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This article explains the founding of the ELT Period, also called the Transition Era, 1880-1920. The many "minor" authors discussed here, whom Samuel Butler referred to as the "hewers of wood and tillers of the soil," played an important role in preparing the ground for Yeats, Eliot, James Joyce and other moderns. The period from 1880 until about 1920 seems like Walter Pater's late twelfth and early thirteenth centuries, "a brilliant but in part abortive effort" to revitalize Art and Life, a "little renaissance" but a renaissance nevertheless. The article directs its attention to the energy in quest for newness, a new life in the arts and a new artistic temperament in life, concentrating on two kinds of evidence: that which bears on the language and form of art; that which bears on the content of art. [137 words] [ABSTRACT FROM AUTHOR]

R. B. Kitaj's keen interest in literature, which he connected with his Jewish heritage and its reverence for the written word, shows through as an essential characteristic of his art. As a young artist, Kitaj's cultural referents included Ezra Pound and, especially, T. S. Eliot. The external and imaginative structure of The Waste Land (1922) inspired the composition of Kitaj's Tarot Variations (1958), while Eliot's "Notes" to the poem were a model for Kitaj's "prefaces," short texts supplementing many of his paintings. If Not, Not (1975-1976) memorialises the Shoah, also drawing on The Waste Land--the definitive text as well as its drafts and critical reception. Like Eliot's poetry, Kitaj's art is highly allusive, in a way that conforms to Eliot's views on tradition and creativity. This is one of the reasons to stress the continuities with modernism in Kitaj's figurative art, which developed in the predominantly non-figurative context of postmodernism. In later years, Kitaj distanced himself from Eliot--prominently in The Killer Critic (1997)--rejecting the poet's early emphasis on impersonality and the anti-Semitism of his verse. Despite these differences, Eliot's influence on Kitaj was intense, long-lasting and productive. [ABSTRACT FROM AUTHOR]

Copyright of HUM: Journal of the Faculty of Arts at the University of Mostar is the property of University of Mostar, Faculty of Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This contribution in three parts analyses for the first time Ion Pillat's Buddhist poetry of his debut volume (Visări budiste [Buddhist Reveries] from Visări păgâne [Pagan Reveries], Bucharest: «Minerva» - Institut de Arte Grafice şi Editură, 1912) compared against plausible European and Asian religious and literary sources, contexts, and significance, in order to palliate the callous non-sense of some literary critics and the cultural prejudice inflicted by some scholars of religion. The five poems - A Buddhist Prayer (a title subsequently changed to A Prayer to the Buddha), Samsara [saṃsāra], Towards Nirvana, Karman and A Hymn of Worship - are illustrative of the wider topics and literary moves of an 'Asian Renaissance', and highlight the Buddhist legacy of Eugène Burnouf (1801-1852), a professor of the Collège de France who would become the founding father of modern Buddhist Studies worldwide and whose Magna Carta of Buddhism Studies would also have a Romanian echo, from Odobescu (who moreover frequented his classes) to Eminescu (who authored more and better Buddhist cantos) or Georgian (the first to critically edit Sanskrit texts) to young Pillat, a schoolboy, then student in Paris since 1905, to become the first translator into Romanian of another pupil of Sanskrit India in Paris and Harvard in the 1910-1914, T. S. Eliot. [ABSTRACT FROM AUTHOR]

“Burnt Norton” (1935), the first section of T. S. Eliot’s Four Quartets (1942), mirrors the poet’s inquisitive approach towards the complexity of human condition in the modern age, particularly focusing on the central concepts of life, time, death, or eternity. Engaged in an existentialist exploration of such notions, Eliot designs the Quartets as an analogical musical composition. “Burnt Norton,” as the leading movement of the whole piece, becomes the first notes in Eliot’s poetic musicality in his entire work, with its variance in tone and poetic form and a rhythmical obsession with certain themes such as life, time, infinity, or memory. This paper aims to analyze such modernist pursuits voiced in the poem by treating its persona as a “Stranger,” or a typical quester of existentialist philosophy. As an English philosopher/author, Colin Wilson contributes to the development of the continental philosophy of existentialism, specifically identifying major characteristics of the Outsider figure. Wilson’s analytical work, The Outsider (1956) serves as a theoretical frame to characterize the speaker of the poem as an Outsider in this paper. It argues that the speaker of the Quartets, as primarily reflected in “Burnt Norton,” presents similar central existentialist crises of simultaneously searching for the ways to explore reality or denying its possibility. He questions how much reality a human being “bears” without any meaningful attempt to understand it, and invites the reader to recognize their own unfit answers that deny their position as Outsiders in modern life. [ABSTRACT FROM AUTHOR]

It had become commonplace in the 1890s to think of cultures and literatures entering periods of decline. English Decadence, the conventional narrative goes, was a product of Francophilia. Yet in the 1880s young authors were uncovering alternative models of literary decline and stylistic artifice. In their study of playwrights such as John Ford and Philip Massinger, Arthur Symons and Havelock Ellis began to interrogate the dominant historiographical narratives of the late-Victorian period. The example of the Elizabethans offered a model of literature that strained style to its limits in an attempt to express the extremes of sensation, an example that would be invaluable for Decadent writers as they negotiated the moral orthodoxy of Victorian England, challenging the moral frameworks that sustained the myth of "decadence" in literature, and forging the autonomous aestheticism that would underpin the Decadent Movement. [138 words] [ABSTRACT FROM AUTHOR]

Why might a B-grade horror film in 2015 stage a performative reading of T. S. Eliot's 'The Love Song of J. Alfred Prufrock'? That is precisely what we encounter during It Follows, when a classroom recitation of the well-known poem frames an encounter between the film's heroine and a spectral force of bodily destruction. This essay begins with an account of that scene before describing how the film uses its historical setting, in Detroit Michigan, to forge an allegorical tale about life during an economic crisis. The essay then takes that film as a critical lens for re-reading the poem rehearsed therein. It does so in order to see if we can read the film's allegorical tale of economic crisis back into Eliot's poem, and to thereby approach the poem's relatively uncontroversial claim to modernism as a textual imprint of the crisis-prone system to which it belongs. It argues that by coupling the poem and the film, released exactly one century apart, we will gain new insights into the deeper tectonics of modernism and specifically of modernist literary horror. [ABSTRACT FROM AUTHOR]

Literary modernism co-developed with modern pedagogy, particularly progressive education's pedagogy of experience. But although many modernists were teachers, the deep relationship between the writer and the classroom has not had the critical attention it deserves. Since the 1970s, progressivism has been caricatured as an individualist affirmation of the given self at the expense of learning from tradition. But its real roots, like much of modernism's, lie in the process ontologies of Bergson, James and Dewey, which essay an interactive, environment-dependent account of persons as developing systems. During the 1920s and 30s, both modernist experiments in narrative and progressive experiments in the classroom let characters, selves and meanings emerge from their environmental situations. Both drew attention to the processes of the mind in formation, to the way language mediates the self to itself, and to the unfinished nature of all understanding. 'Education', remarked Dewey, 'must be considered as a continuing reconstruction of experience', and the same is true for the reader of modernism, who is continually faced with the gap between experience in the happening and the words to make sense of it. [ABSTRACT FROM AUTHOR]

Wilde and Chesterton may seem an unlikely pair. The overlap in critical diction between those who discuss modernist difficulty as playing tricks and those who discuss Chesterton's and Wilde's work as playing tricks is not coincidental. This article argues that the essay as practiced by both offers a new way to discern and articulate what it means for a text to be understood and to fashion itself as difficult. Both Chesterton and Wilde write form-visible, self-consciously stylized essays, provoking questions that parallel those surrounding modernist difficulty. Through their essays both coerce a critical posture of constant uncertainty as to whether what one is encountering is illusory, substantive, or somehow both. To differing degrees they leave readers with a sense of the substantive being made possible by the illusory. They caricature, magnify, and distend comprehensibility, making it if not less comprehensible less invisible. [142 words] [ABSTRACT FROM AUTHOR]

Copyright of Revista de Filosofía (0034-8244) is the property of Universidad Complutense de Madrid and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research paper introduces the principles of literary criticism, the qualities of an ideal critic, limitations of criticism, criticism during the Pre-Platonic Age, Plato's views on the abuse of Poetry and Drama, Aristotle's concept of the frame-work of universe, work, artist, and audience, Aristotle's views on Poetry and Aristotle's views on Comedy and the limitations of Aristotle's criticism. It also traces the beginning of the English literary criticism, provides the reader the 'Argument' of Stephen Gosson's The School of Abuse and Sir Philip Sidney's An Apologie for Poetrie, presents a critique on the views of Plato, Aristotle, Stephen Gosson, Sir Philip Sidney in the light of the enlightenment provided by T. S. Eliot and I. A. Richards on the art of Poetry and concludes by admonishing the readers to realize the need to cultivate the right attitude to criticism. [ABSTRACT FROM AUTHOR]

Counter to previous assumptions, relations between E.M. Forster and T.S. Eliot are important to an understanding of the work of each, and reshape our view of their period. These mutual influence relations also enable revised theories of literary influence to be proposed. The two writers shared privileged upbringings founded on nineteenth-century capitalism. The friendship of each with Virginia Woolf brought them into contact with one another and then, in the 1920s, they were linked by The Criterion, which Eliot edited. The article examines two pieces of prose by Forster on Eliot, one gathered into his first collection of essays, Abinger Harvest (1936) and the other into Two Cheers for Democracy (1951). Over time, Forster came to see Eliot as self-deceiving and harmed by his attachment to conservative Christianity. If Eliot drew on Forster’s work it was early in his career, before The Waste Land. Forster and Eliot can be understood in social terms as mandarins of British culture in the mid-twentieth century. While Eliot seemed to pay little attention to Forster in later years, Forster’s career can be read as shadowed by Eliot’s.

Around the year 1930, as noted by Ronald Schuchard, T. S. Eliot moved beyond the opposition of classicism and romanticism, replacing it with a juxtaposition of orthodoxy and modernism. However, as Eliot’s recently published letters and prose suggest, Eliot created yet another contrariety by using these terms from 1926 onwards to imply the mismatch between his classicism and “modernism.” Indeed, in his correspondence, reports, reviews, commentaries and records of spoken addresses written between 1926 and 1933, the references to modernism – or perhaps just the ways in which he makes use of the term – range from condescending to contemptuous. This paper, in trying to outline Eliot’s wrestling with the term modernism between 1926 and 1933 – a narrative inferred from his side remarks, personal comments and little jibes – shows that to T. S. Eliot classicism was essentially an antidote to modernism. It also tries to demonstrate that, at the time, Eliot used the word modernism, meaning not only modernism in literature but also (predominantly, perhaps) modernist theology.

Este trabajo describe el sentido de la noción de lo clásico en tres autores: Paul Valéry, T. S. Eliot y Walter Benjamin. En el primero, lo clásico supone la imposición de un orden a partir del desorden del material natural, mientras que el segundo recurre a metáforas organicistas para concebirlo como el resultado de un estado de madurez de la cultura. Estos dos sentidos confluyen de un modo negativo en las ideas de Benjamin, cuya perspectiva está marcada por la idea de redención: él desvaloriza, en cierto modo, el sentido tradicional de lo clásico, pero al concebirlo como una acumulación de ruinas, busca hacer estallar sus posibilidades revolucionarias.

The reproductive metaphors that T. S. Eliot uses in his early theories of creativity are indicative of modernism's ambivalence towards collaborative authorship. Moving away from a critical tendency to read Eliot's collaborative practice primarily in terms of Pound's editorial signature, this article examines how modernist collaboration, as theorised by Eliot, is bound up with a fantasy of origins. Framed by Eliot's positing of 'merging' as 'involuntary collaboration', it considers the collapse that occurs between co-labour, imitation, and theft not only in Eliot's work but also that of Hart Crane. More particularly, the article explores how Eliot and Crane both make use of another poet's work to release their own poetic sensibilities; it also shows how 'involuntary collaboration' takes on a shadowy presence in their respective works. This highlights the complex role that fantasy and affect play within modernist poetry's collaborative practices and attempts to forge a poetic community. [ABSTRACT FROM AUTHOR]

The article presents an attempt to highlight the historical and cultural background of formation of Eliot's canon, as well as to analyze certain aesthetic paradigms that formed its basis (the theory of tradition, the conception of impersonal poetry, and the concept of "dissociation of sensibility"). In the article, the key figures belonging to the canon are mentioned, and the reasons for their canonization are identified. Particular attention is paid to Eliot's take on the problem of dialogue of cultures, and of acquisition of a foreign poetical tradition, as well as to the principles that, according to Eliot, should govern literary translation. [ABSTRACT FROM AUTHOR]

Copyright of Ilha do Desterro: A Journal of English Language, Literatures in English & Cultural Studies is the property of Universidade Federal de Santa Catarina, CCE Departamento de Pos-Graduacao em Lingua Englesa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A number of well-known poets and literary writers were drawn towards the ideas of the organic husbandry movement in the 1930s–50s, including T. S. Eliot, John Middleton Murry and H. J. Massingham. This article explores the literary influences in the seminal organic texts of the period and examines the important role which poetry played in the formulation of key organic concepts and the dissemination of the organic cause. It concludes that a consideration of literature and poetry should play a pivotal role in our understanding of the development of the organic movement. [ABSTRACT FROM AUTHOR]

T. S. Eliot's claim in The Sacred Wood (1920) that the beauty of Swinburne's verse was 'neither that of music nor that of poetry which can be set to music' has had such a negative impact on Swinburne studies that the strong relationship of Poems and Ballads (1866) with the musical world has been neglected. This article surveys the extent of that relationship, exploring a range of examples from a newly-compiled music catalogue that charts the surprising variety and diversity of musical adaptations of Swinburne's verse between 1867-1920. From simple piano and voice settings through to choral works performed at some of the era's most important venues, and to drama soundtracks and symphonic poems, the range of adaptations suggest both an extraordinary enthusiasm for Swinburne's poems as music, but also a cross-fertilization of content, style, and aesthetics that has implications for an analysis of Swinburne's wider cultural impact. Additionally, by focusing on musical adaptations of two of the era's leading Wagnerians, the study also suggests that contrary to previous critical views, which have tended to ask what Swinburne might have incorporated from the musical world into his poetry, Swinburne's work may well have significantly influenced both Victorian musical appreciation and criticism. Analysing this material against T. S. Eliot's view, his comments are also re-assessed within the context of nineteenth-century debates between ideas of absolute music and the Wagnerian music of the future, and how these debates may have impacted on Eliot's negative characterization of Swinburne's verse. [ABSTRACT FROM AUTHOR]

Despite disagreements with T. S. Eliot’s politics, Muriel Rukeyser was a serious student of Eliot’s poetry, prose, and plays for much of her life, sharing his interest in poetry’s communicative power and the novel ways in which modern poetics call for the mental, emotional, and physiological participation of readers. The Life of Poetry (1949), in conjunction with her five Vassar Lectures, assembled as ‘The Usable Truth: Five Talks on Communication and Poetry’, offers a complex view of her attitude toward Eliot, suggesting her sustained and critical engagement with his creative and critical work, in particular his concern with the communicative effectiveness of modern poetry; his poetic use of innovative cinematic techniques to reach readers in emotionally and intellectually exacting ways; his changing understanding of modern audiences; and his interest in the social uses of poetry, which motivated his turn to verse drama. Rukeyser’s political and aesthetic radicalism, which informed her engagement with T. S. Eliot, was importantly shaped by her undergraduate experience at Vassar and friendship with Hallie Flanagan, whose experimental theatre impressed upon Rukeyser the democratising potential of avant-garde theatre, a lesson she sought to transpose to poetry. [ABSTRACT FROM AUTHOR]

This text intends to analyze the images of water present in The Waste Land, demonstrating that they are ordered according to a relation of intrinsic tension to the poem, and that such images make direct reference to both the destruction and the redemption. Therefore, this study will start with the imagistic conception of Ezra Poud (1974), as well as the idea of Kathrin Rosenfield (1996) that the T. S. Eliot's poem is conducted by a "grammar of chaos". In the analysis, it is verified that the images of water corroborate to accentuate the antagonisms of the poem, especially in relation to the greater duality of the human condition, the tension between the life and the death. [ABSTRACT FROM AUTHOR]

Eliot's "Four Elizabethan Dramatists" is one of the substantial critiques on Elizabethan drama from a modernist perspective. The prominence laid on classical principles and realism, on the one hand and the interconnection between drama and poetry, on the other contribute to the inconsistency of creativity rather than stationing an unswerving artistic form. While the modern dramatic tradition has improved upon the technical aspects, Elizabethans relied on the poetic brilliance. Eliot argues for a dramatic tradition that stably balances between realism, poetry and technique. This essay is an attempt to critically read Eliot's essay to locate his contribution to dramaturgy. [ABSTRACT FROM AUTHOR]

The following work draws a comparison between the images and symbols of time in T. S. Eliot’s “Burnt Norton” and Kurt Vonnegut’s “Slaughter- house-Five.” In spite of the texts’ different genres, styles and background, they express similar sentiments, and they match the use of several sym- bols. By doing so, they develop noticeably analogous concepts, such as ever-present time, the ambivalent relationship of humanity with the realm of possibility, and the overestimation of death. En este artículo se hace una comparación entre las imágenes y símbolos del tiempo en “Burnt Norton” de T. S. Eliot y “Slaughterhouse-Five” de Kurt Vonnegut. A pesar de los géneros, estilos y trasfondos diferentes de los textos, ambos expresan opiniones similares y concuerdan en el uso de varios símbolos. Al hacer esto, desarrollan conceptos notable- mente análogos, tales como el tiempo presente perpetuo, la relación ambivalente de la humanidad con el reino de la posibilidad y la sobre- valoración de la muerte.

Mário Faustino, além de poeta, foi também tradutor, exercendo essa atividade em diferentes momentos de sua carreira e, por meio de suas traduções, dialogou com diversos autores, tornando-os parte de sua obra. Assim, a partir da comparação entres os poemas “Nam Sibyllam” e “Death by water”, este artigo busca mostrar como Faustino deu origem a um novo poema a partir da obra de Eliot.

“De Eliot a Borges” estudia la manera en que Jorge Luis Borges transforma argumentos hechos por T. S. Eliot en su conocido ensayo “Tradition and the Individual Talent” en una interpretación innovadora de la práctica e historia de la literatura. De hecho, “Tradition and the Individual Talent” puede ser visto como la base sobre la que el escritor argentino va a desarrollar la justificación teórica para la práctica “vampirística” que se encuentra en muchos de sus cuentos. Así, tanto en sus ensayos como en sus celebradas “ficciones”, Borges fue capaz de “manejar todos los temas europeos, sin supersticiones, con una irreverencia que puede tener [...] consecuencias afortunadas”, como señala en “El escritor argentino y la tradición”, título que delata sus lazos intelectuales con Eliot.

T. S. Eliot's rarely discussed prose-poem "Hysteria" poses a riddle insofar as its title's reference remains ambiguous: Both the male and female protagonist may be the locus of hysteria's disturbing presence, as well as the text itself. This article tries to unravel the hysterical knot by taking recourse to psychoanalytic theory and elucidating the dichotomies manifest in "Hysteria," in form as well as in content. The prose-poem is characterized by a divide between mind and body, male and female, symbolic and semiotic. Instead of complying with this disjunction and attributing the signs of hysteria to either side of the dichotomy, I suggest situating the origin of hysteria beyond it. Since hysteria's characteristic is transgression and role-play, it may not be confined to one pole of a binary, to the man or the woman, body or mind, but always already transcends these binary structures. Indeed, as a social malady par excellence, I believe hysteria arises out of the void at the base of the male and female protagonist's relationship and is thus a jointly produced and somatically encoded sign of distress. [ABSTRACT FROM AUTHOR]

This article looks at Daniel Albright's ideas on the integration, or otherwise, of the arts, specifically as presented in his book Panaesthetics (2014). Articulating a response to Jean-Luc Nancy's resonant question in The Muses, 'Why are there several arts and not just one?', Albright questions whether it is actually possible speak about 'unity' across the arts or whether 'diversity' remains what defines them. With that in view, the article looks at Olivier Messiaen's Harawi and T. S. Eliot's Four Quartets to discuss the countertextual and the contrapuntal, and how the poetic can there be observed in the musical and vice versa. In doing so, it also offers reflections on some implications for critical practice. [ABSTRACT FROM AUTHOR]

This article positions Pablo Neruda's poetry collection Residence on Earth I (written between 1925-1931 and published in 1933) as a 'text in transit' that allows us to trace the development of transnational modernist networks through the text's protracted physical journey from British colonial Ceylon (now Sri Lanka) to Madrid, and from José Ortega y Gasset's Revista de Occidente ( The Western Review) to T. S. Eliot's The Criterion. By mapping the text's diasporic movement, I seek to reinterpret its complex composition process as part of an anti-imperialist commitment that proposes a form of aesthetic solidarity with artistic modernism in Ceylon, on the one hand, and as a vehicle through which to interrogate the reception and categorisation of Latin American writers and their cultural institutions in a British periodical such as The Criterion, on the other. I conclude with an examination of Neruda's idiosyncratic Spanish translation of Joyce's Chamber Music, which was published in the Buenos Aires little magazine Poesía in 1933, positing that this translation exercise takes to further lengths his decolonising views by giving new momentum to the long-standing question of Hiberno-Latin American relations. [ABSTRACT FROM AUTHOR]

This article examines a series of literary works in which the idea of return is linked to a sense of the eternal as an expression of the mythic self. The first three examples, which are taken from texts in different genres from the second half of the nineteenth century, show signs of an incipient mythopoeia. Following this introduction to the topic, attention is turned to works that appeared in the first half of the twentieth century, especially those that belong to its second decade. One critical moment in the Cretan myth of Ariadne is singled out for close analysis as an illustration of the modernist preoccupation with--and the continuing vitality of--myths from ancient Greece. In this case study, the focus is on the interaction between sea and shore as having the force of a liminal charge in which the sacred emerges from the profane. [ABSTRACT FROM AUTHOR]

In the case of Hungarian composer and ethnomusicologist László Lajtha (1892-1963) discovering the manifold potentials in a symphonic orchestra linked strongly with the composition of works for stage and screen. Nevertheless, it clearly makes sense to examine the long-term relations Lajtha had with the film as a genre, by searching for common features in the structure of his music composed for films and his symphonies. Much of the musical material in Lajtha's Third Symphony is similar to those he used in his 1948 film music for Murder in the Cathedral. The similarity gains more complexity if one takes into consideration that the Third Symphony was marked by the composer as the starting point in a monumental, five-fold symphonic cycle composed through the 1950s. The article makes an attempt to explore the thematic and motivic relationship between the Third Symphony, the Variations and the film score Murder in the Cathedral by analysing the musical material and the structure, and by searching for correlation between the audible and visual effects of the music Lajtha used in the movie scenes. This kind of examination may offer a new perspective on the sources of inspiration that shaped Lajtha's workmanship and it also gives some important information about his way of thinking about music. [ABSTRACT FROM AUTHOR]

The core of this article is a long poem Mluvící pásmo [Talking Zone], published in 1939 by Czech Modernist poet Milada Součková (1899-1983). Through Součková's writing, the abyss between Czech avant-garde and Czech Modernism with its references to English modernism is revealed here. This article offers a contextualization of the genre of zone within Czech Modernism while analysing Součková's large poem as a specific form of English modernism. Through a detailed examination of Součková's poem Talking Zone and Eliot's The Waste Land this article reveals the parallels between her writings and the writings of the leading modernists. The first section examines the influence on the poem of radio, both in terms of its thematic register and its form. It then goes on to analyse the dominant thematic discourses of the poem which are also key themes of the genre of zone in the 1930s in the Czech context (these are defined in the article as museum, memory, encyclopaedia and apocalypse). An examination of Talking Zone reveals the process of exhaustion of the genre of zone as a leading genre of the Czech avant-garde poetry and the exhaustion of the avant-garde projects of the new world. The archaeology of modernism (of an era), as conveyed in Souckova's writing is determined by space (Europe), person (writer) and action (modernism). In Soucková's Talking Zone each of these three elements is depicted as extinct. [ABSTRACT FROM AUTHOR]