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In this article, I read the shipwrecked journeys in T. S. Eliot's 1922 poem The Waste Land as belonging to a long-standing trope of travel by sea. By examining the connections between the scenes of shipwrecks in the poem and its intertexts, including works by Homer and Shakespeare, I reconstruct the characters' homecoming journeys in a Ulyssean palimpsest of nostos ('homecoming') in these scenes. I argue that these scenes foreground the challenges of homecoming by sea while implying the hope for returns through mythical implications and dramatic effect. The article situates drowning and resurrection, the governing themes of the poem, in the critical lineage of nostos that encompasses deferred return and symbolic rebirth. Informed by the context of the Great War and Eliot's New England heritage, the article challenges the work in modernist studies that tends to interpret Eliot's depiction of these thwarted journeys as a rejection of homecoming. [ABSTRACT FROM AUTHOR]

This essay examines T.S. Eliot’s Old Possum’s Book of Practical Cats (1939) and its subsequent musical adaptation, Cats (1981) by Andrew Lloyd Webber, through the lens of elemental melodrama. It begins with Eliot’s envisioned but omitted conclusion, where a poet ascends with Jellicle cats, and explores its revival in the musical’s song ‘Journey to the Heaviside Layer’. This ascent melodramatises the climactic journey to a heaven, an imaginary space beyond Earth’s tangible experiences. The essay contrasts the musical’s alignment of the Heaviside Layer with a ‘heaven’ oriented toward the desires and aspirations of anthropomorphised cats with Joseph Kittinger’s 1960 high-altitude balloon ascent and Maurice Blanchot’s reflections on Yuri Gagarin’s space mission. Both Kittinger’s and Blanchot’s writings reveal the Heaviside Layer as both a real and metaphorical space of death and existential void, contrasting with the musical’s portrayal of it purely in terms of celestial ascent. Drawing on Peter Brooks’s theory of melodrama as a post-sacred mode, the essay highlights how tableau, gesture, heightened emotion and, especially, song in Cats convey a collective yearning for transcendence. Ultimately, it argues that the Heaviside Layer in Cats serves as a zone of elemental melodramatic transcendence. It is in this context that earthly limitations, particularly those relating to embodied differences of race and sex, exist in tension with feline (and, by implication, human) aspirations for an unreachable ‘beyond’. [ABSTRACT FROM AUTHOR]

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Theoretically, a poem can begin in any way. What does it mean that in practice, poems often begin in a particular way—that is, by returning to a fragment of some prior thing? We see this in the encore of John Milton's opening to Lycidas ('Yet once more, O ye laurels, and once more'); differently, we see this in the widely used convention of the poetic epigraph (for instance, T. S. Eliot's 'The Love Song of J. Alfred Prufrock' begins with six lines from Dante's Inferno). While there is an established model for understanding the beginning as an act that invokes poetic precedent, this paper seeks to expose the beginning's logic of return to a broader sense of language that is beyond the remit of poetic tradition as such. With a focus on the epigraph, this paper thinks about the everyday existence of poems and about how this existence relates to ordinary language, asking, how do these different modes of language function together? How does ordinary language collude in the creation of poetry? In its enactment of the passage of language from one mode of existence to another, the beginning of a poem might offer some answers to these questions. [ABSTRACT FROM AUTHOR]

"Sonic Boom" emphasizes the sonic virtuosity of A Song to David and explores the relation between its heightened musicality and its peculiar route to placement in literary history. We should not let one of Smart's masterpieces, the anticipatory Jubilate Agno , supplant all discussion of the very different but equally masterly Song. Whether we position Smart between Pope and Wordsworth or between the Quakers and the Beats, his achievement necessarily alters our understanding of poetic possibilities in the middle of the eighteenth century. As a formally achieved religious ecstasy, the poem alters our sense of what the affordances of eighteenth-century poetry were. [ABSTRACT FROM AUTHOR]

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Copyright of Philological Review (00151807) is the property of University of Belgrade, Faculty of Philology 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 Philological Review (00151807) is the property of University of Belgrade, Faculty of Philology 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.)

In light of Oxford University Press issuing two volumes in The Critical Works of William Empson (Some Versions of Pastoral [1935] and The Structure of Complex Words [1951]), this essay thinks over Empson's career and major works to consider what his value may be nearly a century after his first book, with special attention to problems that Empson's Englishness may pose to readers in the United States. [ABSTRACT FROM AUTHOR]

This article examines various attempts to trace the Old Testament source of New Testament claims in Luke and 1 Corinthians about the Messiah rising on the third day, including that of Bruce Metzger, Harvey McArthur, Tom Wright, Clare Amos and Richard Hays. [ABSTRACT FROM AUTHOR]

There are two versions of T. S. Eliot’s second complete volume of poems: the US edition, Poems (1920), and the UK edition, Ara Vos Prec (The Ovid Press). While Ezra Pound arranged the poems of the American Poems (1920), Eliot himself determined the sequence of poems for Ara Vos Prec. This paper examines the history and the material form of Ara Vos Prec in order to understand how Eliot, while not under the influence of Pound, read his own poetry in 1920, and how he envisioned and guided his different audiences — public and coterie — in reading it.

The post-Romantic idealisation of childhood in much late-Victorian and Edwardian literature often makes use of a garden setting as a locus amoenus associated (like childhood itself) with qualities of innocence. There was inevitably a disjunction between this idealised image and the lives of actual children, however. One aspect of that difference was the high incidence of child mortality, a phenomenon notably absent from most Golden Age children's literature, though present in the lives of many of its authors. The depiction of child ghosts was one way of acknowledging this trauma. Rudyard Kipling's story 'They' is a powerful case in point, one that echoes in the work of writers as diverse as T. S. Eliot and Lucy M. Boston. It is a text unusual both in the directness with which it exposes the disjunction noted above and in its willingness to explore (though not wholly embrace) new narrative and genre approaches to its resolution, some of which would go on to inform key texts of modernism and of twentieth-century rurality. [ABSTRACT FROM AUTHOR]

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Since J. Alfred Prufrock asked the question “Do I dare to eat the peach?”, T.S. Eliot’s poems, essays and plays have provided food for thought for generations over the past century. Literary critics, historians and scholars of cultural modernity have occasionally noted the poet’s interest in depicting and commenting on how modern individuals perceive sources of nourishment, their transformative power and the consequences of their absence. This paper draws on previous studies of his work to explore and highlight the representation of fruits, fruition and fruitlessness in several of his poems. It also reconsiders earlier interpretations, shedding light on missing aspects and bringing attention to new insights into poems from his earliest to his last collections. The analysis employs several interpretive techniques, including symbolic analysis to uncover how fruit imagery in Eliot’s work reflects themes of existential questioning, spiritual emptiness and societal critique. It situates this symbolism within the broader modernist exploration of alienation and renewal. Additionally, the study assesses Eliot’s literary influences, such as European satire and French symbolism, and their impact on his thematic concerns. An ecocritical perspective is also used to examine how Eliot’s portrayal of food and nature engages with early 20th-century ecological and cultural issues, reconsidering materialism and spirituality. [ABSTRACT FROM AUTHOR]

This article sketches a theory of modernist memory. Borges provides an entry-point for an exploration of the relation between forgetting and memory in modernism, from which I show that memory (as writing) would not be possible without blockages and failures of remembrance. My main contention is that absolute recall doubling as absolute forgetting in certain corpuses requires a mediation on the function of the 'heart' in modernism. This leads me to sketch a dialectics in which the heart functions as a textual machine which knots forgetting and remembrance, a circumstance which can be generalised to redefine how we understand modernism today. [ABSTRACT FROM AUTHOR]

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The nonfiction of Cynthia Ozick includes many surrogate father figures, including Henry James, T. S. Eliot, Lionel Trilling, and Elie Wiesel. These towering presences have been refashioned by Ozick in what she calls her "literary essays," which she regards as a model of unrestrained creativity as championed by James. Ozick characterizes the literary essay as a gendered "secret self," with a unique persuasive power, which she depicts as an extension of her novel writing. Many of Ozick's essays return these male authority figures to a time when they were unknown, humiliated, and impoverished so that she can encounter them as equals, given her own rejection as a Jewish woman writer in the 1950s and '60s. But Ozick's nonfiction also includes didactic essays that engage with particular topics or events and do completely different kinds of work when compared to their literary counterparts. The tension between these two modes of nonfiction is explored with reference to these father figures, and especially to the Holocaust, which exposes, for Ozick, the limits of the literary essay. [ABSTRACT FROM AUTHOR]

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This paper analyzes the poetics of Grigorije Božović's travel literature, focusing on his attitude towards folk traditions in particular. A special emphasis is put on a metaphorical potential of the concept of "epic" in his travelogues, as opposed to Emil Staiger's concept of "epic" as well as other literary genres, mainly folklore. Further analysis encompasses the notion of epic man, the concept of tradition introduced by Thomas Stearns Eliot and it also explores the relationship between tradition and contemporaneity in Grigorije Božović's travel writings.

O “tempo”, como tema e como elemento estruturante, é um dos aspectos centrais do poema The Love Song of J. Alfred Prufrock, de T. S. Eliot. Como tal, diversos estudiosos da obra de Eliot, como Nancy Gish e J. Hillis Miller, propuseram análises e interpretações da temporalidade na produção do poeta e em The Love Song em particular. Quanto ao poema, a crítica parece concordar quanto à forma com que o tempo aparece nele: como continuidade sem sucessão, por um lado, e como sucessão sem continuidade, por outro. Em nosso estudo, partimos dessa conclusão e procuramos conciliar o aspecto temporal de The Love Song com outro elemento central seu, a ironia. Apoiando-nos nas ideias de Søren Kierkegaard e Paul De Man, identificamos que a ironia, em especial a ironia romântica, filosofia que funda a subjetividade moderna, possui uma formulação própria da temporalidade. Para o sujeito irônico, o tempo presente é tédio ou súbito, isto é, continuidade sem sucessão e sucessão sem continuidade, respectivamente, e o passado, uma ficção, enquanto que o futuro é tido como angústia. Assim, procuramos identificar como o tratamento do tempo em The Love Song corresponde ao “tempo da ironia” através de uma análise temática e estilística de algumas passagens do poema. Concluímos pelo estudo que a temporalidade representada na obra é pautada pela desarmonia entre continuidade e sucessão do tempo e que, em consonância com a estética irônica romântica, o tempo, no poema, é composto de tédio e súbito do presente, ausência e mistificação do passado, e prorrogação e angústia do futuro.

This essay argues that Rhys's "Temps Perdi" (1967) evokes modernist temporality – Proustian "lost time" – to connect the twentieth-century World Wars to the infrastructure of European imperialism. Set in England during World War II, Austria after World War I, and the "Carib Quarter" in Dominica in the 1930s, the story links the violence of the European wars to the violence of imperialism, and the "losses" of the twentieth century to the decayed Caribbean plantation, "Temps Perdi." In the local patois, the phrase means not "lost time" but "wasted time, lost labor," and recalls three hundred years of waste and ruin: the genocide of the indigenous "Caribs"; the devastation of African peoples enslaved in the Caribbean; and the "waste" of Europe itself – in the era of imperial collapse – in the destruction of the World Wars. All three of these historical realities are embedded in the story's title, and though that title evokes the tradition of European modernism, it also marks a departure from it. Though structured, in its temporal shifting, by allusion to Proust's À la recherche du temps perdu, "Temps Perdi" also undertakes an excavation of the material structures of modernity: the infrastructure – variously concealed, ruined, lost, or missing – that marks the spot of European devastation in the Caribbean. [ABSTRACT FROM AUTHOR]

T. S. Eliot’s ‘The Waste Land’ is viewed by many as the definitive modernist work. The chaotic verses tell stories of a fractured modernist world. What is it that fractured this world, however? The answer: capitalism and accumulation. Herein I discuss Eliot’s poem as pre-empting Justin McBrien’s notion of a Necrocene, an epoch defined by capitalist accumulation hurling humanity towards the apocalypse. Though the Necrocene itself is a widely acknowledged and established concept, its use in exploring literature, within and without of the canon, is reasonably rare. Herein I seek to ask – and answer – whether Eliot’s poem builds a proto-Necrocene within its lines, essentially functioning as a warning of what was to follow, by analysing the literal and metaphorical presence of capitalism in the poem’s lines, the effect of this on the various characters of the poem and also by drawing parallels between ‘The Waste Land’ and the Christian Book of Revelation through both language and content.

Elfriede Jelinek's 2009 play, Rechnitz (Der Würgeengel), concerns the 1945 massacre of approximately 180 Jewish men in the eponymous town of Rechnitz. Like much of Jelinek's oeuvre, the play brings Austria's fraught relationship with its National Socialist past into question, for which the Rechnitz massacre is an analogy. In the postdramatic appropriation of the Greek chorus that dominates her work, Jelinek crafts a distinctive pastiche of (often creatively [mis]appropriated) intertextual imagery to decidedly satirical eff ect. The diametric contradiction between the intertextual motifs of Friedrich Nietzsche's Übermensch and T. S. Eliot's "hollow man" in Rechnitz (Der Würgeengel) poses a double standard and a fundamental aporia. On the one hand, the perpetrators' weakness is applauded, while on the other, the massacre victims are derided for being too weak to prevent their own deaths. Such a contradiction signals Jelinek's trademark postdramatic satire, and in turn the duplicitousness she posits as inherent to the myth of Austrian non-participation in the Holocaust. [ABSTRACT FROM AUTHOR]

This paper brings together two well-known poets from the Western and the Eastern worlds, T. S. Eliot and Mudhaffar al-Nawwab. Although they are not considered symbolist, they have used many symbols, each in his own context to serve their aims. Both are concerned with the issues of their age and have found water symbolism an exemplary way to convey their mode of commentary on the distress of their age and nations. For this purpose Eliot's "The Waste Land" discussed with special focus on the employment of water symbols, while "A Reading of the Notebook of Rain" is chosen from one of al-Nawwab's long poems to elucidate the use of such symbols. [ABSTRACT FROM AUTHOR]

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This article investigates the phenomenon of poetic prayer as one that happens in the liminal space between the in-vocation of a close relationship with God and the provocation of versatile responses to God’s presence. The hermeneutic in-between of an experience of God—intimate, ecstatic, and absolutizing, but also unsettling, doubting, and desperate—engenders a genuine possibility to investigate the less obvious aspects of poetry as prayer, and to delve deeper into its complexities and subtleties. The analyzed poems by G. M. Hopkins, T. S. Eliot, and R. M. Rilke disclose the inner world of a human being who yearns for God, but also has the courage to question and listen to an inner voice that torments and tears asunder. A hermeneutic reading of poetry as prayer invites us to acknowledge that an authentic and close relationship with God goes beyond an equivocal and facile response and entails what is sidelined, destabilizing, or even threatening to the safe self. The hermeneutic examination of poetic prayer also inspires us to think of the human body as a legitimate and meaningful site of the encounter between the human and the divine.

Modernity comes as a revolution against tradition in order to establish knowledge on a rational ground and set the individual free from its authority. Nevertheless, there is a strong anti-modern return to tradition among many modernist thinkers and writers. Both T. S. Eliot and Theodor W. Adorno formulate the relation between modernity and tradition in dialectical terms. This article argues that Eliot, on the one hand, forms the relation in a positive dialectical way to contain modernity through return to tradition. This imposes its parameters on modern rationality and recreates the same kind of hegemonic society against which modernity revolts. Adorno, on the other hand, analyzes the negative dialectical reversion of modern rationalism against itself and its liberatory potential which subjects all fields, including tradition, to its domination. Rather than imposing one on the other, this study proposes an unreconciled, non-coercive form of coexistence in a pluralistic culture in order to move beyond this impasse. Instead of subjecting one to the other, each may provide a critical perspective on the other. جاءت الحداثة بسعيها لتأسيس المعرفة على أساس عقلاني وتحرير الفرد من السلطوية کثورة على التراث. إلا أن ذلک قام بتحفيز تيار مناهض للحداثة يسعى لاستعادة التراث بين العديد من الکتاب والمفکرين الحداثيين. والسبب في ذلک هو حالة الخواء الروحاني وتفسخ وحدة المجتمع اللتين أدت إليها العقلانية الحداثية. نظر توماس ستيرنز إليوت وثيودور أدورنو للعلاقة بين التراث والحداثة على أنها علاقة جدلية. تسعى هذه الدراسة لإثبات أن إليوت قام بتشکيل العلاقة على أنها جدل إيجابي لکي يحتوي الحداثة عن طريق التراث. على العکس من ذلک، قام أدورنو بتحليل الجدل السلبي للعقلانية الحداثية وسجل انقلابها لنقيضها، إلا أنه أصر على تحليل التراث تحليلا عقلانيا. من خلال إثبات تحول کلا من التراث والحداثة لشکلين مختلفين من السلطوية، تسعى هذه الدراسة لتقديم شکل من أشکال التعايش المشترک يحطم هيمنتهما، دون فرض أي منها على الآخرفي مجتمع تعددي.

This paper is devoted to a discussion of landscape as a symbolic and suggestive artistic space in The Waste Land. The setting of the poem was urban. With all their symbolic and allusive complexity, the centers of the poem - a pub, churches, gardens, rooms, and desert - could be seen as separate subjects of discussion. The paper briefly discusses the influence of the urban environment on Eliot's poetry and argues that the poet makes use of material from urban daily life to construct a mythopoeic image of the city. Eliot's "mythical method" was characterized by composing a multilayered and faceted, cubistic structure ordered and given a shape through the mythical schemes. The multidimensional mythical situation in the poem was created by a multi-voiced narrator, while the city was the relevant environment, an "objective correlative," where many different voices could be heard simultaneously. The paper discusses prophets as central figures of the poem. Tiresias, who witnessed the creation and destruction - the entire life circle of Thebes, actualized the topic of the cyclical time in the poem, while the Sibyl of Cumae, who could move from this world to Hades in Aeneid, enacted the main mythopoeic quality in the poem: to transmit the reader through London to every city of the world. [ABSTRACT FROM AUTHOR]

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Ralph Ellison's long‐neglected essay "Tell It Like It Is, Baby" (1965) has lately received increased critical attention as a revealing paratext for Ellison's unfinished second novel. Yet little has been said about that essay's conspicuous psychosexual themes or its confoundingly ambivalent rhetoric of avowal and disavowal. Nor have scholars yet charted the essay's unique evolution over a full decade's worth of drafts and revisions. Drawing on original archival research, this article reads "Tell It" as responding to two contexts that for Ellison were both achingly personal and pressingly political: first, the often hostile criticism he endured from the ideological left during the 1960s, and second, his deep‐seated antipathy to the sociology of race. Both of these contexts carried psychological implications concerning Black masculinity and the fates of fatherless Black families such as the one in which Ellison was raised. (His essay largely narrates "a personal dream" that symbolically equates Lincoln's assassination with the untimely death of Ellison's own father.) In obliquely writing back to his critics and to then‐regnant theories about Black lives, Ellison mingles quasi‐confessional feints with strident denials and abrupt volte‐faces in ways that elude any straightforward interpretation. Yet this very tangle of contradiction may itself be his way of "telling it like it is": of exploring the massive contradictions of US history and American identity that, for Ellison, must inform any individual or collective effort to make sense of "our orphan's loneliness." [ABSTRACT FROM AUTHOR]

How do we know what a character knows? What assumptions do we make about a character and their awareness when we read a text? How, in fact, does a text codify and construct knowledge, character, and thought? This essay addresses these questions in relation to Katherine Mansfield's short story, "Bliss." Most readers of "Bliss" assume that the protagonist, Bertha, knows nothing of her husband's apparent affair with a guest at their dinner party and even that she is unaware of her own burgeoning homosexual desire for this same guest. And yet the persistent ambiguity of Mansfield's free indirect style, at the least, allows Bertha to be read as knowing, deliberate, and complicit in her apparent ignorance. In conjunction with the text's critique of gender roles and expectations, Mansfield's free indirect style implicitly criticizes her reader's willingness to sideline Bertha's self-awareness. Mansfield's demonstration of the fungibility of the ownership of thoughts is underscored by her critique of Bertha's largely privileged lifestyle filled with possessions she is ultimately unable to fully possess. [ABSTRACT FROM AUTHOR]

Пре стотину година објављена су вероватно два најутицајнија дела модернистичке књижевности, Џојсов роман Уликс и Елиотова поема Пуста земља. Нови превод Леона Којена Елиотовог класика представља догађај од прворазредног значаја за нашу културну јавност. Поред овог, постоје још два превода Пусте земље, Јована Христића и Ивана В. Лалића. После превода великог броја песама из Бодлеровог Цвећа зла, који је објавио прошле године поводом Бодлеровог јубилеја, Леон Којен је за годину дана читаоцима понудио Пусту земљу на српском језику.

A CHANGE OF PERSPECTIVE: CZESŁAW MIŁOSZ’S POETRY AND ITS FIRST RECEPTION In the criticism and studies of Czesław Miłosz’s work, the cycles “The world (naive poem)” and “Voices of the poor people”, from the book Rescue (1945) occupy a place of enormous importance because it opens two lines of the postwar Polish poetry, initiates the so-called polyphony of the Polish author and establishes links with other literary traditions, especially the Anglo-Saxon and T. S. Eliot’s poem The Waste Land. But these elements should not necessarily always be kept in a translation, rather they can lead to other reminiscences. In the article, we study this fenomen based on the theories of Antoine Berman and focused in the first published translation of the Polish author’s poems in Spanish.

This paper aims at understanding the philosophy of life in Four Quartets by T. S. Eliot (1888-1965), an American-born poet, playwright, and critic. The idea of humility is reinforced by T. S. Eliot in Four Quartets. This is also a major theme in Santayana's writings. George Santayana (1863-1952), the Spanish-American philosopher and poet received his doctorate degree from Harvard University in 1889 and later became a faculty member there. He was a highly respected and inspiring teacher, and his students included poets Conrad Aiken, T. S. Eliot, Robert Frost and Wallace Stevens. He emerged as a central figure in American Philosophical circles. The paper examines the similarities in thought in the poems of T. S. Eliot and George Santayana. [ABSTRACT FROM AUTHOR]

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No critical concept has been more readily associated with the critical writings of T. S. Eliot than tradition, yet the reception of his views in this regard is one of misprision. The paper demonstrates that Eliot's equally misunderstood notion of historical sense is compatible with, even derives from, Nietzsche's understanding of the term, as both authors reject the substantialist idea of tradition in favour of the functional one. Since the latter rules out both an eternal essence of the object and a timeless point of view of the observer, the consequences of this genealogy, as a rule neglected or simply ignored by Eliot's critics, for his concept of tradition in particular, and history in general, are of decisive import. [ABSTRACT FROM AUTHOR]