past are given new meaning by heroic sacrifices in the present and future. The moral thought of Eliot's poetry and drama closely parallels this ethical system. In these works, Eliot dramatizes situations in which selfless motives are scarcely distinguishable from egotistic needs, merited suffering from heroic martyrdom. In Murder in the Cathedral, for instance, Thomas the Archbishop cannot will his martyrdom for the good of God's kingdom without also willing the gratification of his personal vanity. Four Quartets presents the same moral dilemma working itself out in Eliot's thoughts about his own life. He wonders if he has chosen his life as poet and critic as an unselfish response to duty--and hence as a path to God--or if he has chosen it out of personal vanity. In his considerations of time and eternity he comes to the conclusion that it is possible to redeem past mistakes by the present right intention.
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Adams, Stephen D. (Stephen Duane). "T. S. Eliot's Ash Wednesday: a Philosophical Approach to Empowering the Feminine." Thesis, University of North Texas, 1992. https://digital.library.unt.edu/ark:/67531/metadc501042/.
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In his 1916 dissertation, Eliot asserted that individuals were locked into finite centers and that all knowledge was epistemologically relative, but he also believed that finite centers could be transcended through language. In the essay "Lancelot Andrewes,'" Eliot identified Andrewes's "relevant intensity," a method very close to nonsensical verse. Eliot used Andrewes's Word and the impersonality of nonsense verse in Ash Wednesday. The Word, God's logos, embodied the Virgin Mary as its source, and allowed Eliot to transcend the finite center through language. Ultimately, Eliot philosophically empowered the feminine as the source of the Word. Though failing to fully empower the earthly Lady in part II of Ash Wednesday, Eliot did present a philosophical plan for transcending the finite center through language.
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Laver, Sue 1961. "Poets, philosophers, and priests : T.S. Eliot, postmodernism, and the social authority of art." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=37755.
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This comprehensive analysis of T. S. Eliot's literary-critical corpus provides both a long-overdue reassessment of the nature and extent of his commitment to notions of aesthetic autonomy, and an Eliotic critique of the hypostatization of art that characterizes both philosophical postmodernism and its literary-theoretical derivatives.The broader context for these two primary objectives is the "ancient quarrel" between the poets and the philosophers and its various manifestations in the work of a number of prominent post- and anti-Enlightenment thinkers. Accordingly, I begin by highlighting several fundamental but much-neglected (or misunderstood) features of Eliot's critical canon that testify to his life-long preoccupation with this still resonant issue. Specifically, I demonstrate that there is a logical connection between his sustained opposition to those who seek in literature a substitute for religious faith or at least philosophic belief, his critique of various more or less sophisticated forms of generic confusion, and his robust defence of the integrity of different discursive forms, social practices, and disciplinary domains. In anticipation of my Eliotic critique of philosophical and literary-theoretical postmodernism, I then locate Eliot's account of these characteristic features of "the modern mind" within the context of Jurgen Habermas remarkably congenial The Philosophical Discourse of Modernity.
In successive chapters, I next provide detailed analyses of Eliot's account of the discursive and functional integrity of art, literature, poetry, and criticism. By way of providing additional support for the concept of "integrity," and indicating its relevance to contemporary debates about the relationship between literature, criticism, and philosophy, I advert to the work of a number of other contemporary philosophers, John Searle, Goran Hermeren, Monroe Beardsley, Peter Lamarque, Paisley Livingston, and Richard Shusterman chief among them. I then demonstrate that Eliot's critique of the hypostatizing and levelling tendencies of many of his predecessors and contemporaries can itself legitimately be brought to bear on the similar practices of contemporary postmoderns such as Jacques Derrida and Richard Rorty.
I conclude by suggesting that a return to Eliot's literary critical corpus is both timely and instructive, for it provides a much-needed corrective to some late twentieth-century trends in literary studies, and, in particular, to the influence of philosophical postmodernism upon it.
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Rayneard, Max James Anthony. "Reading William Blake and T.S. Eliot: contrary poets, progressive vision." Thesis, Rhodes University, 2002. http://hdl.handle.net/10962/d1007545.
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Many critics resort to explaining readers' experiences of poems like William Blake's Jerusalem and T.S. Eliot's Four Quartets in terms of "spirituality" or "religion". These experiences are broadly defined in this thesis as jouissance (after Roland Barthes' essay The Pleasure of the Text) or "experience qua experience". Critical attempts at the reduction of jouissance into abstract constructs serve merely as stopgap measures by which critics might avoid having to account for the limits of their own rational discourse. These poems, in particular, are deliberately structured to preserve the reader's experience of the poem from reduction to any particular meta-discursive construct, including "the spiritual". Through a broad application of Rezeption-Asthetik principles, this thesis demonstrates how the poems are structured to direct readers' faculties to engage with the hypothetical realm within which jouissance occurs, beyond the rationally abstractable. T.S. Eliot's poetic oeuvre appears to chart his growing confidence in non-rational, pre-critical faculties. Through "The Love Song of J. Alfred Prufrock", The Waste Land, and Four Quartets, Eliot's poetry becomes gradually less prescriptive of the terms to which the experience of his poetry might be reduced. In Four Quartets he finally entrusts readers with a great deal of responsibility for "co-creating" the poem's significance. Like T.S . Eliot, although more consistently throughout his oeuvre, William Blake is similarly concerned with the validation of the reader's subjective interpretative/creative faculties. Blake's Jerusalem is carefully structured on various intertwined levels to rouse and exercise in the reader what the poet calls the "All Glorious Imagination" (Keynes 1972: 679). The jouissance of Jerusalem or Four Quartets is located in the reader's efforts to co-create the significance of the poems. It is only during a direct engagement with this process, rather than in subsequent attempts to abstract it, that the "experience qua experience" may be understood.
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Barr, A. F. M. Abdul. "Text and sub-text in T.S. Eliot : a general study of his practice, with special reference to the origins and development through successive drafts of 'The Confidential Clerk'." Thesis, University of St Andrews, 1985. http://hdl.handle.net/10023/15142.
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This thesis explores Eliot's allusive method, that is his use of Judaeo-Christianity with its analogues (and sometimes sources) in pre-Biblical primitive myths and legends. The first chapters study The Confidential Clerk and the draft material of the play which contains overt allusions-subsequently expurgated - to Sargon and Dionysos'as pre-Biblical archetypes of Moses and Christ respectively. I discuss the growth and development of the two legends of Sargon and Dionysos and their Biblical counterparts through successive drafts of the' play. In adapting the Sargon-Moses legend, Eliot was influenced by Sigmund Freud and Sir James George Frazer who both believed that the legend of Moses's birth and early life closely resembles that of his Babylonian predecessor, Sargon of Accad, which the Hebrews imitated. In adapting, on another level of the play, the Dionysos-Christ legend, Eliot was in debt of Frazer and. John M. Robertson who have persuasively shorn the shaping influence of Dionysos and the Dionysos religion upon the Founder of Christianity and the Christian system. I have used the same approach in studying the other plays of Eliot, The same pattern,ie.,the adaptation of a pre-Biblical legend which has its counterpart in the Bible is to be found in The Family Reunion in which Eliot drew upon the Babylonian epic of Gilgamesh from which he adapted the pre- Biblical legend of the Fall and the deluge story. For the minutiae of these legends in the epic of Gilgamesh and their Old Testament parallels Eliot is indebted to Alfred Loisy, the French Modernist theologian who explains the Genesis in terms of Babylonian mythology. In writing. The Cocktail Party, Eliot went to The Golden Ass of Apuleius, an anti- Christian work, from which he transformed the pre-Biblical legend of Isis, the forerunner of the Virgin Mary, as well as other motifs. Finally The Elder Statesman, Eliot's last play, adapts the pre-Biblical legend of Ahriman, an archetype of the Biblical story of Satan and the concept of evil in the Old Testament. But I have not included this play in my thesis, although I have investigated it, because of limitations of length, and also because the connection of text and sub-text in The Elder Statesman is less significant than that in the other plays.
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McAlonan, Pauline. "Wrestling with angels : T. S. Eliot, W. H. Auden, and the idea of a Christian poetics." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=100653.
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This thesis addresses the impact of religious conversion on the later works of Eliot and Auden, and the manner in which they responded to each other as they developed a Christian poetics. Following an introduction which discusses the nature of their relationship as well as their basic theological positions, Chapter One examines their postconversion criticism, and particularly their stance on what is typically formulated as "the problem of belief in poetry," which focuses on how ideology influences a work's creation and reception. Chapter Two considers their transitional poetry, wherein their new religious beliefs figure prominently and their anxiety over the potential conflict between artistic and spiritual values is most acute. Chapter Three looks at their major postconversion poems and specifically at how Eliot's and Auden's understanding of the Incarnation informs their views on time, history, language, and literature, as embodied by these works. Chapter Four centers on their drama, initially comparing their early plays---written when Eliot was a Christian but Auden was not---to show how they employed similar techniques to further different ends, before turning to an examination of Eliot's later verse plays and Auden's libretti. I investigate the ideological motivation behind the adoption of these different dramatic forms, as well as the specific ways in which they affect how belief is conveyed. Throughout the dissertation, the effects of Eliot's and Auden's conversion upon their reputations and the difficulties facing modern Christian artists in general are given particular consideration.
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Cattle, Simon Matthew James. "Myth, allusion, gender, in the early poetry of T.S. Eliot." Thesis, University of Edinburgh, 2000. http://hdl.handle.net/1842/8986.
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T.S. Eliot's use of allusion is crucial to the structure and themes of his early poetry. It may be viewed as a compulsion, evident in even the earliest poems, rather than just affectation or elitism. His allusions often involve the reversal or re-ordering of constructions of gender in other literature, especially in other literary treatments of myth. Eliot's "classical" anti-Romanticism may be understood according to this dual concern with myth and gender, in that his poetry simultaneously derives from and attacks a perceived "feminised" Romantic tradition, one which focuses on female characters and which fetishises, particularly, a sympathetic portrayal of femmes fatales of classical myth, such as Circe, Lamia and Venus. Eliot is thus subverting, or "correcting", what are themselves often subversive genderings of myth. Another aspect of myth, that of the quest, is set in opposition to the predatory female by Eliot. A number of early poems place flâneur figures in the role of questers in a context of constraining feminine influence. These questers attempt, via mysticism, to escape from or blur gender and sexuality, or may be ensnared by such things in fertility rituals. A sadomasochistic motivation towards martyrdom is present in poems between 1911 and 1920. With its dual characteristics of disguise and exposure, Eliotic allusion to ritual and myth is itself a ritual (of literary re-enactment) based on a myth (of literature), namely Eliot's "Tradition". Allusive reconfiguration being a two-way process, Eliot's poetry is often implicitly subverted or "corrected" by its own allusions. Thus we are offered more complex representations of gender than may first appear; female characters may be viewed as sympathetic as well as predatory, male ones as being constructed often from representations of femininity rather than masculinity. The poems themselves demonstrate intense awareness of this fluctuation of gender, which appears in earlier poems as a threat, but in The Waste Land as the potential for a rapprochement between genders. This poem comprises multiple layers of re-enactments and reconfigurations of gender-in-myth, centring upon Shakespeare's Venus and Adonis. The Waste Land's treatment of myth should not be seen as merely reflecting a passing interest in anthropology, but as the culmination of concerns with myth and gender dating back to the earliest poetry. The complex interrelation of the two aspects leaves it unclear whether Eliot's allusive compulsion derives principally from a concern with mythologies of literature or from a concern with mythologies of gender.
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Pollard, Jacqueline Anne. "The gender of belief: Women and Christianity in T. S. Eliot and Djuna Barnes." Thesis, University of Oregon, 2009. http://hdl.handle.net/1794/10333.
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x, 175 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.This dissertation considers the formal and thematic camaraderie between T. S. Eliot and Djuna Barnes. The Waste Land 's poet, whom critics often cite as exemplary of reactionary high modernism, appears an improbable companion to Nightwood 's novelist, who critics, such as Shari Benstock, characterize as epitomizing "Sapphic modernism." However, Eliot and Barnes prove complementary rather than antithetical figures in their approaches to the collapse of historical and religious authority. Through close readings, supplemented by historical and literary sources, I demonstrate how Eliot, in his criticism and poems such as "Gerontion," and Barnes, in her trans-generic novel Nightwood , recognize the instability of history as defined by man and suggest the necessity of mythmaking to establish, or confirm, personal identity. Such mythmaking incorporates, rather than rejects, traditional Christian signs. I examine how, in Eliot's poems of the 1920s and in Barnes's novel, these writers drew on Christian symbols to evoke a nurturing, intercessory female parallel to the Virgin Mary to investigate the hope for redemption in a secular world. Yet Eliot and Barnes arrive at contrary conclusions. Eliot's poems increasingly relate femininity to Christian transcendence; this corresponds with a desire to recapture a unified sensibility, which, Eliot argued, dissolved in the post-Reformation era. In contrast, Barnes's Jewish and homosexual characters find transcendence unattainable. As embodied in her novel's characters, the Christian feminine ideal fails because the idealization itself extends from exclusionary dogma; any aid it promises proves ineffectual, and the novel's characters, including Dr. Matthew O'Connor and Nora Flood, remain locked in temporal anguish. Current trends in modernist studies consider the role of myth in understanding individuals' creation of self or worldview; this perspective applies also in analyzing religion's role insofar as it aids the individual's search for identity and a place in history. Consequently, this dissertation helps to reinvigorate the discussion of religion's significance in a literary movement allegedly defined by its secularism. Moreover, in presenting Eliot and Barnes together, I reveal a kinship suggested by their deployment of literary history, formal innovation, and questions about religion's value. This study repositions Barnes and brings her work into the canonical modernist dialogue.
Committee in charge: Paul Peppis, Chairperson, English; Suzanne Clark, Member, English; John Gage, Member, English; Jenifer Presto, Outside Member, Comparative Literature
Books on the topic "Eliot, T. S. 1888-1965 – Influence"
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Painted shadow: The life of Vivienne Eliot, first wife of T.S. Eliot, and the long-suppressed truth about her influence on his genius. New York: Nan A. Talese, 2002.
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Eliot possessed: T.S. Eliot and FitzGerald's Rubáiyát. New York: New York University Press, 1989.
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Manganiello, Dominic. T.S. Eliot and Dante. Houndmills, Basingstoke, Hampshire: Macmillan, 1989.
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The making of T.S. Eliot: A study of the literary influences. Jefferson, N.C: McFarland & Co., Publishers, 2009.
Find full textBook chapters on the topic "Eliot, T. S. 1888-1965 – Influence"
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McEwan, Neil. "T. S. Eliot 1888–1965." In The Twentieth Century (1900–present), 337–49. London: Macmillan Education UK, 1989. http://dx.doi.org/10.1007/978-1-349-20151-8_32.
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"T. S. Eliot (1888–1965)." In London, 511–18. Harvard University Press, 2015. http://dx.doi.org/10.2307/j.ctv22jnsm7.122.
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"T. S. Eliot (1888–1965)." In London, 511–18. Harvard University Press, 2015. http://dx.doi.org/10.4159/9780674273702-209.
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Newton, K. M. "T. S. Eliot (1888-1965)." In Introducing Literary Theories, 691–98. Edinburgh University Press, 2019. http://dx.doi.org/10.1515/9781474473637-089.
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