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Eliot's dictum about the objective correlative has often been quoted but rarely analysed. This book traces the maxim to some of its sources and places it in a contemporary context. Eliot agreed with Locke about the necessity of sensory input, but for a poet to be able to create poetry, the input has to be processed by the poet's intellect. Respect for control of feelings and order of presentation were central to Eliot's conception of literary criticism. The result the objective correlative is not one word, but "a scene" or "a chain of events". Eliot's thinking was also inspired by late 19th century French critics like Gautier and Gourmont, whose terminology he not infrequently borrowed. But he chose the term "objective" out of respect for the prestige that still surrounded the Positivist paradigm. In its break-away from Positivist dogmas, criticism of art in the early 20th century was very much preoccupied with form. In poetry, that meant focus on the use and function of the word. That focus is perceptible everywhere in Eliot's criticism. Even though the idea of the objective correlative was not an original one, Eliot's treatment of it is interesting because he sees a seeming truism ("the right word in the right place") in a new light. He never developed the theory, but the thought is traceable in several of his critical essays. On account of its categorical and rudimentary form, the theory is not unproblematic: whose fault is it if the reader's response does not square with the poet's intention? And indeed, Eliot's own practice belies his theory -- witness the multifarious legitimate interpretations of his poems.
This is a critical handbook on T. S. Eliot’s poetical works and verse dramas with their text and critical interpretation for students of Asian and African countries. An exhaustive discussion is made through critical analysis of Eliot’s literary personality as a poet and theorist. Eliot exercised a strong influence on Anglo-American culture from the 1920s until late in the century. His experiments in diction, style, and versification revitalized English poetry, and in a series of critical essays, he shattered old orthodoxies and erected new ones. The publication of Four Quartets led to his recognition as the greatest living English poet and man of letters, and in 1948 he was awarded both the Order of Merit and the Nobel Prize for Literature. Eliot was to pursue four careers: editor, dramatist, literary critic, and philosophical poet. He was probably the most erudite poet of his time in the English language. His undergraduate poems were “literary” and conventional. His first important publication, and the first masterpiece of Modernism in English, was “The Love Song of J. Alfred Prufrock”. The poem “The Waste Land” is known for its obscure nature—its slippage between satire and prophecy; its abrupt changes of speaker, location, and time. Eliot’s concern with faith and doubt, chaos and calamity and decline in the sensibility of the modern people is reflected through his poems and plays. Modernity and the sense for the modernist make him unparalleled and the most popular modern poet. His great musical sense in his poetry reminds of his use of rhymes, metre and rhythm. This rimming of poetry with music brings meaningful beauty and concept.
The Poetry Of T.S. Eliot Is An Incisive Interpretation Of Eliot S Poetry In The Indian Context Vis-A-Vis The Views Of Western Critics In So Far As The Christian Coloration Of His Poetry Is Concerned. A Good Deal Of Light Is Thrown On The Early, Middle And Later Poetry Of Eliot. A Special Emphasis Has Been Laid On The Genesis And Culminating Experience Of Eliot As A Man And As An Artist.
"The poems, . . . some of the poetic drama (particularly Sweeney Agonistes), and relevant sections of prose criticism, are discussed in detail and placed in relation to the development of Eliot's oeuvre, and more briefly to his life and a wider context of philosophical and religious enquiry" --Introduction.
This acclaimed volume is the first to provide a comprehensive overview of Jerzy Grotowski's long and multi-faceted career. It is essential reading for anyone interested in Grotowski's life and work. Edited by the two leading experts on Grotowski, the sourcebook features: *essays from the key performance theorists who worked with Grotowski, including Eugenio Barba, Peter Brook, Jan Kott, Eric Bentley, Harold Clurman, and Charles Marowitz *writings which trace every phase of Grotowski's career from his 'theatre of production' to 'objective drama' and 'art as vehicle' *a wide-ranging collection of Grotowski's own writings, plus an interview with his closest collaborator and 'heir', Thomas Richards *an array of photographs documenting Grotowski and his followers in action *a historical-critical study of Grotowski by Richard Schechner.
"Marion is hiding a secret from her past and Kurt is trying to figure out how to recover from his mother's death as they both find solace in each other."--
T.S. Eliot : A Twenty-First Century View Intends To Set The Poems And Plays Of The Epoch-Making Poet In The Context Of His Inner Preoccupations As Revealed In The Recently Published Biographical Works On Him. It Is A Masterly Study Of All The Important Poems And Plays Of Eliot Which Are Included In The Syllabi Of Different Indian Universities. The Book Is Comprehensive And Lucid, Including In Its Details All The Possible Ways Of Interpreting Eliot S Poems And Plays. While Analyzing The Previous Trends Of Eliot Criticism, Supplying Full Documents Wherever Necessary, The Book Also Projects The Well-Researched View Of Its Author Who Equates Eliot S Moral Stand With The Kierkegaardian Notion Of Ethical Reality, A Significant Aspect Of Existentialism, And Thus Opens A New Vista Of Research On Eliot. Both The Students And The Scholars Will Find The Book Extremely Useful.
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.
Washington Allston's lectures on art provide an insight into the artistic theories and practices of the early 19th century. Allston was an influential figure in the American art world and his lectures cover a wide range of topics from the use of color to the role of the artist in society. The lectures are accompanied by illustrations and examples from art history, making this a valuable resource for anyone interested in the development of American art. This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work is in the "public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.