1922: Literature, tradition, Politics examines key elements of tradition and background in 1922, a 12 months made well-known by way of the e-book of a number of modernist masterpieces, corresponding to T. S. Eliot's The Waste Land and James Joyce's Ulysses. person chapters written by way of top students supply new contexts for the year's major artworks, philosophy, politics, and literature. 1922 additionally analyzes either the political and highbrow forces that formed the cultural interactions of that privileged second. even supposing this quantity takes post-World struggle I Europe as its leader concentration, American artists and authors additionally obtain considerate attention. In its multiplicity of perspectives, 1922 demanding situations misconceptions concerning the 'Lost Generation' of cultural pilgrims who flocked to Paris and Berlin within the Twenties, hence stressing the broader impression of that momentous 12 months.
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Extra info for 1922: Literature, Culture, Politics
Valéry Larbaud’s valuable paper which is rather an Introduction than a criticism – which seemed to me to appreciate the significance of the method employed” (1975, 175). For his part, Eliot writes that “[i]n using the myth, in manipulating a continuous parallel between contemporaneity and antiquity, Mr. … It is simply a way of controlling, of ordering, of giving a shape and a significance to the immense panorama of futility and anarchy which is contemporary history” (1975, 177; my emphasis). In these statements we find confirmation of Eliot’s own Uncanny Semblables and Serendipitous Publications 25 approaches to history and myth in The Waste Land, which paints a bleak scene of the postwar historical moment in Britain as a “waste land” of failed relationships (especially between the sexes), failed ideals, and failed attempts to make sense of the present historical “panorama,” while also offering, as I have suggested, nearly “continuous parallel[s]” between the present and the ancient past (1975, 177).
Richards, Marianne Moore, Robert Graves, William Empson, Hart Crane, Roger Fry, Hugh Walpole, Edith Sitwell, Osbert Sitwell, Aldous Huxley, Clive Bell, Arnold Bennett, Bonamy Dobrée, John Middleton Murry, Richard Aldington, F. S. Flint, Henry Miller, Ford Madox Ford, Louis Zukofsky, W. H. Auden, Walter de la Mare, Stephen Spender, Dylan Thomas, and Wyndham Lewis, to name only a few. Among international contributors we find Marcel Proust, Jean Cocteau, F. M. Dostoevsky, Hermann Hesse, Mario Praz, Luigi Pirandello, Julien Benda, Paul Valéry, André Malraux, Charles Mauron, Hermann Broch, Charles Maurras, Saint Jean Perse, Eugenio Montale, Ramon Fernandez, and Thomas Mann.
I’ve proposed that we imagine it, however, in order to suggest that the Duino Elegies are not quite as distant from The Waste Land as one might think at first glance. Like Eliot’s long poem, Rilke’s elegies are a learned work, one that relies on numerous poetic and philosophical sources. In this essay, I will focus primarily on the two authors whose names I have used in my fictitious note. ” Given that Rilke wrote most of the Duino Elegies and the entire sequence of Sonnets to Orpheus during periods of intense solitude when his only other occupations were extensive reading and letter writing (in which he tends to comment on his reading), the intertextual character of the works is not surprising.
1922: Literature, Culture, Politics