By Eliot, Thomas Stearns; Flaubert, Gustave; Gott, Henry Michael; Eliot, Thomas Stearns; Flaubert, Gustave
Gott examines Eliot’s The Waste Land (1922) along side Gustave Flaubert’s los angeles Tentation de Saint Antoine (1874). He presents a hugely unique examining of either texts and argues stylistic affinity exists among the 2 works
Read Online or Download Ascetic Modernism in the Work of T S Eliot and Gustave Flaubert PDF
Similar modernism books
This ebook grapples with questions on the middle of philosophy and social concept – Who am I? who're we? How are we to dwell? that's, questions of what people are able to, the ‘nature’ of our relations to one another and to the realm round us, and the way we should always stay. they look like either prohibitive and seductive – that they're eventually irresolvable makes it tempting to depart them by myself, but we won't do this both.
Within the interval coated by means of this richly targeted assortment, T. S. Eliot used to be to set a brand new direction for his lifestyles and paintings. The calls for of his specialist lifestyles as author and editor turned extra advanced and exacting. the prestigious yet financially-pressed periodical he have been modifying because 1922—The Criterion: A Literary Review—switched among being a quarterly and a per 30 days; as well as writing a number of essays and editorials, lectures, stories, introductions and prefaces, his letters express Eliot related to himself wholeheartedly within the company of his new profession as a writer.
This learn takes as its element of departure a vital premise: that the frequent phenomenon of expatriation in American modernism is much less a flight from the native land than a dialectical go back to it, yet one that renders uncanny all tropes of familiarity and immediacy which 'fatherlands' and 'mother tongues' are typically visible as delivering.
Cosmopolitan Twain takes heavily Mark Twain’s existence as a citizen of city landscapes: from the streets of recent York urban to the palaces of Vienna to the suburban utopia of Hartford. conventional readings of Mark Twain orient his existence and paintings via especially rural markers comparable to the Mississippi River, the Wild West, and small-town the USA; but, as this assortment exhibits, Twain’s sensibilities have been both shaped within the city facilities of the area.
Extra info for Ascetic Modernism in the Work of T S Eliot and Gustave Flaubert
What is enacted in these instances is a typical Flaubertian technique: the interruption of one artistic medium into another, in order to frustrate, provoke and generally obfuscate the form to which they are invited. 97 It is significant that the two most sustained attempts at ekphrasis within Flaubert’s oeuvre are those works, 22 Ascetic Modernism in the Work of T. S. Eliot and Gustave Flaubert the Tentation and ‘La Légende de Saint Julien l’Hospitalier’,98 that also concern themselves most directly with hagiographic depiction – suggesting that Flaubert discerned something inherently sacred about the visual, as well as an irreducible visual element to his appreciation of the saint.
206 This model of reading broadens the activity considerably, allowing indiscriminate application to such alternative (non-verbal) ‘texts’ as paintings and, as I shall come to describe in more detail, the natural world. 209 But getting ‘carried away’ by one’s reading has, in respect of the Tentation, two aspects; it describes on the one hand the reading as reverie that Culler defines, on the other reading as research. Valéry’s comment in fact refers to two antithetical but interdependent qualities of Flaubert’s Tentation: while Flaubert felt intoxicated by the exuberance that his subject both inspired and reflected, the work is – for all its apparent spontaneity – securely fastened to, even hampered by, the voluminous sources that Flaubert consulted.
195 His Tentation was on the one hand a tower, a ‘monument to meticulous erudition’196 whose bibliography had become ever more imposing with the passage of time; underneath the cumulative weight of the enterprise, however, it remained a secret chamber, an attempt to preserve the enigmatic intensity of that first encounter with the painting at Genoa. In seeking to reproduce the effect of the ‘Breughel’ picture in a literary work, Flaubert imagined himself in Anthony’s place, turning his back on the brute throng and clutching the religious artefact by which his salvation might be secured – the ‘gros livre’,197 which in Flaubert’s initial scene-setting is the focal point of Anthony’s domestic arrangement.