Dissertations / Theses on the topic 'Waste land (Eliot, T.S.)'

Thesis (B.A.)--Boston University. University Professors Program Senior theses.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you.
2031-01-01

Thesis (M.A.)--Kutztown University of Pennsylvania, 2002.
Source: Masters Abstracts International, Volume: 45-06, page: 2842. Typescript. Abstract precedes thesis as preliminary leaves 1-2. Includes bibliographical references (leaves 81-86).

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This work aims at analysing the Anglo-American poet and essayist Thomas Stearns Eliot s use of intertextuality in his poem The Waste Land, published in 1922.Our analysis focuses on myth and its function within the poem. We have chosen four myths, three of them Pagan (Sibila, Tiresias and The Fisher King) and one Christian (The Holy Grail). The latter has a deep relationship to The Fisher King myth. We will mention theoretical concepts referring to intertextuality and myth and will present a survey of the poem as a whole. We will also report form briefly on the political-social situation of Europe at the time in which the poem was written, and the poet s main achievements in his career. Our next focus will be the analysis of the above mentioned myths as well as their function and relevance within the context of the poem.
O presente trabalho tem por objetivo analisar a intertextualidade no poema The Waste Land, do poeta e ensaísta anglo-americano Thomas Stearns Eliot, publicado em 1922. Focaliza o mito e sua função dentro do poema. Foram escolhidos particularmente quatro mitos, três pagãos (Sibila, Tirésias e Rei Pescador) e um cristão (Santo Graal), sendo que este último tem uma relação estreita com o mito do Rei Pescador. Examinar-se-ão postulados teóricos sobre o mito, a intertextualidade e a situação político-social da Europa, na época em que Eliot compôs o poema, bem como da trajetória do poeta.

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.

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 1950
Connecting 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

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 1950
Connecting 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

This thesis explores the generic affiliations ofT. S. Eliot's The Waste Land, investigating the logic of the text's fragmentary aesthetics, while also highlighting the political ends met by literary genres. Eliot's avant-garde experimentation with genres.i.n The Waste Land makes the. poem generica.1ly obscure. Yet the key to the text's generic.. rationale could be its very fragmentariness. The building blocks ofthe historical . romance can be sought in the poem's fnigmentary passages, while a tendency to 'exceed' temporal and aesthetic boundaries makes it a 'post-modem romance'. The text also parodies certain elements of romance; used in its post-modem sense, the technique of 'parody' connotes a stylistic confrontation with the past - one that establishes a dialogUe with the historical 'other' - and challenging its intimidating legacy, re-writes the present in a self-reflexive enterprise. Echoes ofromance are then 'historicized' to map the poem's 'political unconscious', as the scattered, irrepressible corpses throughout the poem's psychological landscape embody the aftermath of a destructive' war, hinting at the relationship between literary form and the socio-'political milieu. .':fragmentation as incarnated in the poem's proliferating mini-narratives thus' becomes an anticipation ofthe eclipse ofmeta-narrative inthe 'post-modem condition'. A structuralist perspective also allows establishing the poem's affinities with Menippean satire, the genre through which the logic of carnival is transmitted to literature. The notion of 'carnival' is used as. an analytic metaphor for examining the implications of . the premeditated suspension ofgeneric hierarchies in the poem: The carnivalesque also proves a useful cultural analytic for mapping domains of 'transgression' in Eliot's theory and practice. Constantly undermining the 'law ofgenre', the text also encapsulates the ultimate non-fixity of generic boundaries. The. thesis takes literary genres beyond their traditional role as taxonomic categories, and demonstrates their communicative value as a means ofpolitical representation.

碩士
靜宜大學
英語學系
86
My theis is to investigate the modern human psyche in T. S. Eliot''s The Waste Land. He uses the Tarot cards, sex, and ancient myth as the centeral theme in his poem to reflect the degradation of the modern humanity, and to demonstrate the despair, the fear, and the anxiety of human beings. It Beems as if human beings live in the purgatory as Dante describes, so they suffer the torment of spiritual emptiness. Eliot has the intention of accusing the modern result from their civilization. He thinks that human beings'' suffering disbelief in God. In The Waste Land, there is an expectation of resurrection. Eliot ends "The Fire Sermon" of the poem with Sanskirt words, expecting the wisdom of Indian Philosophy to help human beings find the value of religion. This is the only way to convert the modern world into "the Promised Land" as the Bible says. Eliot has a strong belief that human beings'' salvation is not dependent on any particular religion, but on the sel-awareness. Human beings can be reborn from the ashes only by persisting in this idea.In the first chapter, I introduce the composing process of The Waste Land and Eliot''s invention applied to the poetics. The second chapter explains the contents and the history of the Tarot cards, which project Jung''s "the collective unconscious." With the help of the cards, Eliot opens the gate to human beings''inner world, demonstrating the darkness of humanity.The fourth chapter leads the readers to the origin of sex. In the primitive culture, sex is not only an initiation ceremony, but also the symbol of vitality and the sacred ritual of fertility myth. The fifth chapter concludes the viewpoints as mentioned above in the hope that the readerswill ponder over the meaning of civilization.

碩士
淡江大學
西班牙語文學系碩士班
103
Octavio Paz (1914-1998) was a Mexican diplomat, poet and writer. Octavio Paz wrote prolifically during his lifetime, publishing frequently. Over the course of his long career, Paz was awarded the Nobel Prize in Literature, Cervantes Prize, Mexican National Literature Prize and many literary awards. One of his great poems called Piedra de sol (Sun stone) is a peculiar perspective from his ancestral Aztec culture. It takes as its structural basis the circular Aztec calendar, which measured the synodic period of the planet Venus (584 days, which is known as the number of lines of Sunstone). This poem is considered an exploration of time and memory upon some important historical events. On the other hand, the other poet that we will talk about is T. S. Eliot (1888-1965). He is not only one of the most important poets of the twentieth century, but also as literary critic and commentator on culture and society. His writing continues to be profoundly influential. Some of his literary critics and poems have a certain influence on Octavio Paz writing; therefore, this is also the main reason why I have chosen these two important poets of twentieth century to investigate. This thesis is basically a comparative analysis upon T. S. Eliot’s The Waste Land and Octavio Paz’s Piedra de sol (Sun stone), based on a semiotic study which is offered by the Bulgarian literary critic Julia Kristeva. In order to have a more precise interpretation, I divided this thesis in three stages according to Kristeva’s semiotics, that is, the 1st stage: the signs, the 2nd stage: genotext (which is considered signifier) and last but not least, the 3rd stage: phenotext (which is viewed as signified). By this systematical analysis, we shall see better and deeper the panorama of T. S. Eliot’s The Waste Land and Octavio Paz’s Piedra de sol (Sun Stone).

碩士
國立中山大學
外國語文學系
81
Although T. S. Eliot is regarded as a most distinguished Christian poet, yet his religious thought was not always Christian. His poetry, as well as his thought, has been profoundly influenced by unorthodox as well as orthodox Christian doctrine. Born in a Unitarian family, Eliot had an obscure notion of Christ, for Unitarians do not believe in the divinity of Christ and, thus, deny the doctrine of the Trinity. Therefore, the Incarnation and the Resurrection were disputable to Eliot. Yet with his conversion to the Church of England in 1927, Eliot underwent in his life a drastic change brought about by his new Christian faith. Accordingly, this thesis explores the impact of Eliot's new faith on his poetry.@ 　 The first chapter sketches the background of Eliot's religion and poetry and the definition of Christianity used in this thesis. Chapter Two discusses Eliot's pre-conversion poetry. The Waste Land (1922) documents his pre-Christian, and even anti-Christian, thought. Chapter Three examines the years around his religious conversion. Ash Wednesday (1930),in contrast to "The Hollow Men"(1925), shows the immediate and conspicuous impact of God thus becomes prevalent in his poetry. Chapter Four specifically deals with Four Quartets, the culmination of Eliot's poetry, which represents the relationship between time and slvation. This thesis then concludes with the prophetic role Eliot played in defense of culture as well as the Christian faith. All chapters are arranged biographically and chronologically.