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"This book explores poetry of T. S. Eliot and three plays, Sweeney Agonistes, The Family Reunion, and The Cocktail Party, in the light of his responses to his cultural tradition." "The concept of memory, as an acknowledgment both of a cultural heritage and of its availability for original works of mind and imagination, unifies this study by Grover Smith. Eliot was tradition-oriented, drawing upon various cultures - primitive, Indic, European, and American - for poetic inspiration and models. By education, he was multicultural in a thoroughly legitimate sense." "In separate chapters, Smith, though commenting on a few verbal sources of types familiar from Eliot's practice of stylistic borrowing, focuses on thematic concerns. Included are the psychological labyrinth of death-in-life of Poe's tales and poems; transfigurations of Hamlet from Shakespeare to Goethe, Coleridge, and Freud; popular stage entertainment in nineteenth-century America; poetic stimuli from James Barrie, Arnold Bennett, and Aldous Huxley; twentieth-century speculations on time and serialism; the world of occult phenomena in W. B. Yeats and, later, the novelist Charles Williams; and Eliot's obsessive critiques of primitive myth and ritual." "In various ways, all of these interests intersected. Smith shows in Eliot's dedication to diverse traditions a practical imperative, and to a great extent a moral one, for a poetic art grounded in traditional American reverence for inherited values."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
The first comprehensive treatment of how "an American poet so profoundly shaped or affected the modern British novel," this--in the words of James E. Miller, Jr.--details "an extraordinary and even exciting literary fact, worthy of full documentation and exploration. "The book begins with an introduction describing how The Waste Land blew into England in 1922, as William Empson said, "not unlike an east wind." Although the critics disagree over what the poem means, all writers since 1922 have felt its influence in some degree, even if only in rejecting it. The author then traces echoes of The Waste Land in 17 major British novelists, confining himself to cases where the evidence is too strong to be explained as coincidence. The authors are divided into three groups. Part I assesses the poem's early impact, as seen in the work of writers already established at the time of its publication. Novelists discussed in this section include E. M. Forster, D. H. Lawrence, and Aldous Huxley. There is also a chapter on Richard Aldinton that contains a fascinating revaluation, based on extensive research, of Aldington's personal quarrel with Eliot. Part II examines the different sort of influence The Waste Land exerted on novelists who came to prominence in the decade before World War II. For these writers--among them Evelyn Waugh, George Orwell, Christopher Isherwood, C. S. Lewis, and Graham Greene--the poem was a basic part of their literary education, and was therefore woven more deeply, and frequently, into the fabric of their work. Part III focuses on two writers of the postwar era, Iris Murdoch and Anthony Burgess. With the rest of their generation they had been forced to recognize a horror more oppressive than the banality and blight of Eliot's "Unreal City," yet they found in the The Waste Land images and meanings so compelling that the poem retains an undeniable presence in their work. In his conclusion, Dr. Crawford attributes The Waste Land's uniquely powerful impact to four qualities: its timing in providing "prototypes for almost every modern problem"; its challenging elusiveness; its ambiguity, which "allows every reader to draw his own conclusion regarding the poem's meaning"; and its haunting symbols and descriptions. The "rhetoric of fiction" is especially sensitive to such qualities. The result is the British novelists "have helped to 'define' The Waste Land by their varied use of it."
T. S. Eliot and Virginia Woolf were almost exact contemporaries, readers and critics of each others' work, and friends for over twenty years. Their writings, though, are rarely paired. Modernism, Memory, and Desire proposes that some striking correspondences exist in Eliot and Woolf's poetic, fictional, critical, and autobiographical texts, particularly in their recurring turn to the language of desire, sensuality, and the body to render memory's processes. The book includes extensive archival research on some mostly unknown bawdy poetry by T. S. Eliot while offering readings of major work by both writers, including The Waste Land, 'The Love Song of J. Alfred Prufrock', Orlando and To the Lighthouse. McIntire juxtaposes Eliot and Woolf with several major modernist thinkers of memory, including Sigmund Freud, Friedrich Nietzsche, Henri Bergson and Walter Benjamin, to offer compelling reconsiderations of the relation between textuality, remembrance and the body in modernist literature.
The last major verse written by Nobel laureate T. S. Eliot, considered by Eliot himself to be his finest work Four Quartets is a rich composition that expands the spiritual vision introduced in “The Waste Land.” Here, in four linked poems (“Burnt Norton,” “East Coker,” “The Dry Salvages,” and “Little Gidding”), spiritual, philosophical, and personal themes emerge through symbolic allusions and literary and religious references from both Eastern and Western thought. It is the culminating achievement by a man considered the greatest poet of the twentieth century and one of the seminal figures in the evolution of modernism.
A collection of poems, some of which had first appeared in Poetry, Blas, Others, The Little Review, and Arts and Letters.
From a world-renowned painter, an exploration of creativity’s quintessential—and often overlooked—role in the spiritual life “Makoto Fujimura’s art and writings have been a true inspiration to me. In this luminous book, he addresses the question of art and faith and their reconciliation with a quiet and moving eloquence.”—Martin Scorsese “[An] elegant treatise . . . Fujimura’s sensitive, evocative theology will appeal to believers interested in the role religion can play in the creation of art.”—Publishers Weekly Conceived over thirty years of painting and creating in his studio, this book is Makoto Fujimura’s broad and deep exploration of creativity and the spiritual aspects of “making.” What he does in the studio is theological work as much as it is aesthetic work. In between pouring precious, pulverized minerals onto handmade paper to create the prismatic, refractive surfaces of his art, he comes into the quiet space in the studio, in a discipline of awareness, waiting, prayer, and praise. Ranging from the Bible to T. S. Eliot, and from Mark Rothko to Japanese Kintsugi technique, he shows how unless we are making something, we cannot know the depth of God’s being and God’s grace permeating our lives. This poignant and beautiful book offers the perspective of, in Christian Wiman’s words, “an accidental theologian,” one who comes to spiritual questions always through the prism of art.
The reception of Brian Friel's recent Dancing at Lughnasa confirms his status as Ireland's leading dramatist. The body of work that he has produced is outstanding in its breadth of sympathy and interest, its dramaturgical invention and its wide cultural and intellectual purview. At one level, it may be seen as a continuous examination of Irish culture and politics, committed and analytical, but not sectionally propagandist. His outlook in his drama, however, is not amenable to simplistic categorization, political or otherwise. As this volume demonstrates, linguistically, allusively, and in terms of its broad transcultural analogising, his work ranges widely. He utilises ideas and terminologies drawn from various cultural sources and academic disciplines in a way that exemplifies his central, insistent concern with the phenomenon of language and implications. As an Irish dramatist, however, he makes Irish social, political and, notably, family life his focus and builds upon a recognised tradition of twentieth century Irish play-writing. This book addresses the variety and complexity of Friel's drama by bringing to bear a range of academic and other professional and creative approaches in order to highlight particular aspects of his work and thought. Hence, contributors include a playwright, poet, theatre-producer, historian and various specialists in relevant literatures. In this way, the book suggests the intellectual richness, humanity, and protean skill and invention of the work.
Probes the development of information management after World War II and its consequences for public memory and human agency We are now living in the richest age of public memory. From museums and memorials to the vast digital infrastructure of the internet, access to the past is only a click away. Even so, the methods and technologies created by scientists, espionage agencies, and information management coders and programmers have drastically delimited the ways that communities across the globe remember and forget our wealth of retrievable knowledge. In Architects of Memory: Information and Rhetoric in a Networked Archival Age, Nathan R. Johnson charts turning points where concepts of memory became durable in new computational technologies and modern memory infrastructures took hold. He works through both familiar and esoteric memory technologies—from the card catalog to the book cart to Zatocoding and keyword indexing—as he delineates histories of librarianship and information science and provides a working vocabulary for understanding rhetoric’s role in contemporary memory practices. This volume draws upon the twin concepts of memory infrastructure and mnemonic technê to illuminate the seemingly opaque wall of mundane algorithmic techniques that determine what is worth remembering and what should be forgotten. Each chapter highlights a conflict in the development of twentieth-century librarianship and its rapidly evolving competitor, the discipline of information science. As these two disciplines progressed, they contributed practical techniques and technologies for making sense of explosive scientific advancement in the wake of World War II. Taming postwar science became part and parcel of practices and information technologies that undergird uncountable modern communication systems, including search engines, algorithms, and databases for nearly every national clearinghouse of the twenty-first century.
"Memory has fueled merciless, violent strife, and it has been at the core of reconciliation and reconstruction. It has been used to justify great crimes, and yet it is central to the pursuit of justice. In these and more everyday ways, we live surrounded by memory, individual and social: in our habits, our names, the places where we live, street names, libraries, archives, and our citizenship, institutions, and laws. Still, we wonder what to make of memory and its gifts, though sometimes we are hardly even certain that they are gifts. Of the many chambers in this vast palace, I mean to ask particularly after the place of memory in politics, in the identity of political communities, and in their practices of doing justice."—from the Preface W. James Booth seeks to understand the place of memory in the identity, ethics, and practices of justice of political communities. Identity is, he believes, a particular kind of continuity across time, one central to the possibility of agency and responsibility, and memory plays a central role in grounding that continuity. Memory-identity takes two forms: a habitlike form, the deep presence of the past that is part of a life-led-in-common; and a more fragile, vulnerable form in which memory struggles to preserve identity through time—notably in bearing witness—a form of memory work deeply bound up with the identity of political communities. Booth argues that memory holds a defining place in determining how justice is administered. Memory is tied to the very possibility of an ethical community, one responsible for its own past, able to make commitments for the future, and driven to seek justice. "Underneath (and motivating) the politics of memory, understood as contests over the writing of history, over memorials, museums, and canons," he writes, "there lies an intertwining of memory, identity, and justice." Communities of Memory both argues for and maps out that intertwining.