Journal articles: 'Eliot t.s. – the waste land'

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Brooker, Jewel Spears, and Grover Smith. "The Waste Land by T. S. Eliot." American Literature 59, no. 2 (May 1987): 284. http://dx.doi.org/10.2307/2927050.

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Ryan, Dennis. "T. S. Eliot, cultural criticism, and Multiculture inthe waste land." European Legacy 1, no. 3 (May 1996): 1088–95. http://dx.doi.org/10.1080/10848779608579533.

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Pondrom, Cyrena N. "T. S. Eliot: The Performativity of Gender in The Waste Land." Modernism/modernity 12, no. 3 (2005): 425–41. http://dx.doi.org/10.1353/mod.2005.0098.

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NOH, Jeo-Yong. "Young Eliot: From St Louis to The Waste Land. Robert Crawford." Journal of the T. S. Eliot Society of Korea 25, no. 1 (April 25, 2015): 199–208. http://dx.doi.org/10.14364/t.s.eliot.2015.25.1.199-208.

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Ziater, Walid Ali. "Reality and Mythology, Convention and Novelty in T. S. Eliot's The Waste Land." Theory and Practice in Language Studies 8, no. 9 (September 1, 2018): 1147. http://dx.doi.org/10.17507/tpls.0809.06.

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Eliot's Waste Land , its implications, sources, his treatment of myth, reality, convention and novelty, has received a huge bulk of criticism among Eliot's scholars whose views of the poem are divided into two categories: positive and negative. This article examines these terms against Eliot's fundamental approaches to an individual work of literature in his "Tradition and Talent" essay and the application of the "objective correlative" when applying criticism to the poem. The article argues that Eliot employed myth, allegory and symbols in a very novel way to connect the past with the present; he could criticize without direction and educate and entertain his readers with host of interpretations applicable to the now and then. Another important key to understand Eliot's Waste Land is that his objective correlative is what links the poem which may look fragmentary, but in fact complete in thought with the help of this technique. By so doing Eliot has gained a statutes among the modernists in the realm of poetry – new modes of writing poetry.

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Cechinel, André. "Notas para The waste land: T. S. Eliot e a máquina literária." Letras de Hoje 49, no. 4 (November 19, 2014): 399. http://dx.doi.org/10.15448/1984-7726.2014.4.16954.

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Sterzi, Eduardo. "Terra devastada: persistências de uma imagem." Remate de Males 34, no. 1 (April 28, 2014): 95. http://dx.doi.org/10.20396/remate.v34i1.8635834.

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Alkafaji (Ph.D.), Assist Prof Saad Najim, and Othman Abdullah Marzoog. "The Use of Allusions in T. S. Eliot’s The Waste Land." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 224, no. 1 (October 24, 2018): 67–88. http://dx.doi.org/10.36473/ujhss.v224i1.249.

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The research summarizes the use of allusions and tries to reveal the hidden meanings and reasons behind their use. It starts with T. S. Eliot’s frame of mind, through an example of advice to a follower. Moreover, it traces the development of his mind along his life. The following part is Eliot and his respect to tradition then how he stands on the shoulders of old writers to produce new ideas. Also myth and Eliot’s use of it in his poetry to represent, compare, contrast, and reconcile the past with the present. In the depth of the research stand allusions and their use in the “Waste Land”; the bits of the broken culture. The allusions divided into classical, biblical and literary according to the type of the reference of the allusion. In the end the conclusion gathers the findings of the reseach.

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Grant, Michael. "Fulcis Waste Land: Cinema, Horror and the Abominations of Hell." Film Studies 5, no. 1 (2004): 30–38. http://dx.doi.org/10.7227/fs.5.3.

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Beginning from a consideration of some ideas on aesthetics deriving from R. G. Collingwood, this essay sets Dreyer‘s Vampyr beside Fulcis The Beyond. The article then goes on to suggest something of the nature of the horror film, at least as exemplified by these two works, by placing them against the background of certain poetic procedures associated with the post-symbolist poetry of T. S. Eliot.

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Thomas Michael LeCarner. "T. S. Eliot, Dharma Bum: Buddhist Lessons in The Waste Land." Philosophy and Literature 33, no. 2 (2009): 402–16. http://dx.doi.org/10.1353/phl.0.0061.

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Chace, William M. "The Letters of T. S. Eliot, Volume 5,1930 – 31/ Young Eliot: From St. Louis to “The Waste Land”." Common Knowledge 22, no. 2 (April 29, 2016): 323–24. http://dx.doi.org/10.1215/0961754x-3542936.

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Bhatta, Damaru Chandra. "Water as a Symbol of “Shāntih” in T. S. Eliot’s The Waste Land: An Upanishadic Reading." Theory and Practice in Language Studies 11, no. 7 (July 1, 2021): 821–28. http://dx.doi.org/10.17507/tpls.1107.08.

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This paper tries to explore jivātmās' (souls' or individual selves') spiritual journey from bondage to liberation for “Shāntih” (Peace), especially represented by the symbol of water in T. S. Eliot's poem The Waste Land from the viewpoint of the principal Upanishads. The ultimate goal of life is to attain "Shāntih," Brahma, or moksha (liberation). This is symbolized through the search for water in the poem. Thus, the search for water is the search for "Shantih." The poem is influenced by the fundamental concept of the Upanishads that it is impossible to attain moksha without breaking the ignorance or the materialistic thinking that we are body and mind, made especially for sexual pleasures. We need to follow the eternal teachings of the Brihadāranyaka Upanishad—give charity or donation ("Datta"), be kind ("Dayadhvam"), and control yourself ("Dāmyata")—to achieve liberation from different kinds of sufferings as expressed in the poem. Eliot suggests that the knowledge and implementation of these spiritual values could help humanity to be free from the bondage of mundane desires, which are the causes of sufferings. Thus, this paper tries to analyze the poem from the viewpoint of the principal Upanishads to widen the horizon of knowledge for the benefit of humankind and to understand Eliot scholarship by crossing the boundaries of the Western culture.

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Alonso. "T. S. Eliot and the Question of the Will in The Waste Land." Interdisciplinary Literary Studies 23, no. 1 (2021): 149. http://dx.doi.org/10.5325/intelitestud.23.1.0149.

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Bhatta, Damauru Chandra. "Echoes of the Vision of Hindu Philosophy in T. S. Eliot’s Writings." Tribhuvan University Journal 32, no. 2 (December 31, 2018): 57–74. http://dx.doi.org/10.3126/tuj.v32i2.24703.

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This paper makes an attempt to explore the echoes of the vision of Hindu philosophy in the selected works of T. S. Eliot. The works of Eliot such as his primary essay “Tradition and the Individual Talent,” and his primary poems such as “The Love Song of J. Alfred Prufrock,” “Gerontion,” The Waste Land, “Ash Wednesday,” “A Song for Simeon” and Four Quartets are under scrutiny in this paper. Eliot’s primary texts echo the vision of the Upanishads, the Bhagavad-Gita and the Patanjali Yoga Sutras of the Hindu (Vedic) philosophy. The vision is that rebirth is conditioned by one’s karma (actions). No one can escape from the fruits of his karma. One needs to undergo the self-realization to know the Essence (Brahman). When one knows the Essence, he is liberated from the wheel of life and death. Man himself is Brahman. The soul is immortal. The basic essence of Hindu philosophy is non-dual, which says that all the living beings and non-living objects are the manifestations of the same Ultimate Reality (Brahman). Eliot suggests that the knowledge of this essence can help humanity to promote equality and justice by ignoring discrimination and duality, to end human sorrows and to achieve real peace and happiness. This finding can assist humanity in the quest for understanding the meaning of human existence and the true spiritual nature of life to address the human sorrows resulted from the gross materialistic thinking.

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Dietz, Bernhard Hans Ludwig. "La irrupción de T. S. Eliot : viejo y nuevo (A propósito de "The Waste Land", otra vez)." Cuadernos de Investigación Filológica 9 (February 19, 2014): 3. http://dx.doi.org/10.18172/cif.1465.

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Camilo, Vagner. "D’a terra devastada à tempestade: José Paulo Moreira da Fonseca e a recepção poética de Eliot na lírica brasileira dos anos 1950." Revista do Instituto de Estudos Brasileiros, no. 69 (April 27, 2018): 389. http://dx.doi.org/10.11606/issn.2316-901x.v0i69p389-416.

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O marco significativo da primeira recepção, entre nós, de T. S. Eliot, seja como crítico, seja como poeta, data da geração de 45. Este artigo examina um dos momentos representativos do diálogo intertextual, em particular, com The waste land (1922): trata-se do poema “A tempestade”, do poeta-pintor José Paulo Moreira da Fonseca (1922-2004). Em virtude de seu duplo e uno ofício, Fonseca estende, ainda, o diálogo, em seu poema, ao campo das artes plásticas, por meio da écfrase, especialmente com Giorgione e Velázquez.

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Mutka, Maria. "“To Begin on Again”: A Study of Early Cinema’s Unique Influence on Modernist Literature." Film Matters 12, no. 1 (March 1, 2021): 66–81. http://dx.doi.org/10.1386/fm_00131_1.

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This article examines the intersectionality of modernist literature and the advent of cinema, particularly in the context of the incomparable tragedies of the First World War in the 1910s, 1920s, and 1930s. Avant-garde writers like James Joyce, Virginia Woolf, Gertrude Stein, and T. S. Eliot utilized cinema-inspired techniques in some of their most famous literary works, including Ulysses and “The Waste Land.” These techniques are especially salient in light of how much both the First World War and cinema altered societal notions of time, space, and motion.

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Dukes, Hunter. "Jug Songs: Acoustic Enclosure from Ovid to Eliot." Comparative Literature 72, no. 4 (December 1, 2020): 418–38. http://dx.doi.org/10.1215/00104124-8537753.

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Abstract Philomela holds a privileged place in Euro-American poetry. Tracking the nightingales in Ovid, Marie de France, Gascoigne, Shakespeare, Milton, Coleridge, and Elizabeth Barrett Browning reveals a new dimension of an old trope. Frequently paired with images of architectural and bodily containment, the nightingale’s song mediates between sound and space. This article builds on Michel Serres, Gilles Deleuze, and Félix Guattari, who use the bird to think about enclosure (sonic, spatial) and territorial possession. Nesting T. S. Eliot’s nightingales within a wider context clarifies other kinds of containment in “A Game of Chess” from The Waste Land, resolving some of the section’s enduring ambiguity concerning images of vacuity and the disembodied voice. Ultimately, this article contributes to debates in lyric studies, arguing for a reappraisal of the nightingale in comparative verse history.

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Chandran, K. Narayana. "T. S. Eliot and W. E. Henley: A Source for the “Water-dripping Song” in The Waste Land." English Language Notes 43, no. 1 (September 1, 2005): 59–62. http://dx.doi.org/10.1215/00138282-43.1.59.

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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.).

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Weidmann, Dirk. "“And I Tiresias have foresuffered all…” – More than allusions to Ovid in T.S. Eliot’s The Waste Land?" Literatūra 51, no. 3 (January 1, 2009): 98. http://dx.doi.org/10.15388/litera.2009.3.7759.

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Šio straipsnio tikslas – išnagrinėti Teiresijo charakterio vaidmenį T. S. Elioto epinėje poemoje Bevaisė žemė (The Waste Land). Siekiant atsakyti į šį klausimą, pirmiausia svarbu apžvelgti T. S. Elioto literatūrologines idėjas; antra, reikia atrasti ir išnagrinėti Teiresijo vaizdavimo Ovidijaus Metamorfozėse ir pasakotojo charakterio Bevaisėje žemėje paraleles. Elioto tekste yra daugybė netiesioginių nuorodų, leidžiančių suvokti šio charakterio kaip paties autoriaus mediumo funkciją. Be to, geras visos ankstesnės literatūrinės tradicijos ir ypač ypatybių, kurios buvo priskiriamos mitiniam Teiresijui, išmanymas yra esminė prielaida adekvačiam autoriaus pozicijos poemoje suvokimui.

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Nsiri, Imed. "The Question of Tradition between Eliot and Adūnīs." Journal of Arabic Literature 51, no. 3-4 (August 20, 2020): 215–37. http://dx.doi.org/10.1163/1570064x-12341411.

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Abstract Arguing that the poetic quest is an instance of the modernist movement at crossroads, this article compares poetic quests as represented in the works of T. S. Eliot and ʿAlī Aḥmad Saʿīd, pen-named Adūnīs (Adonis). The article (re-)examines Eliot’s most famous poem The Waste Land and some of Adūnīs’s short poems alongside their respective prose works on literary criticism. I demonstrate how Eliot’s and Adūnīs’s poetic quests are an instance not only of the modernist movement at crossroads, but also of liminality where the modernist poet presents fluctuating images of himself: the poet as a knight that can change the world and, at the same time, as the little man who is blown in the wind. Hence Eliot’s and Adūnīs’s poetic texts are full of paradoxes and are peopled by those that bear within themselves opposites and are capable of everything and nothing. The modernist poet is Eliot’s Tiresias and Adunis’s al-Buhlūl. I illustrate how this instance of liminality is represented in their treatment of the theme of tradition.

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Crane. "Cormac McCarthy's American Waste Land: The Golden Bough, T. S. Eliot, and Mythic Violence in Blood Meridian." Cormac McCarthy Journal 19, no. 1 (2021): 85. http://dx.doi.org/10.5325/cormmccaj.19.1.0085.

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Willimon, William H. "A Peculiarly Christian Account of Sin." Theology Today 50, no. 2 (July 1993): 220–28. http://dx.doi.org/10.1177/004057369305000206.

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“The Church's notion of sin, like that of Israel before it, is peculiar. It is derived, not from speculation about the universal or general state of humanity, but rather from a peculiar, quite specific account of what God is up to in the world. What God is up to is named as covenant, Torah, or, for Christians, Jesus. If we attempt to begin in Genesis, with Adam and Eve and their alleged ‘fall,’ we will be mistaken, as Niebuhr was, in thinking of sin as some innate, indelible glitch in human nature.”April is the cruellest month, breeding Lilacs out of the dead land, mixing Memory and desire, …Winter kept us warm, covering Earth in forgetful snow, …What are the roots that clutch, what branches grow Out of this stony rubbish? Son of man, You cannot say, or guess, for you know only A heap of broken images, where the sun beats, And the dead tree gives no shelter. …T. S. Eliot, The Waste Land, I, 1922

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Dickey, Frances. "May the Record Speak." Twentieth-Century Literature 66, no. 4 (December 1, 2020): 431–62. http://dx.doi.org/10.1215/0041462x-8770684.

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The over one thousand letters from T. S. Eliot to Emily Hale, opened to the public on January 2, 2020, reveal the poet’s emotional and creative dependence on Hale and illuminate the meanings of “Gerontion,” The Waste Land, Ash-Wednesday, “Landscapes,” Murder in the Cathedral, Four Quartets, The Family Reunion, and other works. This article surveys the contents of the long-awaited Eliot letters archived at Princeton University, focusing on Hale’s role in the poet’s personal and imaginative life. In addition to clarifying long-standing questions about their relationship, from their first encounters in Cambridge to their many clandestine meetings across decades, his letters explain personal references in his poems (Hale is the “Hyacinth girl”) and describe “moments” they shared together that he later worked into “Burnt Norton” and “The Dry Salvages.” The record of his letters shows that not marrying Hale fed Eliot’s imagination and inspired some of the most significant passages of his poetry. Eliot’s art reflected his life, but he also shaped his life to follow art, taking Dante’s Vita Nuova as the pattern for a renunciation of worldly love that he also imposed on Hale.

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Gardner, Kevin J. "The Lion in the Waste Land: Fearsome Redemption in the Work of C. S. Lewis, Dorothy L. Sayers, and T. S. Eliot, by Brown, Janice." Religion and the Arts 23, no. 4 (October 10, 2019): 450–51. http://dx.doi.org/10.1163/15685292-02304007.

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Bouzzit, Mbark. "War saved in verse: Politics in Ezra Pounds Canto XVI and T. S. Eliots The Waste Land." African Journal of History and Culture 6, no. 7 (September 30, 2014): 100–105. http://dx.doi.org/10.5897/ajhc2014.0185.

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Wessels, Andries. "Paris as ‘unreal city’: Modernist conceptions in Michiel Heyns’s Invisible Furies." Tydskrif vir Letterkunde 54, no. 1 (March 24, 2017): 96–110. http://dx.doi.org/10.17159/tvl.v.54i1.6.

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Michiel Heyns's sixth novel, Invisible Furies (2012) is deeply inscribed in the author's profound engagement in and knowledge of the grand modernist tradition. The article aims to illuminate and discuss this underrated novel in terms of some of its modernist attributes by relating the work conceptually to the works of great modernist writers, particularly T. S. Eliot and E. M. Forster, in order to demonstrate its impressive literary scope and density of meaning. While there are direct allusions to Eliot's poetry in the text, it is a certain sensibility and perspective that reminds the reader forcibly of Eliot's vision, particularly in The Waste Land (1922) and The Hollow Men (1925). Eliot's image of the "Unreal city", derived from Baudelaire's Les sept veillards, is particularly pertinent. A number of modernist concerns or themes are addressed in this context, in particular the ambiguous merits and value of the aesthetic, social alienation, the city and the concept of Forster's "eternal moment" (his equivalent to Joyce's "epiphany", Virginia Woolf's "moment of being" and Eliot's "moment in and out of time") as a possible means of salvation in the face of the meaninglessness of a spiritu- ally and emotionally arid, modern existence.

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Schöneich, Dinah. "„Ich werde eingetaucht / in vás“? Peter Waterhouses 'Prosperos Land' als Dynamisierung von T.S. Eliots 'The Waste Land'." Interlitteraria 25, no. 2 (December 31, 2020): 507–21. http://dx.doi.org/10.12697/il.2020.25.2.19.

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’Ich werde eingetaucht/in vás’? Peter Waterhouse’s Prosperos Land as Dynamisation of T.S. Eliot’s The Waste Land. The assumption of the existence of well discernible national languages is at odds with the dynamic nature of language. It is part of the so-called “monolingual paradigm” and therefore implies inextricably linking people to their mother tongue, which is in turn tied to one respective ethnicity, culture and nation. However, languages are not always clearly discernible from one another and do not always appear in fixed, static forms. Instead, language is subject to dynamic changes, which are at the same time subject to political interests and language policies. The poems presented in this article exemplify how modern and contemporary poetry can use the conjuncture of multilingualism and ambiguity to create a sense of language dynamics themselves. Their poetics simultaneously question and make use of the assumption of static multilingualism. They unfold political problems from it and awaken in their readers a desire for proactive reading and (language) change. T. S. Eliot’s The Waste Land already problematizes the coexistence of the European languages as a challenge for understanding, suggesting that languages as well as their speakers might be untranslatably shut-off from each other. However, the poem also creates surprising synergistic effects from its multilingualism and ambiguity. This way, it invites its readers to connect and cross over (language) borders in an adaptive and poetic manner, stressing the importance and capability of poetry and learning for intercultural understanding. Prosperos Land by Peter Waterhouse perpetuates and even surpasses this movement. As the ambivalent bilingual, intertextual and ambiguous title suggests, the poem challenges the possibility of linguistic as well as national demarcation from the start. Moving away from strict language borders and rules, the poem highlights the transformative magic of an almost childish exploration of language itself.

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Schöneich, Dinah. "„Ich werde eingetaucht / in vás“? Peter Waterhouses 'Prosperos Land' als Dynamisierung von T.S. Eliots 'The Waste Land'." Interlitteraria 25, no. 2 (December 31, 2020): 507–21. http://dx.doi.org/10.12697/il.2020.25.2.19.

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’Ich werde eingetaucht/in vás’? Peter Waterhouse’s Prosperos Land as Dynamisation of T.S. Eliot’s The Waste Land. The assumption of the existence of well discernible national languages is at odds with the dynamic nature of language. It is part of the so-called “monolingual paradigm” and therefore implies inextricably linking people to their mother tongue, which is in turn tied to one respective ethnicity, culture and nation. However, languages are not always clearly discernible from one another and do not always appear in fixed, static forms. Instead, language is subject to dynamic changes, which are at the same time subject to political interests and language policies. The poems presented in this article exemplify how modern and contemporary poetry can use the conjuncture of multilingualism and ambiguity to create a sense of language dynamics themselves. Their poetics simultaneously question and make use of the assumption of static multilingualism. They unfold political problems from it and awaken in their readers a desire for proactive reading and (language) change. T. S. Eliot’s The Waste Land already problematizes the coexistence of the European languages as a challenge for understanding, suggesting that languages as well as their speakers might be untranslatably shut-off from each other. However, the poem also creates surprising synergistic effects from its multilingualism and ambiguity. This way, it invites its readers to connect and cross over (language) borders in an adaptive and poetic manner, stressing the importance and capability of poetry and learning for intercultural understanding. Prosperos Land by Peter Waterhouse perpetuates and even surpasses this movement. As the ambivalent bilingual, intertextual and ambiguous title suggests, the poem challenges the possibility of linguistic as well as national demarcation from the start. Moving away from strict language borders and rules, the poem highlights the transformative magic of an almost childish exploration of language itself.

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Marudanayagam, P. "T. S. Eliot’s the Waste Land." Explicator 45, no. 1 (October 1986): 45–47. http://dx.doi.org/10.1080/00144940.1986.11483968.

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Ayassrah, Mohamed Ayed Ibrahim, and Mohd Nazri Latiff Azmi. "The Translatability of Metaphor in Eliot’s The Waste Land: A Comparative Approach." English Language and Literature Studies 9, no. 4 (November 14, 2019): 53. http://dx.doi.org/10.5539/ells.v9n4p53.

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There is an obvious gap in studying the translatability of metaphor in modern English poetry, particularly in Eliot’s The Waste Land. Furthermore, it is observed that most previous studies about metaphor are in and for English, and only few ones have tackled the translatability of metaphor into another language. However, the current study aims to explore this phenomenon in Eliot’s The Waste Land and three of its Arabic translations. All metaphors of The Waste Land and its three translations are identified, studied and classified into juxtaposed tables to facilitate the comparative process. Then, an assessment of each translation is made to be compared to the original text and the other translations. This comparison aims at identifying the translatability of metaphor in The Waste Land, the most and least used strategy and how the three translators have dealt with the original text. The study also shows that the three translators could translate most of Eliot’s metaphors into Arabic analogous metaphors; Lu’lu’ah uses this strategy the most and Raghib the least. Furthermore, the strategy of paraphrasing the metaphor is used more than the second one (11 cases). Finally, this study suggests three recommendations for further upcoming studies. The first one is: Conducting a comparative study on using metaphor in the spoken languages or dialects of two different societies (the Jordanian and British, for instance). The second is: Exploring this phenomenon in students’ everyday language; and the third is: Investigating the ability of English language students in rendering metaphor from English into Arabic.

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이종철. "The “Inviolable Voice”: T. S. Eliot’sThe Waste Land." New Korean Journal of English Lnaguage & Literature 55, no. 1 (February 2013): 115–41. http://dx.doi.org/10.25151/nkje.2013.55.1.006.

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Ovlad, F. "Mythological Themes in T. S. Eliot's The Waste Land." Critique of foreign language and literature 16, no. 23 (March 21, 2019): 63–92. http://dx.doi.org/10.29252/clls.16.23.63.

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Elahi, Eyesha. "The Abject in T. S. Eliot’s The Waste Land." Netsol: New Trends in Social and Liberal Sciences 6, no. 1 (May 28, 2021): 24–33. http://dx.doi.org/10.24819/netsol2021.02.

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T. S. Eliot’s monumental poem, The Waste Land, discusses hopelessness and desolation and shuns them at every turn. The speakers spurn it and despair at the desolate state of humankind and society. This paper aims to read T. S. Eliot’s The Waste Land in light of Julia Kristeva’s theory of abjection and Jacques Lacan’s notion of jouissance. The main claim is that despite the apparent horror of desolation, the more the poem tries to repel desolation, the more it cannot help but repeatedly allude to it, as if unwillingly drawn to it, so that death and desolation are not the subject, nor are they the object, but rather the abject of the poem. The sections of the poem I feel are most relevant for such an analysis are “The Burial of the Dead” (lines 1-30) and “What the Thunder Said” (lines 322-375).

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Sunghyun, KIM. "The Saturn Myth in T. S. Eliot’s The Waste Land." Journal of the T. S. Eliot Society of Korea 28, no. 2 (August 31, 2018): 1–24. http://dx.doi.org/10.14364/t.s.eliot.2018.28.2.1-24.

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Costello, Virginia. "Limiting the Maternal in T. S. Eliot's The Waste Land." Studies in Practical Philosophy 5, no. 1 (2005): 26–40. http://dx.doi.org/10.5840/studpracphil2005517.

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Womack, J. "Sully Prudhomme's 'Juin' in T. S. Eliot's The Waste Land." Notes and Queries 56, no. 3 (August 24, 2009): 416–17. http://dx.doi.org/10.1093/notesj/gjp140.

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Helm, Thomas E. "Hermeneutics of Time in T. S. Eliot's "The Waste Land"." Journal of Religion 65, no. 2 (April 1985): 208–24. http://dx.doi.org/10.1086/487225.

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ROGERS, LYNNE. "The Remains of 'The Waste Land': T. S. Eliot's 'The Waste Land' and Ahmad Harb's The Remains." Critique: Critical Middle Eastern Studies 12, no. 1 (March 2003): 5–24. http://dx.doi.org/10.1080/1066992032000064165.

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Kim, Sung-Hyun. "The Representations of Boredom in T. S. Eliot’s The Waste Land." Journal of the T. S. Eliot Society of Korea 23, no. 1 (June 30, 2013): 175–95. http://dx.doi.org/10.14364/t.s.eliot.2013.23.1.175-195.

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Dzelzainis, M. "T. S. Eliot's The Waste Land and the Other Margate Sands." Notes and Queries 61, no. 4 (November 7, 2014): 590–91. http://dx.doi.org/10.1093/notesj/gju141.

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Reesi Sistani, Roohollah, and Wan Roselezam Wan Yahya. "Internal Anxieties and Conflicts in T. S. Eliot’s “The Waste Land”." International Journal of the Humanities: Annual Review 8, no. 8 (2010): 127–42. http://dx.doi.org/10.18848/1447-9508/cgp/v08i08/42994.

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Farrow, Stephen. "T. S. Eliot's communicational scepticism: A Wittgensteinian reading of The Waste Land." Language & Communication 16, no. 2 (April 1996): 107–15. http://dx.doi.org/10.1016/0271-5309(96)00002-x.

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김혜연. "“Self-Begotten” Satan and Broken Images in The Waste Land: T. S. Eliot’s The Waste Land and Milton’s Paradise Lost." Journal of English Language and Literature 58, no. 3 (June 2012): 475–90. http://dx.doi.org/10.15794/jell.2012.58.3.006.

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Brisbois, M. "Voices Out of a Barren Land: An Approach to Teaching T. S. Eliot's The Waste Land." Pedagogy Critical Approaches to Teaching Literature Language Composition and Culture 13, no. 3 (September 9, 2013): 537–44. http://dx.doi.org/10.1215/15314200-2266441.

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Asciuto, Nicoletta. "The Sun Also Sets: The Violet Hour in T. S. Eliot’sThe Waste Land." Literary Imagination 18, no. 2 (April 15, 2016): 150–65. http://dx.doi.org/10.1093/litimag/imw011.

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Suarez, Juan Antonio. "T. S. Eliot's The Waste Land, the Gramophone, and the Modernist Discourse Network." New Literary History 32, no. 3 (2001): 747–68. http://dx.doi.org/10.1353/nlh.2001.0048.

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Fuchs, Dieter. "‘MYTH TODAY’: The Bavarian-Austrian Subtext of T. S. Eliot's The Waste Land." Poetica 44, no. 3-4 (November 21, 2012): 379–93. http://dx.doi.org/10.1163/25890530-044-02-90000008.

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Diaper, Jeremy. "Ill Fares the Land: The Literary Influences and Agricultural Poetics of the Organic Husbandry Movement in the 1930s–50s." Literature & History 27, no. 2 (August 12, 2018): 167–88. http://dx.doi.org/10.1177/0306197318792355.

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Abstract:

A number of well-known poets and literary writers were drawn towards the ideas of the organic husbandry movement in the 1930s–50s, including T. S. Eliot, John Middleton Murry and H. J. Massingham. This article explores the literary influences in the seminal organic texts of the period and examines the important role which poetry played in the formulation of key organic concepts and the dissemination of the organic cause. It concludes that a consideration of literature and poetry should play a pivotal role in our understanding of the development of the organic movement.

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Journal articles on the topic 'Eliot t.s. – the waste land'

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