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An essays is presented that discusses the biographical background of the poem "The Love Song of J. Alfred Prufrock" by T. S. Eliot. Topics include the influence of French Symbolist poetry on Eliot, the biography "Young Eliot: From St. Louis to The Waste Land," by Robert Crawford, and Eliot's experience of visiting Paris, France.

FINE ARTS * Buttner, Philippe & others. Felix Vallotton. Royal Academy of Arts. Aug. 2019. 184p. ISBN 9781912520046. $45. FINE ARTS This book accompanies an exhibition of the same name [...]

The article focuses on the prevalence of geraniums in Quito's old town, exploring their symbolism and appearances in literature. Topics discussed include the cultural significance of geraniums in Victorian England, their role in various literary works, and their potential to revitalize Quito's center through a social program.

Focuses on the development of the French literary school of Symbolism in contemporary French and English literature. Information on Villiers de L'Isle-Adam's "Axël," a long dramatic poem in prose; Story of Count Axel of Auesburgh presented in the book; Merits of the book; Literary style of de L'Isle-Adam; Description of poet Arthur Rimbaud as another promoter of Symbolism; Professional background of Rimbaud; Topics of romance discussed in poetry of Rimbaud; Comparison of Rimbaud with the poetry of French poet Paul Verlaine.

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Opera on 3 6.30pm Radio 3 Like the 'Dust' in Philip Pullman's His Dark Materials saga, the 'shadow' in Richard Strauss's symbolist opera Die Frau ohne Schatten is a sign [...]

Focuses on the popularity and literary contributions of French poet, Paul Valery who came to the U.S. in 1892 describing the author's encounter with the poet. Published works; Friendship with the leader of the Symbolist movement; Achievements and contributions in the history of European letters and literature; Publication of his works such as "La Jeune Parque" and "Variety"; Popularity of his essay on the method of Leonardo which is about learning and science.

An interesting fact about the meaning of words is the compulsion to perceive them; when we encounter a symbol, we perceive its meaning without the least mental effort. In this paper, I answer the questions, "How does the meaning of a word impose itself on us?" and "How does a symbol become meaningful and what is the meaning of a symbol?" By emphasizing the time when we understand a word, I introduce the reality of words versus the language convention. By distinguishing between giving meaning to words and their having a meaning, I show how, just like a reality, a word has a function appropriate to its unique character. We replace an independent entity called "meaning" with this function of understanding. Eventually, by distinguishing between the language act and the speaker's act, I show that the creative aspect of language is related to the layer of the language act rather than the speaker's act. [ABSTRACT FROM AUTHOR]

The article discusses the associations of literary Symbolism and music. It cites the article by Christoph Flamm which relates Symbolism and music. The article is cited to be strong on the futuristic aspects of Symbolism but says little about its roots. Evocative side of Impressionism in both art and music is also cited. It is believed that there is scholarly consensus that all evocative side of Impressionism in both art and music is better defined as Symbolism.

This article presents several manifestoes regarding different literary movements. Symbolist masters such as Edgar Allan Poe and Charles Baudelaire were criticized for creating poetry that was inextricably linked to nostalgia, history and legend. The English were addressed from the vantage point of a Futurist writer regarding the admirable and the unappealing characteristics of English people. The introduction of an industrial and military influence on Venice, Italy was promoted.

Analyzes the mystery of the rainbow in the literary context. Fusion between science and the poetic imagination; Scientific inventions in the techniques of color and medium for a visionary work of art; Symbolism of the rainbow.

This article provides information on the symbolist productions by the theatrical company Théâtre d'Art. The Girl With Cut-Off Hands, a mystery in two scenes performed on March 19 and 20, 1891, was the first distinctly symbolist production in regard to its mise-en-scene and design. To a great extent, it influenced the staging practices of Théâtre d'Art. The play was performed on a stage separated from the audience by a gauze scrim immediately behind the footlights. The backdrop was a canvas of shining gold, framed with red draperies. Maurice Maeterlinck's second play, The Blind, was staged on December 11, 1891, as part of the fifth Théâtre d'Art program. The stage was in a bluish semi-darkness, an effect which director Adolphe Retté achieved by putting colored glass in front of lights. The recitation of poetry as part of the evening performance began with the third program of Théâtre d'Art when G. Camér recited Mallarmé's Le Guignon. From that time on, the recitation of poetry was an integral part of each program except the last one. Paul Napoleon Roinard based his scenario of Song of Songs on eight chapters of Solomon's Song of Songs. The biblical text was left unchanged and Roinard, in this respect, considered himself only a translator. Song of Songs can be looked upon as an anthology of a love lyric, a fragment of a wedding ceremony, or part of a dramatic composition. Every translation is by necessity an interpretation.

Comments on the decline in the use of symbols in favor of literal meanings. Postmodernism's deconstruction of symbols; Studies made by philosopher Susanne Langer; Literary symbols.

The article provides information on Russian poet Vladislav Khodasevich. According to the article author, he can be roughly typed as the last great poet of Russian Symbolism, a self-conscious movement that peaked before World War I yet whose influence lasted well beyond that time. Khodasevich is a very fine poet well worth the labor of putting him in the context of modern western literature. His numerous essays, often cast as reminiscences, and his direct engagement in literary and personal relations of his day all give vivid witness to his diligence in adversity, his subtle literary sensibility-not to say his lasting genius. Khodasevich was the last-born of a large family to a Polish father and a Jewish-Catholic Polish mother, both with modest connections to nobility. When he was born the family had settled in Moscow, where his father owned a photographic supply shop and was the first Kodak dealer in town. He was raised a Catholic, but his prime allegiance seems from early times to have been literature and the vocation of a poet. In almost kaleidoscopic fashion he went through Decadence, his own variety of Symbolism and a Pushkinian classicism. His output of poems was fairly slender, reflecting a vigilant high standard. In the last decade of his life he wrote no poetry. -

The article looks at the significance of the increasing role of symbolism in the play "Place Plays" to architecture. Among the Biennale projects that reflect the symbolism trend are "Dwelling Constructed to Decay" and "Dwelling Constructed to Stand for One Thousand Years (At Least)." Buildings placed with apparent randomness on the stage consist "Place Plays." According to the author, the play portrays architecture as a creature of infinite capacity to demonstrate gesture and display.

Presents information regarding poetry termed as Social Symbolism. Connection between the technique of the Symbolist poets and their attitude toward life and art; Information that Symbolists not only hated science. and despised public affairs, they even went, to crazy lengths in the effort to avoid any sort of generalized or abstract thinking; Adoption of style by William Butler Yeats which was based on his dislike for scientific or political thinking; Information regarding the book "Trial of a Judge," by Stephen Spender.

The article discusses the life and career of Georges Rodenbach, a Belgian poet and novelist and leading member of the Symbolist literary movement. The author examines the impact of his book "Bruges-la-Morte" on the cultural life of Europe at the end of the 19th and the beginning of the 20th centuries.

The first modern French novel I read -- the one that introduced terms like ''avant-garde'' and ''surrealism'' to my tongue -- was ''Les Enfants Terribles,'' by Jean Cocteau. I thrilled to the extravagant antics of Paul and Elisabeth, brother and sister, soon to be sleeping partners, in ''the Room'' they share with teenage friends. Life in Cocteau's Paris is ''the Game,'' with its own rules or no rules, a state peculiar to the spirit on the threshold between infancy and adolescence. All lovers of this slim novel seek to unlock the secret door leading from their own room to the Room on the Rue Montmartre. When I open it now, it is my cleareyed 20-year-old self in Scotland who begins to read, as much as the weathered, bespectacled ''me'' of almost four decades on. There was no Cafe de Flore in Glasgow in the early 1970s. The Left Bank of the River Clyde was still dedicated to shipbuilding. But symbolism and existentialism were meat and drink in the pubs around the university, where Albert Camus was as grand a hero as Bob Dylan. Those studying French tackled Camus's novel ''L'Etranger'' in the original; others, including me, took the convenient option of Stuart Gilbert's 1946 translation, ''The Stranger'' (known to British readers as ''The Outsider''). The pressure of the midday heat on Meursault before his fatal act was much debated, as was the import of his opening words: ''Mother died today. Or, maybe, yesterday; I can't be sure.'' Was it for the crime of lack of feeling that Meursault faced the guillotine? Let's have another round. [ABSTRACT FROM PUBLISHER]

The article presents an overview of theatre history and ideas for writing, acting and designing activities for students. It cites the writing of Greek history by pairs of students, acting with the use of short stage combat scene in Roman theatre and creation of gestures for different characters in Medieval theatre. It also notes writing exercises for Renaissance theatre students, five-minute scripts for Neoclassical theatre and the Modern theatre movements including Symbolism, Expressionism and Absurdism.

The article presents a series of questions related to student comprehension of the story "Grendel." Questions focus on the symbolism of monsters, the perspective employed by author John Gardner in the novel "Grendel," and the differences between the character Grendel in "Beowulf" and "Grendel." A brief biographical overview of John Gardner is provided.