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1
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
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Hoffmann, Deborah. "The spirit of sound prosodic method in the poetry of William Blake, W.B. Yeats, and T. S. Eliot." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115657.
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Accompanying materials housed with archival copy.This project focuses on the prosody of three major poets, William Blake, W. B. Yeats, and T. S. Eliot. It explores the relationship between each poet's poetic sound structures and his spiritual aims. The project argues that in Blake's prophetic poems The Four Zoas, Milton, and Jerusalem, in Yeats's middle and late poetry, and in Eliot's post-conversion poetry, the careful structuring of the non-semantic features of language serves to model a process through which one may arrive at the threshold of a spiritual reality.
The introductory chapter situates these poets' works within the genre of mystical writing; establishes the epistemological nature of poetic sound and its relationship to mystical expression; considers the historical and personal exigencies that influence each poet's prosodic choices; and outlines the prosodic method by which their poetry is scanned. Chapter one addresses William Blake's efforts to re-vision Milton's Christian epic Paradise Lost by means of a logaoedic prosody intended to move the reader from a rational to a spiritual perception of the self and the world. Chapter two considers the development of W.B. Yeats's contrapuntal prosody as integral to his attempt to make of himself a modern poet and to his antithetical mystical philosophy. Chapter three explores the liminal prosody of T. S. Eliot by which he creates an incantatory movement that points to a spiritual reality behind material reality. The project concludes with a consideration of the spiritual aims of Gerard Manley Hopkins and H.D. (Hilda Doolittle) and posits a revaluation of Hopkins' sprung rhythm and H.D.'s revisionary chain of sound as prosodic practices intrinsic to their spiritual aims.
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Aleksić, Branko. "Héraclite l'obscur et la poésie moderne (de T. S. Eliot, J. L. Borges, M. Ristic, M. Dedinac, R. Char, B. Miljkovic à O. Paz)." Paris 8, 1993. http://www.theses.fr/1993PA080794.
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T. S. Eliot (1888-1966), j. L. Borges (1899-1986), milan dedinac (19021966), marko ristic (1902-1984), rene char (1907-1988), octavio paz (ne 1914) et branko miljkovic (1934-1961) : sept poetes contemporains, de sensibilite differente qui se sont tous nourris de la philosophie d'heraclite. Leur relation au penseur d'ephese qui "ecrivit en un style poetique" (suidas, encyclopedie litteraire byzantine) est examine pour la premiere fois dans cette etude. Les ecrits de ces sept poetes sont fondes sur la vision du monde comme l'unite des contraires et leurs ecrits prennent cette vision comme point de depart. Dans ce concept de transformationet du mouvement ininterrompu est enserree l'essence de l'activite poetique et cette recherche s'oriente vers la decouverte des rencontres de la poesie et de la philosophie. Diogene laerte (iiie siecle) a attribue a heraclite titre "le livre des muses", et ce titre sera justifie par l'influence de la pensee d'heraclite sur des poetes: latins, anglais et espagnols du baroque, romantique allemands du xviiie et enfin du xxeme siecle. Ces sept poetes modernes ne sont-ils pas ces "plongeurs de delos", evoques jadis par socrate, lui-meme demeure interdit devant ile flottante du penseur dit l'obsur?T. S. Eliot (1888-1966), j. L. Borges (1899-1986), milan dedinac (1902 -1966), marko ristic (1902-1984), rene char (1907-1988), octavic paz (born 1914) and branko miljkovic (1934-1961): seven contemporaries, each with a distinct poetic sensibility, all nourished on the philosophy of heraclitus. Their relationship with the philosopher from ephes "who wrote like a poet" (suidas, byzantine literary encyclopedia) is examined for the first time in this study. These poets' writings were based on a vision of the world as a unity of contrasts - much of what they tried to express took this vision as a point of departure. It is in this concept of uninterrupted movement and transformation that the essence of poetic activity resides: this research is oriented towards the discovery of the points where poetry and philosophy meet. One of the titles ascribed to heraclitus' work was "the muses" (diogenes laertius, 3rd century a. D. ), a title that would be justified by the book's influence on later poets- latin, english and spaniards in the baroque, german in the xviii century and poets of xxth century. Heraclitus's enigmatic fragments would be reinvented by these later
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Adams, Stephen D. (Stephen Duane). ""Looking into the Heart of Light, the Silence": The Rule of Desire in T.S. Eliot's Poetry." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc935756/.
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The poetry of T. S. Eliot represents intense yet discriminate expressions of desire. His poetry is a poetry of desire that extenuates the long tradition of love poetry in Occidental culture. The unique and paradoxical element of love in Occidental culture is that it is based on an ideal of the unconsummated love relationship between man and woman. The struggle to express desire, yet remain true to ideals that have deep sacred and secular significance is the key animating factor of Eliot's poetry. To conceal and reveal desire, Eliot made use of four core elements of modernism: the apocalyptic vision, Pound's Imagism, the conflict between organic and mechanic sources of sublimity, and precisionism. Together, all four elements form a critical and philosophical matrix that allows for the discreet expression of desire in what Foucault calls the silences of Victorianism, yet Eliot still manages to reveal it in his major poetry. In Prufrock, Eliot uses precisionism to conceal and reveal desire with conflicting patterns of sound, syntax, and image. In The Waste Land, desire is expressed as negation, primarily as shame, sadness, and violence. The negation of desire occurred only after Pound had excised explicit references to desire, indicating Eliot's struggle to find an acceptable form of expression. At the end of The Waste Land, Eliot reveals a new method of expressing desire in the water-dripping song of the hermithrush and in the final prayer of Shatih. Continuing to refine his expressions of desire, Eliot makes use of nonsense and prayer in Ash Wednesday. In Ash Wednesday, language without reference to the world of objects and directed towards the semi-divine figure represents another concealment and revelation of desire. The final step in Eliot's continuing refinement of his expressions of desire occurs in Four Quartets. Inn Four Quartets, the speaker no longer carries the burden of desire, but language at its every evocation carries the cruel burden of ideal love.
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Estrade, Charlotte. "" Mythomorphoses " écriture du mythe, écriture métapoétique chez Basil Bunting, T. S. Eliot, Ezra Pound et W. B. Yeats." Phd thesis, Université du Maine, 2012. http://tel.archives-ouvertes.fr/tel-00770332.
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Les mythologies - gréco-romaine, irlandaise, perse, indienne, japonaise, chinoise -sont omniprésentes dans la poésie de Bunting, Eliot, Pound et Yeats. Les prédilections desauteurs pour certaines mythologies, véritables choix identitaires et politiques, montrenttoutefois une péroccupation commune pour les mythes violents, aux niveaux martial et sexuel.Ce premier niveau thématique se combine avec une réflexion plus distanciée sur le mythe,outil critique qui permet la reformulation de croyances rituelles et spirituelles, et de nouvellesthéories poétiques qui visent à ordonner et donner un sens au monde chaotique du XXe siècle.Le mythe, subversif, permet donc l'articulation de nouvelles spiritualités et denouvelles expériences poétiques. Enfin, matériau vivant et modelable, dont la mention est à lafois un raccourci de récits anciens et un horizon élargi vers d'autres références et réécritures,le mythe est objet linguistique. En traduction, le mythe transfert les contenus thématiques,déplace les rythmes et fait circuler et s'entremêler les arts. En effet, retour fantasmé à uneorigine du langage artistique, le mythe est parfois fiction d'un art total où les figuresmythiques seraient à la fois objet linguistique, représentation imaginaire picturale etmanifestation musicale. De cette vision du mythe émane une poésie polyphonique et hybride,à l'image du centaure et des autres créatures monstrueuses présents dans l'oeuvre poétique deBunting, Eliot, Pound et Yeats.
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Aberkane, Idriss Jamil. "Ballade de la conscience entre Orient et Occident : une perspective soufie sur la conscience occidentale, connectant "The Kasidah" de R.F. Burton et "The Waste Land" de T.S. Eliot." Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAC005/document.
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Le rapprochement du Waste Land de T. S. Eliot et de la Kasidah de R. F. Burton produit une théorie littéraire. Cette théorie est fondée sur le principe de l'Unité de la Conscience (Wahdat al Wayy) d'après l'exégèse d'Ibn Arabi (Wahdat al Wujud et Wahdat al Adyân). Elle postule également que toute vie n'est qu'un courant de conscience. L'action est une forme d'écriture de la conscience dans le monde, et l'expérience vécue est une forme d'écriture du monde dans la conscience. Or l'expression de la conscience en perspective est un invariant profond des littératures, qui relie The Waste Land et The Kasidah mais également Al Aaraaf de Poe, le Voyage de Baudelaire, le Testament de Villon ou encore le Canto Notturno de Leopardi. Un autre invariant, fondé par le précédent, est l'invariant de la gâtine, que l'on peut résumer par le mythe de l'Ortolano Eterno : Homo : locatus est, damnatus est, humatus est, renatus est : in Horto. Or la Septième sourate du Coran est une expression notable de l'invariant de la gâtine. Ainsi comme il existe une cartographie dynamique des connexions cérébrales, la connectomique, il existe une connectomique des littératures et une biologie des littératures. Une partie du corps calleux des littératures, le faisceau de connexions directes entre Orient et Occident, est la "chaîne de la gâtine", un linéament de textes qui se fascinent pour l'interaction entre le monde et la conscience. Concernant Eliot, ses influences soufies directes vont de Omar Khayyam à Guénon ou Schuon, et ses influences indirectes relèvent de l'influence soufie sur les troubadours. Eliot influence lui-même la poésie de l'aire musulmane depuis au moins 1950Connecting T. S. Eliot's Waste Land to R. F. Burton's Kasidah produces a literary theory. The founding principle of this theory is the Unity of Consciousness (Wahdat al Wayy), after the exegesis of Ibn Arabi (Wahdat al Wujud and Wahdat al Adyan). It also postulates that any life is but a stream of consciousness. Action is thus the way by which consciousness writes in the world, and experience is the way the world writes in consciousness. The expression of consciousness in perspective is in turn a profound literary invariant, connecting The Waste Land and The Kasidah but also Poe's Al Aaraaf, Baudelaire's Voyage, Villon's Testament or Leopardi's Canto Notturno. Another invariant, based on the precedent, is the invariant of the wasteland, which can be summed up by the myth of the Ortolano Eterno : Homo : locatus est, damnatus est, humatus est, renatus est : in Horto. Now the seventh surah of the Quran is a notable expression of the invariant of the wasteland. In the same way that there is a connectomics of the human brain, there is a connectomics and also a biology of literatures. A sample of its corpus callosum, connecting the Western and Eastern literatures, is the "chain of the wasteland", a lineament of texts which leitmotiv is the interaction between consciousness and the world. Regarding Eliot his direct sufi influences range from Omar Khayyam to Guénon and Schuon, and his indirect ones regard the known sufi influence over the troubadours. In turn Eliot has been influencing the contemporary poetry of the muslim area since at least 1950
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Bowes, Patrick Harold. "Towards "the river and the sea" and beyond : revelations in T.S. Eliot's landscape imagery, 1927-1942." Thesis, 1993. https://eprints.utas.edu.au/18985/1/whole_BowesPatrickHarold1995_thesis.pdf.
Full textAbstract:
Of major literary interest because he attained almost pontifical status in English
poetry, drama and criticism for an extended period in the twentieth century, T.S. Eliot
appears today to have been a writer of apparently baffling complexity. An important
aspect of this phenomenon is that his poetry (which generally shows every evidence of
great deliberation in its composition) appears often to subvert his critical dicta.
However, Eliot's landscape imagery, which derives very largely from his own
experience and beliefs, particularly in his childhood and youth, faithfully reflects a
variety of aspects of his personality.
This exploitation of imagery of landscape, extending far beyond conventional
topography to figurative and psychological landscapes in many forms, is an inheritance
from, and a development of, major elements of the 'Romantic' sensibility of the early
nineteenth century. Landscape plays an important part, too, in much of the
'Modernist'-influenced poetry of the Thirties in England, not least as a peculiarly
individual source of material which nonetheless offers common interfaces. Thus,
analysis of the manner in which both individual and common elements of their
experience of landscape are treated by Eliot vis-a-vis his contemporaries, particularly
Yeats and Auden, reveals some of the real premises and syllogisms underlying his
work.
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Query, Patrick. ""They called me the hyacinth girl" : T. S. Eliot, masculinity, and the Great War." Thesis, 2001. http://hdl.handle.net/1957/33073.
Full textAbstract:
This thesis traces the relationship between the First World War, constructions of masculinity, and the life and poetry of T.S. Eliot. Central to this relationship is a study of homoeroticism, which the author characterizes as different from homosexuality but not exclusive of it, in late 19th and early 20th century poetic traditions. The argument begins by establishing a critical framework that draws on contemporary paradigms of Modernist literary gender studies but also seeks to revise them by shifting the focus to issues surrounding masculinity. With this framework in place, the thesis goes on to discuss the tradition of male homoeroticism in artistic movements preceding World War I, including Symbolism, Uranianism, and Aestheticism, then moves on to an examination of the war itself, its effect on soldiers' notions of masculinity, and the intensification of the homoerotic element in the poetry composed by soldier poets. I then reexamine the relationship between Eliot's poems, The Love Song of J. Alfred Prufrock and The Waste Land, arguing that both are significantly inflected by the changing masculine consciousness of the war era and that both are largely personal in nature despite their author's insistence on the impersonality of poetry. An explication follows of Prufrock and Eliot's other verse written between 1914 and c.1920, focusing on passages that suggest the homoerotic. The bridge between this and the section on The Waste Land is a commentary on the relationship of Eliot and his friend Jean Verdenal, a Frenchman who was killed in the war, and the import of this friendship to Eliot's work. The possibility of their homosexual involvement is entertained but not insisted upon, the point being reemphasized that homoeroticism, not homosexuality, has the more meaningful impact on the masculine artistic consciousness. All of these ideas culminate in the Waste Land chapter, which highlights passages of the poem dealing with a range of human possibilities for intimacy-male and female, sexual and non-sexual. The study concludes that the poem ought to be read as a representation of an embattled masculine consciousness drawn to the homoerotic but uncomfortable with changing 20th century sexual mores.Graduation date: 2001
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Mooney, Annabelle. "Poetic Primitives : an NSM analysis of the poetry of T.S. Eliot." Thesis, 1997. http://hdl.handle.net/1885/145305.
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Kourie, Alex. "Who is she?: the search for the feminine in the poetry of T.S. Eliot, with special reference to The Waste Land and the Four Quartets." Thesis, 2014. http://hdl.handle.net/10210/9485.
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"Performativity and the invention of subjectivity in William Wordsworth and T.S. Eliot." 2009. http://library.cuhk.edu.hk/record=b5894051.
Full textAbstract:
Ng, Chak Kwan.Thesis (M.Phil.)--Chinese University of Hong Kong, 2009.
Includes bibliographical references (leaves 132-136).
Abstract also in Chinese.
INTRODUCTION
The Necessity of Being Performative:
the Cases of William Wordsworth and T. S. Eliot --- p.1
Chapter CHAPTER ONE --- "Context, Literary Events and the Institution of Literature" --- p.12
Chapter CHAPTER TWO --- Individualism: the Invention of Romantic Subjectivity in William Wordsworth --- p.50
Chapter CHAPTER THREE --- Subjectivity in Crisis: the Invention of Modern Subjectivity in T. S. Eliot --- p.90
"Conclusion ""Change More Than Language"": The Acts of Poetry" --- p.127
WORKS CITED AND BIBLIOGRAPHY --- p.132
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Lesman, Robert St Clair. "Agendas of translation: Wallace Stevens, T. S. Eliot and Allen Tate in Origenes: Revista de arte y literatura (1944-56)." Thesis, 2005. http://hdl.handle.net/2152/1567.
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"Reading the modern city, reading Joyce and Eliot: a study of flânerie in literary representation." 2004. http://library.cuhk.edu.hk/record=b5896374.
Full textAbstract:
Lau Kin-wai.Thesis (M.Phil.)--Chinese University of Hong Kong, 2004.
Includes bibliographical references (leaves 101-109).
Abstracts in English and Chinese.
Abstract --- p.ii
論文摘要 --- p.iii
Acknowledgements --- p.iv
Introduction: Reading Joyce and Eliot with Baudelaire in View --- p.1
Chapter Chapter One： --- The City in Literary Representation
Chapter 1. --- The City and its Streets in a Literary and Cultural Context --- p.8
Chapter 2. --- "Writing (about) the Modern City: ""Joycity"" and Eliot's Cities" --- p.15
Chapter Chapter Two： --- The City and the Flaneur
Chapter 1. --- Origins and Characteristics of the Baudelairean Flaneur --- p.21
Chapter 2. --- From Baudelaire to Joyce and Eliot --- p.25
Chapter Chapter Three： --- In Search of the Joycean/ Eliotian Flaneur
Chapter 1. --- Voices in the City: Personae and Their Perspectives --- p.31
Chapter 2. --- Literary Reincarnation and the Tradition of Flanerie --- p.33
Chapter a. --- Stephen and Daedalus --- p.35
Chapter b. --- Prufrock and Dante --- p.39
Chapter c. --- Bloom and Odysseus --- p.43
Chapter d. --- Tiresias as Ancient and Modern --- p.46
Chapter Chapter Four： --- Flanerie and Two Faces of Unreality of the City
Chapter 1. --- Cities as States of Mind --- p.49
Chapter a. --- Eliot's Unreal City 1 --- p.50
Chapter b. --- Joyce's Unreal Dublin 1 --- p.56
Chapter 2. --- Wandering in the City with the Dead --- p.61
Chapter a. --- Eliot's Unreal City II --- p.63
Chapter b. --- Joyce's Unreal Dublin II --- p.68
Chapter Chapter Five: --- Flanerie in a Wider Context of the Society
Chapter 1. --- Flanerie as an Asocial Act --- p.72
Chapter 2. --- The Flaneur and the Familiar Stranger --- p.82
Chapter 3. --- The Erotic as Sociality --- p.85
Conclusion： Flanerie and the Emergence of a Critical Vision --- p.95
Works Cited --- p.101
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Larkin, Owen James. "The horror and the glory : transformation of satire to mature faith in the writing of T.S Eliot and Evelyn Waugh." Phd thesis, 2004. http://hdl.handle.net/1885/151310.
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Abecassis, Rodrigo. "Eis pérolas que os seu olhos foram: uma leitura de The Waste land." Master's thesis, 2013. http://hdl.handle.net/10451/10187.
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Saunders, Andrew Preston. "From the doomed West to the timeless city : poetics of turbulence, 1869-1934." Thesis, 2001. https://eprints.utas.edu.au/21501/1/whole_SaundersAndrewPreston2002_thesis.pdf.
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Ley, James. "The secular wood : literary criticism in the public sphere." Thesis, 2012. http://handle.uws.edu.au:8081/1959.7/509750.
Full textAbstract:
The thesis considers the work of six prominent literary critics, all of whom have written for large non-specialist audiences: Samuel Johnson, William Hazlitt, Matthew Arnold, T.S. Eliot, Lionel Trilling and James Wood. The subjects have been chosen because each occupies a distinct historical moment and addresses himself to a distinct critical milieu. Collectively, however, their lives span 300 years of cultural history. "The thesis addresses the various ways in which the six critics construct their public personae, the kinds of arguments they use, and their core principles and philosophies. It considers how they have positioned themselves in relation to the modern tradition of descriptive criticism and the prevailing tendencies of their particular historical period. The thesis proposes that, by virtue of being public critics, they must deal with the problem of presenting themselves as individual voices within the public sphere and must address, through literary criticism and the essay form more generally, the issues of individualism and the social implications of the democratising, secularising, liberalising forces of modernity. This follows from the fact that, as critics, they are necessarily concerned with the status of individual judgement and individual responsiveness. "The thesis is composed of six essay-chapters, one on each critic. Each essay is an attempt to ground these large, somewhat abstract questions in specific instances that give them tangibility. They are also written in such a way that they might be profitably be read by a non-specialist. The style of the thesis is an extension of my own practice as a public critic and is intended to reflect the familiar style in which its subjects wrote.
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Barndollar, David Phillip. "The poetics of complexity and the modern long poem." Thesis, 2004. http://hdl.handle.net/2152/2124.
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