Journal articles: 'The waste land (Eliot)'

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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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Hawlin, Stefan. "Eliot Reads "The Waste Land": Text and Recording." Modern Language Review 87, no. 3 (July 1992): 545. http://dx.doi.org/10.2307/3732918.

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Banerjee, A. "Young Eliot: From St Louis toThe Waste Land." English Studies 97, no. 5 (May 31, 2016): 573–75. http://dx.doi.org/10.1080/0013838x.2016.1175232.

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Rainey, Lawrence S. "Eliot Among the Typists: Writing The Waste Land." Modernism/modernity 12, no. 1 (2005): 27–84. http://dx.doi.org/10.1353/mod.2005.0049.

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Ayassrah, Mohamed Ayed Ibrahim, and Ali Odeh Alidmat. "Metaphor as a Means of Pessimism in English Poetry." International Journal of English Linguistics 7, no. 5 (July 27, 2017): 135. http://dx.doi.org/10.5539/ijel.v7n5p135.

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The present study attempts to investigate using metaphor as a powerful tool of pessimism in poetic texts with special emphasis on T.S Eliot’s Waste Land. Eliot’s Waste Land which is heavily pregnant of metaphors is a great epic poetic story summarizes the gloomy circumstances of the European life after the World War I where a complexity of sad feelings dominates the whole five parts of the poem. Eliot vividly used metaphor as an effective means in transferring the real degradation of the European life after the Great War.This study includes an introduction, significance of the study, choosing the metaphorical pessimistic expressions in Eliot’s Waste Land, questions of the study, objectives of the study, methodology, what is metaphor? functions of metaphor, what is pessimism? The Waste Land, Eliot’s life, why was Eliot pessimist in his great Waste Land? the analysis session, the answers of the study questions and the references.

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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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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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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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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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Barber, Stephen. "Charles Williams and T.S. Eliot: Friends and Rivals." Journal of Inklings Studies 9, no. 1 (April 2019): 1–18. http://dx.doi.org/10.3366/ink.2019.0024.

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Williams and Eliot were close in age and both worked in publishing as well having careers as poets and freelance writers. However, their backgrounds were very different: Williams came from humble origins and was not able to complete a university degree, whereas Eliot at first seemed to set to become an academic philosopher. They first met in the early 1930s, by which time Williams had been both confused and influenced by The Waste Land. Eliot started to read Williams's novels and was in turn greatly influenced by them. They became increasingly close until Williams's death in 1945. Eliot showed the greatest influence of Williams in his 1949 play The Cocktail Party. Their Christian sensibility had some important features in common and, in the end, Williams's concept of the Affirmative Way became a great influence on Eliot.

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Roque, Maura Voltarelli. "A dialética da ninfa em The Waste Land, de T.S. Eliot." Revista Cerrados 27, no. 46 (November 26, 2018): 202–20. http://dx.doi.org/10.26512/cerrados.v27i46.19638.

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Neste artigo, refletimos sobre algumas questões relacionadas à figura da Ninfa, tal como pensada pelo historiador da arte alemão Aby Warburg, tomando como ponto de partida a sua complexidade enquanto imagem de natureza dialética que insiste em aparecer, como um sintoma que resiste e sobrevive, chegando até a modernidade e o contemporâneo, sendo capaz de ainda provocar fascínio e perturbação, de continuamente gerar novos sentidos e significados. A partir de uma reflexão sobre a imagem da Ninfa na modernidade, buscamos pensar as aparições dessa figura feminina em movimento no poema “The Waste Land”, de T.S. Eliot.

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이철희. "“Gerontion” and The Waste Land: Why Did Eliot Intend to Make “Gerontion” a Preface to The Waste Land?" Journal of English Language and Literature 55, no. 2 (June 2009): 359–82. http://dx.doi.org/10.15794/jell.2009.55.2.007.

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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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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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Callison, Jamie. "Robert Crawford, Young Eliot: From St. Louis to The Waste Land." Christianity & Literature 65, no. 2 (February 12, 2016): 257–59. http://dx.doi.org/10.1177/0148333115614505.

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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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Birzer, Brad. "Young Eliot: From St. Louis to The Waste Land by Robert Crawford." Middle West Review 4, no. 2 (2018): 117–19. http://dx.doi.org/10.1353/mwr.2018.0032.

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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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McCue, J. "Did Eliot Mis-ascribe the 'water-dripping song' in The Waste Land?" Notes and Queries 61, no. 1 (February 8, 2014): 118–19. http://dx.doi.org/10.1093/notesj/gjt254.

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McDonald, Gail. "Young Eliot: From St. Louis to “The Waste Land,”by Robert Crawford." Twentieth-Century Literature 62, no. 1 (March 2016): 104–9. http://dx.doi.org/10.1215/0041462x-3485104.

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Frantz, Joey. "Young Eliot: From St. Louis to The Waste Land by Robert Crawford." Hopkins Review 9, no. 1 (2016): 136–38. http://dx.doi.org/10.1353/thr.2016.0028.

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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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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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Stillman, Anne. "ELIOT’S BEGINNINGSYoung Eliot: From St Louis to ‘The Waste Land’. By Robert Crawford." Essays in Criticism 67, no. 2 (April 2017): 217–28. http://dx.doi.org/10.1093/escrit/cgx003.

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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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Grecca, Gabriela Bruschini, and Marisa Corrêa Silva. "Uma releitura de "The Waste Land" sob o viés do Materialismo Lacaniano." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 1 (February 1, 2019): 53–70. http://dx.doi.org/10.5007/2175-8026.2019v72n1p53.

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This article aims to reflect on some aspects of the poem The Waste Land (1922), by T.S. Eliot, rethinking the poem's movement of equating modernity with a phantasmagoric and unreal dimension, from which it would be possible to escape by reaching an incorruptible sphere of being. However, it is necessary to inquire which tensions are present in the imaginary representations of the poem that conflict with the latent desire of transcendence, making this desire, in the course of the poem, lead, in the words of Slavoj Žižek (2013, p.26), to a sensation of “metaphysical malaise”, and not to a redemptive perspective. Thus, the Lacanian Materialism via Žižek, a Slovenian philosopher who writes in the scope of Political Theory, Film Criticism, Psychoanalysis and Cultural Studies, becomes essential for the possibility of detecting a deeper movement in the dynamics of the poem.

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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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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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Jaafar, Eman Adil. "Poetic Language and the Computer: A Corpus Stylistic Study of The Waste Land." International Journal of Language and Literary Studies 3, no. 1 (March 30, 2021): 230–39. http://dx.doi.org/10.36892/ijlls.v3i1.525.

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This study aims at proposing a methodology in analyzing one of the significant poems of the twentieth century, The Waste Land by T.S. Eliot. By means of applying the tools of the computer, namely; Wmatrix (Rayson 2003, 2008) and WebCorp Live (Birmingham City University). This paper seeks to examine whether corpus stylistics can be helpful in analyzing a single poem 2. Verifying the importance of corpus tools in interpreting poetic language. Moreover, this study attempts to examine key semantic domains, keywords, and concordances in the poem. This study proves that corpus tools are crucial in matters of saving time, reaching to accurate results and achieving much more objectivity than applying only the qualitative method in analyzing the data. Thus, it is recommended to integrate both methodologies (qualitative and quantitative) in the study of poetic language.

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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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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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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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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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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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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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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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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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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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Woolf, Judith. "Intertextuality, Christianity and Death: Major Themes in the Poetry of Stevie Smith." Humanities 8, no. 4 (November 1, 2019): 174. http://dx.doi.org/10.3390/h8040174.

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Stevie Smith, one of the most productive of twentieth-century poets, is too often remembered simply as the coiner of the four-word punch line of a single short poem. This paper argues that her claim to be seen as a great writer depends on the major themes which—in addition to “death by water”—she shares with T.S. Eliot: Anglicanism and the modern reworking of classical literature, with a strong, and in her case sometimes autobiographical, emphasis on female protagonists. Where the female figures in Eliot’s The Waste Land are seen as parodic and diminished contemporary versions of their classical originals, Smith enters and reimagines her classical sources, testing the strength of the narrative material which binds Phèdre, Antigone, Persephone and Helen of Troy to their fates. In contrast to Eliot’s adult conversion to Anglo-Catholicism, Smith became a convert to agnosticism, engaging in a passionate poetic argument with the faith of her childhood, which led her to challenge Eliot himself. She brings both of these themes together in the most personal of her poems, which celebrate, and ultimately invoke, Thanatos, “the only god/Who comes as a servant”, and who puts a merciful end to all stories by “scattering... the human pattern altogether”.

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Gold, Matthew K. "The Expert Hand and the Obedient Heart: Dr. Vittoz, T.S. Eliot, and the Therapeutic Possibilities of The Waste Land." Journal of Modern Literature 23, no. 3 (2000): 519–33. http://dx.doi.org/10.1353/jml.2000.0007.

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Herrero-Senés, Juan. "Ángel Flores, agente doble del cosmopolitismo transatlántico." Revista de literatura 81, no. 161 (June 27, 2019): 207. http://dx.doi.org/10.3989/revliteratura.2019.01.009.

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Este ensayo estudia la primera fase de la trayectoria del traductor y crítico literario puertorriqueño Ángel Flores, desde sus inicios hasta la Segunda Guerra Mundial. En esos años, Flores lleva a cabo una intensa campaña de difusión en Estados Unidos de los nuevos valores de la literatura europea, y particularmente española, a través de traducciones, antologías, publicaciones periódicas y contactos con escritores españoles. A la vez, Flores se convierte en una pieza importante en la expansión de la literatura norteamericana en España gracias sobre todo a su traducción de The Waste Land de T.S. Eliot. Se señalan sus principales aportaciones y se estudia de qué manera las preferencias estéticas del crítico fueron modificándose dando un giro hacia la literatura comprometida que permite explicar su interés posterior por las letras latinoamericanas.

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Haque, Nazmul, and Fahmida Pervin. "A Qualitative Analysis of the Poem “The Waste Land” to Investigate Spiritual Sterility, Moral Degradation of the Post-war Modern People and the Path of Salvation." Advances in Language and Literary Studies 10, no. 5 (October 30, 2019): 77. http://dx.doi.org/10.7575/aiac.alls.v.10n.5p.77.

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This paper’s overriding concern is to analyze the moral degradation, spiritual sterility, fragmentation, damaged psyche of humanity, the disillusionment of early twentieth-century post-war modern Europe and of course the path of salvation that are enormously manifest in the Thomas Stearns Eliot’s poem ‘The Waste Land’. In the question of regeneration or salvation, Eliot in this poem instructs the morally and spiritually sterile modern man to follow the Indian philosophy, Vedas and Upanishads, the storehouse of knowledge, relief, and source of spiritualism, redemption and salvation. And also he concludes the poem with the sense that if they practise them in their life as instructed, there will be nothing but Shantih, shantih, shantih (peace and tranquility) in their life. This paper thus attempts to dissect how the poem develops exerting the acute sense of spiritual infertility, moral degradation, sexual perversion, meaninglessness in the human relationship of the post-war-devastated and dysfunctional world and concludes with the instruction of the path of salvation.

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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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Brown, Stephen. "Brands on a wet, black bough: marketing the masterworks of modernism." Arts and the Market 5, no. 1 (May 5, 2015): 5–24. http://dx.doi.org/10.1108/am-05-2014-0017.

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Purpose – In a world where commerce and culture are still somewhat estranged, the purpose of this paper is to show that high culture’s supreme exponents were commercially minded masters of marketing. Design/methodology/approach – Historically situated, the paper adopts a biographical approach to the making of modernism’s literary masterworks. It focuses on Ezra Pound, T.S. Eliot and James Joyce, who were responsible for the modernist classics, Ulysses and The Waste Land. Findings – The analysis identifies five fundamental marketing principles that appear paradoxical from a traditional, customer-centric standpoint, yet are in accord with latter-day, post-Kotlerite conceptualisations. The marketing of modernism did not rely on “modern” marketing. Practical implications – If, at the height of the anti-bourgeois modernist movement, the “great divide” between elite and popular culture was bridged by marketing, there is no reason why contemporary culture and commerce cannot collaborate, co-operate, co-exist, coalesce. Originality/value – The paper complements prior studies of “painterpreneurs”, by drawing attention to the marketing of literary masterworks.

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Gervais, Bertrand. "Les terres dévastées de Pierre Yergeau." Études 32, no. 1 (April 17, 2007): 117–32. http://dx.doi.org/10.7202/014708ar.

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Résumé Dans cet article, l’auteur examine l’esthétique des sphères parallèles présente dans les romans du cycle de la ville-île de Pierre Yergeau et, afin d’en décrire les principales composantes, il commence par s’arrêter sur le roman intitulé 1999. L’attention se porte sur le personnage de Charles Hoffen, témoin par excellence de la logique de l’interruption sous-jacente à cette esthétique. L’hypothèse soutenue est qu’un récit brisé ne peut que mettre en scène des personnages détraqués, et que Charles en est l’exemple par excellence. Cette perspective s’élargit ensuite pour montrer, dans un premier temps, le système de communication implicite qui réunit les divers textes du cycle de la ville-île. Dans un deuxième et dernier temps, l’auteur étudie les relations entre ce cycle et l’un de ses hypotextes, le poème moderniste de T.S. Eliot, The Waste Land. On verra que la terre dévastée n’est pas qu’un thème chez Yergeau, mais un intertexte aux ramifications étonnantes.

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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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Tandy, Gary L. "Janice Brown, The Lion in the Waste Land: Fearsome Redemption in the Work of C.S. Lewis, Dorothy L. Sayers, and T.S. Eliot." Journal of Inklings Studies 10, no. 1 (April 2020): 75–78. http://dx.doi.org/10.3366/ink.2020.0065.

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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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Abstract:

’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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Journal articles on the topic 'The waste land (Eliot)'

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