TS Eliot

This dissertation seeks to examine the canons of knowledge that have traditionally dominated Western culture, and asks whether it is possible to maintain such a canon in today’s fragmented, relativist society, especially one in which huge quantities of information are available at the touch of a button. It studies not only the conventional indicators, such as school and university curricula, but also the questions used in successful, prestigious quiz shows on TV and radio. The changing emphasis of these questions, and the social assumptions that underpin them, are discussed in the context of thinkers such as T.S. Eliot, Harold Bloom and Pierre Bourdieu, as well as members of the Frankfurt and Birmingham Schools. Social class, gender and age are considered as factors that affect the knowledge of individuals and thus their status in situations where specific types of knowledge are valued; and the impact of neoliberal economics is also taken into account.

The expression of modern existence as a disconnected entity with shocking and distressful consequences is reflected in the writings of many modernist writers, but it seems to take centre stage in the poetry of T. S. Eliot. The decline of values and the multifarious problems of the twentieth century have caused modern man to create parentheses that detach them from each other, from society, from nature and even from themselves. This paper examines the horrifying consequences of life in a chaotic and disconnected universe on human existence from the perspectives of frustration, despair, and alienation. From a Structuralist theoretical standpoint, the paper analyses the poetry of Eliot with the aim of showing that the poet explores and employs rhetorical tropes and linguistic codes that present individuals whose lives have been torn apart as a result of political, economic, social and religious crises. Social limitations and individual inadequacies have pushed modern man into hopeless ...

In this paper, I analyze the actions of the titular character of TS Eliot's poem "The Love Song of J. Alfred Prufrock" in the context of modern-day existentialism. I argue that Prufrock's social anxiety is an external manifestation of his deep internal conflict with the existential concerns, especially those of meaninglessness and loneliness.

The Sacred Wood, book of critical essays by T.S. Eliot, published in 1920. In it, Eliot discusses several of the issues of Modernist writings of the period.

The best-known essay of the collection, “Tradition and the Individual Talent,” puts forth Eliot’s theory of a literary tradition that comprises the whole of European literature from Homer to the present and of the relationship of the individual poet to that tradition. Another notable essay is “Hamlet and His Problems,” in which Eliot expresses his theory of the objective correlative, a phrase he adapted from either George Santayana or Washington Allston.

The Medieval Presence in Modernist Literature rethinks the influence that early medieval studies and Grail narratives had on modernist literature. Through examining several canonical works, from Henry James' The Golden Bowl to Samuel Beckett's Molloy, Ullyot argues that these texts serve as a continuation of the Grail legend inspired by medieval scholarship of the late nineteenth and early twentieth centuries. Rather than adapt the story of the Grail, modernist writers intentionally failed to make the Grail myth cohere, thus critiquing the way a literary work establishes its authority by alluding to previous traditions. While the quest to fail is a modernist ethic often misconceived as a pessimistic response to the collapse of traditional humanism, the modernist writings of Eliot, Kafka, and Céline posit that the possibility of redemption presents itself only when hope has finally been abandoned.
http://www.cambridge.org/co/academic/subjects/literature/english-literature-1900-1945/medieval-presence-modernist-literature-quest-fail?format=HB

"Alchemical Traditions from Antiquity to the Avant-Garde,
ed. Aaron Cheak (Melbourne: Numen Books, 2013), 
ISBN 0987559826 (684 pages):
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http://www.amazon.com/Alchemical-Traditions-From-Antiquity-Avant-Garde/dp/0987559826 (http://www.facebook.com/alchemical.traditions).
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Alchemical Endgame:
‘Checkmate’ in Beckett and Eliot.
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‘Incredible Lunatic of the Future’:
The Alchemical Horticulture of Alan Chadwick.
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‘Take Two Emerald Tablets in the Morning’:
Surrealism and the Alchemical Transubstantiation of the World.
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‘Agent of All Mutations’:
Metallurgical, Biological & Spiritual Evolution
in—the—Alchemy—of—René—Schwaller—de—Lubicz.
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‘The Kiss of Death’:
Amor, Corpus Resurrectionis
and the Alchemical Transfiguration of Eros.
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‘Becoming an Angel’:
The Mundus Imaginalis of Henry Corbin
and—the—Platonic—Path—of—Self-Knowledge.
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Of Ether, Entheogens and Colloidal Gold:
Heinrich Khunrath and the Making of
a Philosophers’ Stone.
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Turris Philosophorum:
On the Alchemical Iconography of the Tower.
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Altus’ Ominous Aphorism:
Reading as an Alchemical Process.
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The Alchemical Khiasmos:
Counter-Stretched Harmony and Divine Self-Perception.
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‘Interzone’:
On the Origins and Nature of European Alchemy.
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Iatrochemistry,
Metaphysiology and Gnōsis:
Tibetan Alchemy in the Kālacakra Tantra.
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Mercury and Immortality:
The Hindu Alchemical Tradition.
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‘Taking from Water to Fill in Fire’:
The History and Dynamics of Taoist Alchemy.
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Metallurgy and Demiurgy:
The Roots of Greek Alchemy
in the Mythology of Hephaestos.
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Telestic Transformation and Philosophical Rebirth:
From Ancient Egypt to Neoplatonism.
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‘The Perfect Black’:
Egypt and Alchemy.
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AARON  Cheak

ALGIS  Uždavinys

ANGELA  Voss

CHRIS  Plaisance

DAN  Mellamphy

DAVID  White

HEREWALD  Tilton

KIM  Lai

LEON  Marvell

MIRCO  Manucci

PAUL  Scarpari

ROD  Blackhirst

SABRINA  Dalla Valle

— contributing authors.

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Parmi les nombreux problèmes que pose la notion de modernisme se pose la question des limites temporelles du mouvement ainsi désigné: commença-t-il dès les années 1890? se poursuivit-il jusque dans les années 1940? faut-il distinguer, à la suite de Frank Kermode, entre un « paléomodernisme » (avant la Première Guerre mondiale) et un « néomodernisme » (pendant l’entre-deux-guerres)? Pour importantes qu’elles soient, ces questions relatives au flou temporel de la notion ne doivent pas dissimuler un autre flou, de caractère géographique et culturel : employé extensivement dans le monde anglo-saxon pour désigner grosso modo un mouvement d’innovation esthétique couvrant tous les arts et rassemblant, en littérature, des figures telles que James, Conrad, Joyce, Woolf, Faulkner, Yeats, Pound et Eliot, pour ne citer que les noms les plus célèbres, le terme est très peu utilisé dans les autres littératures (en mettant à part le modernismo de Rubén Darío). Le fait est suffisamment surprenant pour devoir être signalé et analysé. (…)

This book is concerned with an embodied and enactive theory of literary meaning (mostly literary ‘aesthetics’, but in a very broad sense, concerning also many aspects of what usually would figure as ‘content’). It departs from the question how language relates to bodily skills. I start by drawing upon certain highly abstract and semantically incomprehensible directions trainers can give to sportsmen or performance artists. Propositional vagueness and operative effects on bodily precision are no contradiction here. These and similar phenomena discussed in current interdisciplinary (neuroscientific, linguistic, psychological, anthropological etc.) research lead me to the hypothesis that linguistic meaning can enter the realm of skills without making the detour of a ‘content’ or the processes of signification (in a ‘semiological’ meaning of the word). Language, I argue, can also become meaningful in the way a bicycle becomes meaningful in the act of (skillfully) riding it. Against this background, I distinguish a skill-based ‘feel’ which is embedded in the subliminal bodily enactment on the one hand and the processes of signification and their effects on the other. The main issue of my book is the transitions between these two types of linguistic meaning, and I argue that this transition is essential for literary meaning. So, in a second part I follow the consequences of this double phenomenology dedicating one chapter to the tropes (figurations of sense that transform a feel), to musical forms of meaning of language in poetry, to an alternative narratology grounded in phenomena of subliminally ‘acting out’, a theory of dramatic mimesis based on participation and to a theory of fiction (Fiktionalität) based on embodiment.