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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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Radulović, Mladen. "Intertextuality of the waste land by T. S. Eliot." Reci Beograd 12, no. 14 (2021): 126–47. http://dx.doi.org/10.5937/reci2114126r.
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This paper presents an analysis of the poetic text of The Waste Land by T.S. Eliot through the empirical application of theoretical concepts of intertextuality, derived from the intertextual semiotic theory of poetry by Michael (Michel) Riffaterre. In the first part of this paper, we sought to provide a reliable framework for the theoretical definition of intertextuality, starting with the introduction of the neologism of intertextuality by Julia Kristeva, through the concept of general intertextuality considered in the light of postmodern poststructuralist and deconstructive theory of Roland Barthes and Jacques Derrida, to consideration of the concept of specific intertextuality limited to the domain of literature within Riffaterre's intertextual semiotics of poetry. In the second part of the paper, we tried to apply on the poetic text of The Waste Land some of the basic theoretical postulates of Riffaterre's understanding of intertextuality, which include a referential interpretation of the text aimed at the reader on the basis of hermeneutic phenomenology that leads the interpretation of a literary poetic text to a specific meaning. When approaching the analysis of the poetic text of The Waste Land, we based our analysis on the premise set by Cleanth Brooks. More precisely, we focused on the central axis of the poetic meaning of the poem, according to which the Christian material is at the center, but the poet never deals with it directly. Therefore, Brooks' initial premise led our interpretation of the poetic text towards the recognition of adequate biblical hypograms as variants of the hidden matrix of the text, where we noticed ungrammaticalities as stylistic and semantic anomalies in relation to the initially established negative idiolect of the text on the mimetic level of interpretation, and then, by moving to the semiotic level of interpretation, we connected the observed grammaticalities through the biblical intertext with the unique intertextual structure of the poem and the matrix that represents the reduced poetic meaning of the poem. Thus, grammaticalities as deviations from the real became poetic signs that make the descriptive poetic text of The Waste Land, in which symbolic discourse is literarily dominant and, in accordance with the assumed matrix, profoundly religious. Thanks to the analysis of the deep semantic-verbal structure of the text, we realized that hypograms were recognized with the help of the polarization process, a variant of the matrix that spreads the poetic meaning to equivalent lexical-grammatical elements of the text, forming a common intertextual network. At the very end of this paper, it is important to emphasize that this analysis of the poetic text of The Waste Land was formed on the basis of a reader's sociolect based on the views of the Christian faith. Therefore, if there were no divine protagonist as the subject of our presumed variant of the matrix, then the presumed deep structure of this poem by T.S. Eliot would be unconvincing. However, the possible bias expressed through the influence of the Christian sociolect in this type of analysis of the poetic text is not a consequence of an arbitrary act of the reader, but it is derived from the receptivity of the poetic text of the poem The Waste Land for empirical application of Riffaterre's semiotic principles of intertextual theory of poetry, which brought the religious-metaphysical meaning of the poem to the surface beneath the layers of referential delusions.
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Singh, Ravindra Kumar. "T. S. Eliot and Eastern Spirituality." Journal for Research in Applied Sciences and Biotechnology 2, no. 1 (March 15, 2023): 220–25. http://dx.doi.org/10.55544/jrasb.2.1.32.
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Eliot's lifestyle exemplifies his religion. The community that the book provides enables not just Eliot to gratify his own aspirations but also enables others to arrive at similar realizations and locate their place. The work is the culmination of Eliot's lengthy quest for structure and wonder in literature. In spite of Eliot's assertion that the letter in question is neither a manifesto nor a plea to society, its contents suggest otherwise. This work is a reflection of his quest to comprehend the inexplicable as well as his transition from Eastern philosophy, which he explored in The Waste Land and Four Quartets, to Western Christianity, which he adhered to until the very end of his life. The world we live in today is ethically bankrupt, and as a result, the physical takes precedence over the spiritual. The end outcome is a psychological imbalance, a crisis, and decadence. The contemporary surroundings of the waste landers and their unthinking dedication to want, which they believe will fill the gap in their psyches, are the root causes of the spiritual conflict that they face. The poet is looking for psychological coherence. The progression from "The Burial of the Dead" to "What the Thunder Said" alludes to the idea of an individual's eventual salvation from within. The ending of "The Waste Land" ushers in a new way of being in the world. Religion helps the contemporary man find transcendence, inner quiet, and coherence in a time when science, atheism, and sexual liberation are the prevailing worldviews. Religion has the power to ease the suffering of the person and unite his fragmented self into a unified and harmonious whole. Eliot looks to several religious practices for comfort. The idea of travel plays a significant role throughout Eliot's poem. When seen through the lens of an individual's pursuit of psychological and spiritual wholeness, the poem demonstrates forward movement.
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Biswas, Nabanita. "Shantih shantih shantih T. S. Eliot’s The Waste Land and South Asian Perceptions." BL College Journal 5, no. 2 (December 2023): 92–100. http://dx.doi.org/10.62106/blc2023v5i2e9.
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One of the most important literary figures of the twentieth century, T.S. Eliot, lived in a time marked by not just two terrible and dreadful world wars but also by fast mechanization, industrialization, urbanization, and, certainly, mass consumerism. Eliot was a dedicated student of philosophy who showed a particularly keen interest in the Eastern belief system. This study will attempt to examine T. S. Eliot’s epoch-making poem ‘The Waste Land’ and its connection with South Asian culture and ideology. In order to understand the crises of post-war modern European civilization, reflected in the poem as spiritual decline, treachery, deception, and skepticism, Eliot drew upon certain sources that could counter the wisdom of the West. Eliot along with his poetic vision as well as sensibility manifests in the Bhagwad Gita, Upanishads, Vedas, Patanjali’s Sutras, Buddhism, and so forth. East, for Eliot, is a glimmer of hope for a world afflicted by its own spiritual problems. The influence of South Asian perception can be identified throughout the poem. The paper will attempt to foreground that the cultural integration of the East and the West has been addressed in a secular spirit rather than being in conflict.
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Ushakova, Olga M. "Alexander Blok’s Motifs in T. S. Eliot’s ‘The Waste Land’." Вестник Пермского университета. Российская и зарубежная филология 14, no. 4 (2022): 115–25. http://dx.doi.org/10.17072/2073-6681-2022-4-115-125.
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One of the notable trends in contemporary T. S. Eliot studies is the comparative study of Eliot’s works from various perspectives (influence, interaction, typology, contexts, etc.). The methodological principles of this research are determined by the orientation of comparative studies toward the typological study of literary phenomena. The paper deals with the parallels between two most important poetic texts of the 20th century: The Twelve by A. A. Blok (1918) and The Waste Land by T. S. Eliot (1922). The texts under study belong to the same cultural period and are united by similar artistic principles and vision of the world. The purpose of this paper is to reveal the points of intersection of two poetic universes in one research space. Both poets were the witnesses of colossal civilization collapses: the Great War and the Russian Revolution. Both poets had a ‘sense of history’, which made it possible for them to foresee and depict the Decline of Europe in poetic form, to convey the ‘noise of time’ in all its polyphony of meanings and rhythms. The authors of both poems went similar aesthetic trajectories, which can be designated as the way ‘from symbolism to modernism’. Both Blok and Eliot were poets-playwrights, creators of their own theories of poetic drama, hence the dramatic plot and many colorful characters in The Twelve and The Waste Land. In their post-war poems, both poets created the language of the modern city, using its rhythms, experimented with poetic form. The paper reveals and analyzes a number of similar motifs in The Twelve and The Waste Land: an apocalyptic vision of modernity, West and East, Eros and Thanatos.
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Rani, Neelam. "A Flight from Personal to Universal T. S. Eliot’s The Waste Land." BL College Journal 5, no. 2 (December 2023): 46–53. http://dx.doi.org/10.62106/blc2023v5i2e4.
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T. S. Eliot’s ‘The Waste Land’, a multifaceted piece of art has five parts comprising 433 lines which not only throws light on the mechanical, immoral, and untraditional life of the wastelanders but also suggests the way to salvation. Eliot started spewing quotes like a mentally disturbed person and created a very lengthy work. This original draft was edited by Ezra Pound who has cut almost half the portion of this social document. It is worthwhile to search how Eliot presents the real picture of modern society through these personal sufferings. Interestingly, Eliot with the help of Ezra Pound universalizes his pains and agonies through references, allusions, and quotes from the past. In reality, the first three sections of this long poem spotlight human miseries due to a lack of moral and spiritual values. Surprisingly, these tribulations are still prevalent in society even after 100 years of the publication of this masterpiece of Eliot. At the same time, the valuable suggestions from the last two parts especially the last are relevant in the present scenario also. It is worth mentioning that even today after a century, Eliot’s views of self-purification and self-discipline are noticeable as they can lead to a good moral society if each individual purifies and disciplines himself. In other words, the present paper is an attempt to draw that the study of the past can derive a solution for a better future for the whole world including every individual.
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Phuyal, Komal Prasad. "Chromatic Symbolism in T. S. Eliot’s The Waste Land." BL College Journal 5, no. 2 (December 2023): 07–16. http://dx.doi.org/10.62106/blc2023v5i2e1.
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T. S. Eliot (1888-1965) employs colors to depict various shades of emotions of the post-World War I in Europe in his ‘The Waste Land’ (1922). On the one hand, the poetic treatment of colors indicates the plight of the world; on the other, the colors embody the myths of the ancient world and help deepen the meaning of the text. The poetic genius employs Tiresias as the persona who can travel through time and space bringing together different hues of the world into a single collage. Eliot’s choice of color reveals to the modern audience the deeper schema that he builds to represent the devastated state of Europe after World War I. Having lived the life of both a woman and a man, the protagonist has been blessed with the power to foresee things despite his blindness. The seer weaves a garland of colors in ‘The Waste Land’ to represent the damage the War had in the soul of the people, in the value system of the society, and in the changing socio-political reality of the time. In this paper, I contend that Eliot uses color symbolism in the poem to enforce the modernist ethos of the fragmented world where the lynchpins are missing. Through close reading of the text, I analyse the language to arrive at the conclusion that Eliot’s use of colors reveals a whole, new spectrum of meanings.
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Anuradha, S., and L. M. Swarnalatha. "The Search for Salvation through T. S. Eliot’s The Waste Land." BL College Journal 5, no. 2 (December 2023): 115–25. http://dx.doi.org/10.62106/blc2023v5i2e12.
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T. S. Eliot’s poem ‘The Waste Land’ delves into the theme of self-reflexivity, portraying the lives of individuals alienated and isolated due to World War I. Many suffered from paranoia, leading lives devoid of purpose. The poem paints a vivid picture of the social characteristics of people in London during this period. T. S. Eliot, influenced by Indian philosophy, drew references from Hindu texts, offering a glimmer of hope. It suggests persevering through life with compassion, extending charity, and mastering inner thoughts to attain inner peace. This philosophy is captured in the resonant word ‘DA’, symbolizing the sound of thunder. It echoes thrice, representing ‘Datta’ (charity), ‘Dayadvata’ (compassion towards others), and ‘Damyata’ (control over inner thoughts). Despite the fragmented psyche of humanity post World War I, Eliot held hope for positive transformations in the years to come, contingent on people’s faith in God and the power of prayer.
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Dr. Yasir Arafat, Muhammad Qasim, and Tahir Alam Awan. "The Land and the Waste: Meaninglessness and Absurdity in T. S. Eliot’s The Waste Land." sjesr 5, no. 4 (December 22, 2022): 141–46. http://dx.doi.org/10.36902/sjesr-vol5-iss4-2022(141-146).
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After the World War-1, there spread chaos and disillusionment in society, faith got shattered and life became meaningless. Jean-Paul Sartre’s version of Existentialism is based on this meaninglessness and absurdity. Man faces an absurd and meaningless existence in this chaotic world. Thus these two are the main tropes of Sartre’s philosophy. T. S. Eliot also lived in that chaotic age and composed his long narrative poem The Waste Land (1930) after the World War. This poem is based on the consequences of the war that caused absurdity and chaos depriving human life of real significance and value. This study explores and analyses these aspects of meaninglessness and absurdity in The Waste Land (1930) in the light of Sartre’s philosophy and contends to say that almost all of the characters presented in the poem encounter meaningless and chaotic lives. Their lives are without any real purpose and are quite insignificant in a chaotic and disorderly world. So the land is full of the waste only. This meaningless life is nothing but a heap of the waste. By presenting this picture of chaotic life, Eliot intends to forward a solution in the form of rebirth of the lost religious faith and moral values. This research is significant because the aspects of meaninglessness and absurdity accurately relate to our current times where human beings face real existential threat and the significance of life is being lost. This awareness may lead to an immediate solution. Moreover, this study may provoke further research in this area in order to bring out the relevance of literary texts to all times and human life everywhere.
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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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Kumar, Mr Rabichandan. "The Waste Land by T.S. Eliot as a modern epic." International Journal of English Literature and Social Sciences 7, no. 5 (2022): 225–27. http://dx.doi.org/10.22161/ijels.75.35.
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‘The Waste Land’, of course by T. S. Eliot has been treated as the magnum opus of T. S. Eliot on account of its big canvas, wide range of themes, saga of suffering, with epic grandeur. It concludes with an optimistic note- “ Shantih, Shantih, Shantih'' as well as “Da, Datta, Dayadhvam'' The mental journey from ‘The Burial of the Dead’ to ‘What the Thunder Said’ via ‘A Game of Chess’, ‘The Fire Sermon’ and Death by Water’ undertaken by Tiresias symbolizes the journey of the Christiana in John Bunyan’s ‘Pilgrim’s Progress. In Spite of this, the complexity of theme prompted a sensitive Hindi poet Nirala to remark- “ Kahan ka ianta kahan ka roda, T. S. Eliot ne kunwa joda'' The elegiac note of the opening part visualizes ‘a ray of hope’ when the poet refers to ‘the Holy river’ Ganga and the Himavant i.e. the snowbound mountains in Himalayan Ranges. Suddenly, the attention is shifted towards the famous fable of the ‘Brihadaranyaka Upanishad’ The three-fold offspring of the Creator, Prajapati, Gods, men and demons; these three approached Prajapati for instruction after completing their formal education. To each group, He uttered the single syllable ‘Da’. The message was sent to all three in the form of encoding but they interpreted or decoded in their own ways. The Gods decode it as ‘Damyata’ (Control Yourselves). The Gods decoded it as ‘Datta’ (give). The demons interpreted it as ‘Dayadhvam’ ( be compassionate). When these three meet Prajapati, aware of their interpretations, He responds with ‘OM’ signifying that they have fully understood. This concludes with the thrice repetition of thunder - Da. Da. Da. viz, control yourselves, give, be compassionate.This episode reminds us of T.S. Eliot’s focus on Charles Lanman, his Sanskrit teacher at Harvard University who gave Eliot a copy of ‘Vasudev Lakshman Shastri Phansikar’s Sanskrit edition of ‘The Twenty Eight Upanishads'. While interpreting ‘Dayadhvam”, Eliot refers to Dante’s Ínferno’Book 33, line 46 - “And below I heard the outlet of / The horrible tower locked up”. These words are uttered by Ugonio della Gherardesca, a 13th century Italian novelist as he recalls his imprisonment in a Tower with his two sons and two grandsons where they starved to death. This allusion communicates a sense of finality and suggests the terrifying consequences of imprisoning oneself within one’s own ego or consciousness. Eliot feels that only by confining to one’s own faith one is ought to transcend the boundaries of tradition. According to the European tradition or Christianity ‘Shantih ‘has been interpreted as ‘Peace Which passeth understanding ' . Indeed, It is a feeble translation of the inherent meaning of the world. Eliot anticipates something absolute and sublime as has been suggested by the Upanishadic Connotation. To conclude it can be said that this poem begins with pessimistic suffering but concludes with robust optimism.
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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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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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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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Crace, Benjamin D. "The Anglo-Catholic Apocalyptic Milieu and T. S. Eliot’s The Waste Land." Christianity & Literature 73, no. 2 (June 2024): 206–28. http://dx.doi.org/10.1353/chy.2024.a930541.
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Abstract: This article seeks to clarify which apocalyptic elements of the World War I era persist into The Waste Land . It begins with a thick historical contextualization. Then, it looks at contemporaneous media that characterizes the Anglo-Catholic apocalyptic milieu. Next, it examines an adjacent literary parallel: a forgotten play called Armageddon . Finally, I approach the poem itself, teasing out the elements of the Anglo-Catholic milieu and analyzing how Eliot imports and subverts their meaning. I conclude that the Anglo-Catholic apocalyptic helps form the contextual contrast from which the poem’s meanings can be multiplied and reappraised.
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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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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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Hart, Stephen-M. "Excavando la modernidad en «Trilce» de César Vallejo y «The Waste Land» de T. S. Eliot." Rilce. Revista de Filología Hispánica 39, no. 2 (June 20, 2023): 510–30. http://dx.doi.org/10.15581/008.39.2.510-30.
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Extraña coincidencia, tanto Trilce como The Waste Land se publicaron en octubre de 1922, annus mirabilis del «Modernism» anglosajón, y en este ensayo me propongo «excavar» la proyección de esta modernidad en la obra de T. S. Eliot y César Vallejo. Empleo cinco ejemplos de la excavación en la época moderna –la de la tierra, del cuerpo, del cerebro, del átomo y (con la ayuda de Heidegger y Foucault) del lenguaje– para luego pasar a una investigación de la búsqueda en la obra de estos dos poetas de una nueva dimensión de la realidad dentro del lenguaje poético. El significado del poema en la Obra de la Vanguardia ahora nace dentro de la grieta que existe entre las palabras. Finalmente concluyo con la discusión de la hipótesis de que tanto Vallejo como Eliot, con su construcción respectiva de «montones» de «imágenes rotas», crearon en 1922 una nueva mitología de la modernidad.
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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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Gaur, Lalita, and Mrinal Mudgil. "Loss of Traditional Value and Spiritual Emptiness in The Waste Land." BL College Journal 5, no. 2 (December 2023): 66–73. http://dx.doi.org/10.62106/blc2023v5i2e6.
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The Waste Land by T. S. Eliot came in an era of heightened anxiety. The loss of traditional values was the cause behind this spiritual emptiness. The industrial advancement and technological developments which were considered as the progress of the country, actually brought with it a spiritual uncertainty within the society. The poet depicts the diseased society after the First World War. One of the after-effects of this war upon European society was spiritual and moral chaos. The poet asks ‘What are the roots that clutch, what branches grow Out of this stony rubbish?’ (Eliot, The Waste Land, 1922) thus the poem reflects the disillusionment and the bareness of the post-war generation. The present paper aims to analyse the reason behind the loss of traditional values, and how spirituality can be restored in the 21st century.
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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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Nasrin, Mahbuba. "Indulgence in Hollowness and Pursuit of Redemption: An In-depth Study of T. S. Eliot’s The Waste Land." BL College Journal 5, no. 2 (December 2023): 156–66. http://dx.doi.org/10.62106/blc2023v5i2e16.
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T. S. Eliot’s iconic poem, ‘The Waste Land,’ must have its enduring relevance after a century of its publication. It has stood the test of time as a profound exploration of the desolate human condition and the relentless pursuit of redemption. In the context of contemporary society’s search for redemption amidst modern desolation, we hear the echo of T. S. Eliot. Eliot’s pivotal work continues to captivate the attention of its wide range of readers with its haunting depiction of a fragmented and disillusioned world that is in severe need of peace and salvation. This paper tries to shed light on the persistent relevance of ‘The Waste Land’ in a contemporary world marked by social fragmentation, ecological crises, spiritual drought, mental fatigue, and existential anxieties by exploring the themes of disillusionment, decay, and the desperate quest for redemption. This paper also seeks to venture into Eliot’s vast masterpiece to know how it remains an inducing mirror to reflect our own social and personal struggles, disillusionment, identity crisis, and desolation. Moreover, this study delves into the potential avenues of deliverance offered by Eliot’s ‘The Waste Land,’ such as the exploration of spirituality, the power of collective memory, and the necessity of cultural renewal. At the end of the poem, T. S. Eliot comes to the conclusion that he must start the process of self-purification from himself. He decides to follow the three principles of spiritual rebirth; Datta, Dayatvam, and Damyata in his own life with the hope of salvation in an ever-changing world.
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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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Blevins, Jeffrey. "Setting The Waste Land in Order." Twentieth-Century Literature 67, no. 4 (December 1, 2021): 431–54. http://dx.doi.org/10.1215/0041462x-9528829.
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Are T. S. Eliot’s notes on The Waste Land a scholarly resource or a literary hoax? This oft-repeated question gets to the heart of the poem, which thrives on its allusions, whether seriously or cynically. However, scholars have largely passed over the notes’ (and the poem’s) numberings, despite their complexity and superabundance—a panoply of quantitative relations running alongside the qualitative references. These numberings, with startling frequency, do not compute, which poses a philosophical dilemma greater than arithmetical errors would seem to imply. As a graduate student at Harvard, Eliot took course notes on mathematical logic and number theory that show him grappling again and again with a concept of numerical irrationality, a dilemma that, for him, seems to threaten the coherence of the world itself, the failures of enumeration auguring broader pandemonium. Under the tutelage of Bertrand Russell, Eliot turns to logic in an attempt to discern a coherent system for numbers (and therefore life), but he grows disenchanted with how logic’s paradoxes of self-reference undermines that very possibility. In turn, these paradoxes inform The Waste Land as an irrational subtext, as small miscalculations in the poem and the notes herald impending physical disasters, psychological hazards, and metaphysical perils. In the end, how we count its numbers turns out to have important implications for how we account for The Waste Land’s puzzling and even deadly subjects.
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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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Eliáš, Petr. "Pustá země T. S. Eliota ve dvou českých překladech." AUC PHILOLOGICA 2021, no. 2 (November 16, 2022): 25–38. http://dx.doi.org/10.14712/24646830.2021.21.
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The article analyses two Czech translations of T. S. Eliot’s The Waste Land, both by members of the Group 42. Jiřina Hauková and Jindřich Chalupecký were the first to translate a complete text, including author’s notes. Jiří Kolář and Jiří Kotalík translated the fifth part of the poem. After a brief introduction describing the genesis of the original text and listing the existing Czech translations, the article analyses both translations separately, as well as in comparison, considering all the relevant criteria. Through a detailed analysis of the poetic devices used by Eliot and his translators, the article delivers a complex description of the methods used by respective translators showing that Hauková and Chalupecký emphasize meaning to the detriment of sound, the translation lacking rhythm and rhymes. The version by Kolář and Kotalík is much more condensed, rhythmical, and more accomplished.
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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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Sumner, Charles. "D. H. Lawrence, T. S. Eliot, and the Meaning of the Mythical Method." CEA Critic 86, no. 2 (July 2024): 161–76. http://dx.doi.org/10.1353/cea.2024.a931455.
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Abstract: There is a discrepancy between evidence of T. S. Eliot’s respect for D. H. Lawrence and F. R. Leavis’s account of their diametrical opposition. My goal is to establish and spell out the reasons for Eliot’s ambivalent posture. On the one hand, I argue that both authors tried to reconcile the contradiction between social unity and individual freedom, and they did so by resolving it into more basic concerns with morality, impersonality, and tradition. This parallel explains Eliot’s attraction to Lawrence. On the other hand, I argue that the different way they framed and understood these concerns accounts for his antipathy and, in turn, sheds new light on the mythical method in The Waste Land . When considered alongside Lawrence’s work and Eliot’s judgment of it, the mythical method comes across as no glorification of the past but instead as a critique of the present for repeating it.
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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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Viswanathan, Uma Maheswari, and Sangeetha K. "Voice of the East in Eliot and Oppenheimer." BL College Journal 5, no. 2 (December 2023): 85–91. http://dx.doi.org/10.62106/blc2023v5i2e8.
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This paper presents the influence of the mystic East in providing answers to some of the daunting ethical questions that haunted Westerners during the era of world wars. T S Eliot and Oppenheimer who admits the influence of Waste Land on him are taken for the study. Bhagavad Gita the emblematic Sanskrit text that appears in the epic Mahabharata, Vedas, and Upanishads has influenced poets and philosophers like Whitman, Emerson, Thoreau, Eliot, etc. as well as scientists like Oppenheimer, Heisenberg, Schrodinger, Tesla, etc. The references to Sanskrit texts cannot be taken as mere decorations or indulgence in exoticism; the messages are organically incorporated into their words, actions, and whole lives. In ‘The Waste Land’, the Upanishad is quoted explicitly while the theme of the Bhagavad Gita is used implicitly in the juxtaposition of life and death and treatment of sensual pleasures and means to control senses. Karmayoga or doing one’s duty in a detached manner gave strength to Oppenheimer who directed the project of building the Atomic Bomb which he knew would be used on the enemies. The message of Lord Krishna in Gita gave him the notion of duty/dharma and renunciation of the fruits of his action gave him the thrust to make a weapon of mass destruction.
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Mahmood, Thaqif Ahmed, and Salih Obaid Mohammed. "Loss of identity in T.S. Eliot's poems selected poems." Journal Educational Verkenning 4, no. 1 (September 18, 2023): 38–47. http://dx.doi.org/10.48173/jev.v4i1.186.
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T. S. Eliot is often regarded as one of the best writers of the 20th century. The realities and pain of modern civilization after war are embodied in his creative works dealing with the aftermath of war and loss of identity, which earn him the Nobel prize in literature. There are several poems by this author that capture the experience of the contemporary man. There are three parts to this paper. The first part of this essay discusses the life and work of T. S. Eliot, the critical acclaim that his works have received, and the prestigious literary award that he has won. In the second part, we look at what makes contemporary poetry distinct. How T. S. Eliot enhances the characteristics that current poets employ to produce their poetry. The third section is a collection of Eliot's poems that reflect on and depict modern human life and the modern man's loss of identity, including "The Hollow Man," "The Waste Land," and "The Love Song of J. Alfred Prufrock," all of which were written after World War II. The poem "Prelude," which alludes to a musical overture to a contemporary day, is a perfect example. Eliot's poetry as a whole reflects the reality and sorrow of contemporary man's identity crisis. The study's conclusion summarizes its findings, which focused on how T.S. Eliot's poetry deals with themes of identity loss, the hardship of living, and solitude in the years after World War II.
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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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Patterson, Clare. "Post-War Poetry." Groundings Undergraduate 11 (May 1, 2018): 72–79. http://dx.doi.org/10.36399/groundingsug.11.181.
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The modernist poems “The Waste Land” (1922) and Paris (1919) both respond in oblique ways to the aftermath of the First World War, featuring prominent images of both death and societal decline as well as new growth and restoration. Through close readings which place these two texts within the post-war context and the poetic and literary responses of this period, I examine the ways in which T. S. Eliot and Hope Mirrlees combine emotional and societal responses to the First World War with wider conceptions of civilisation, myth, folklore and cultural history.
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Kweon, Seunghyeok. "Tradition, Empire and the Gold Standard: T. S. Eliot at the Lloyds Bank." Journal of the T. S. Eliot Society of Korea 32, no. 2 (January 31, 2023): 1–25. http://dx.doi.org/10.14364/t.s.eliot.2023.32.2.1-25.
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In “Tradition and the Individual Talents,” comparing a poet to a catalyst in a chemical reaction, T. S. Eliot suggested that a literary work should be interpreted as an objective or disinterested being which has nothing to do with any political, economical, or social matters. He kept the same critical view on a literary work in some essays, such as “The Perfect Critic,” “The Idea of a Literary Review,” and so on. Following his ideas, most critics have read his literary works as being irrelevant to his personal experiences, his contemporary political events and economic fluctuations. However, it would be interesting to note that while he wrote these essays, he worked for the Lloyds Bank. His experiences at the Lloyds bank sharpened his understanding on the meanings of the political incidents and economic rising and falling. He also integrated his intimate knowledge into his poems such as “A Cooking Egg” and The Waste Land. On the basis of such discoveries, this paper attempts to re-read these poems in his contemporary political, economical contexts.
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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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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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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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Mridha, Shibaji. "The Water Ethic:." Crossings: A Journal of English Studies 11 (September 1, 2020): 109–18. http://dx.doi.org/10.59817/cjes.v11i.51.
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The recent scholarship has evidently established the nexus between modernism and ecocriticism which reinforces modernist writers’ anxiety of humans’ changing relationship with nature. T S Eliot, one of the high priests of modernism, not only displays the evolving urban landscape but also cautions us about an imminent diseased and dysfunctional world. To further the burgeoning ecocritical discussion for understanding Eliot’s poetry, this paper explores the depiction of one crucial elemental matter – water – in his literary masterpiece The Waste Land, and argues how water is presented as a dynamic entity in contrast to being a passive and fixed matter. Referring to some of the recent scholarship of elemental ecocriticism, eco materialism, and environmental ethics, it aims to discuss how humanity’s failure to recognize water’s agency has wrecked the earth, forcing us to live in a waste land. Thus, this paper is an attempt to read The Waste Land as a water ethic that recognizes a world of reciprocity and cautions us not to treat the non-human world as a commodity
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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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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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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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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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Pavićević, Jovana. "INTERTEKSTUALNO ČITANjE DRAME „ŽUDNjA“ SARE KEJN." Nasledje Kragujevac XIX, no. 51 (2022): 319–32. http://dx.doi.org/10.46793/naskg2251.319p.
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According to Aleks Sierz (2001: 118), Sarah Kane’s Crave needs four different reading strat- egies to fully uncover its meanings. This paper takes one of those strategies – an intertextual reading – to examine the play’s echoes of R. W. Fassbinder, Martin Crimp, and T. S. Eliot. Fassbinder’s play Pre-Paradise Sorry Now, Crimp’s play Attempts on Her Life, and Eliot’s poem The Waste Land enable Sarah Kane to combine materials – forms, sources, messages, sounds, dialogues and solos – into a complex dramatic structure that unsettles the plot-and-character conventions of realism. De-individualized characters, marked only by the letters A, B, C, and M, reveal the presence of Pre-Paradise Sorry Now and Attempts on Her Life – they allow Kane to use fragmentary lines of action to explore how power is organized and shared within a social group. The analysis shows that Eliot’s narrative poem The Waste Land is the principal influence that ‘guides Crave in both form and content’ (Saunders 2002: 102). In addition to the wasteland motif, Kane employs Eliot’s rhapsodic impulse to combine disparate patches of text and dramatic, epic and lyrical elements into a never-ending flow of voices.
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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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Usman, Tariq, Naveed Akhter Khan, and Farah Kalsoom. "Fundamentalism: An Intertextual Case of Home Fire by Shamsie and Antigone by Sophocles with the Backdrop of 21st Century." Qlantic Journal of Social Sciences and Humanities 4, no. 4 (December 30, 2023): 80–87. http://dx.doi.org/10.55737/qjssh.615365507.
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This paper is a comparative study of two works- Home Fire by Kamila Shamsie and Antigonie by Sophocles. This paper aims at intertextual analysis of the selected texts to unearth the issue of fundamentalism and fear of Islam in the modern world. The West is in the grip of Islamic phobia which is quite haunting for it. Their arts and literature, particularly after the 9/11 attacks on the Twin Towers of World Trade Center abound in themes of fundamentalism and extremism as it is associated with Islam. Kamila Shamsie deals with the issue of fundamentalism in Home Fire so does Sophocles centuries ago in Antigone. There is no single text in literature rather every text is a mosaic of previous texts. One fine example related to this is The Waste Land (1922) by T. S. Eliot. Likewise, Home Fire bears handsome intertextuality with the previous texts, particularly Antigone.
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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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Castro-Fernández, X. Antón, Yolanda Herranz Pascual, and Jesús Pastor-Bravo. "The Isle of Sculptures of Pontevedra (1999-2019): a model to recover nature as a social and cultural space in the city." Arte, Individuo y Sociedad 34, no. 1 (January 10, 2022): 187–207. http://dx.doi.org/10.5209/aris.73149.
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La Isla de Esculturas fue concebida como una construcción cultural de la naturaleza y revertida a paisaje estético, teniendo en cuenta la singularidad etnográfica, histórica y antropológica del lugar donde se enclava: la Xunqueira del Lérez de Pontevedra. Constituye igualmente un homenaje al granito, material identitario de la escultura de todas las épocas y una referencia de la cultura y el arte que sus autores entroncan con la conciencia mítica y el simbolismo del The Waste Land (La tierra baldía) de T. S. Eliot. Como La tierra baldía, que reunifica pasado y presente, entre metáforas y símbolos, los escultores que intervienen en el espacio contorneado por el río Lérez acogen, en un todo, una pluralidad de alusiones culturales, lenguajes y conceptos, referencias clásicas y experiencias más contemporáneas. Fueron invitados a intervenir doce artistas: Giovanni Anselmo, Fernando Casás, José Pedro Croft, Dan Graham, Ian Hamilton Finlay, Jenny Holzer, Francisco Leiro, Richard Long, Robert Morris, Anne & Patrick Poirier, Ulrich Rückriem y Enrique Velasco.