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The birth of modernism : Ezra Pound, T.S. Eliot, W.B. Yeats, by Eliot, Thomas Stearns; Eliot, Thomas S.; Pound, Ezra; Pound,

By Eliot, Thomas Stearns; Eliot, Thomas S.; Pound, Ezra; Pound, Ezra; Yeats, William Butler; Yeats, William B.; Pound, Ezra; Yeats, Yeats William Butler.; Eliot, Eliot Thomas Stearns.; Surette, Leon

From the again conceal of "The start of Modernism" - within the delivery of Modernism, Leon Surrete deals an intensive revision of our knowing of excessive modernism. He develops a portrait of Modernism that demonstrates its continuity with American transcendentalism, French symbolisme, and English aestheticism and files, for the 1st time, the origins of modernist aesthetics within the occult. Yeats' occultism has lengthy been said, yet this can be the 1st examine to teach that Pound's early intimacy with Yeats was once established mostly on a shared curiosity within the occult sciences, and that Pound's epic of the fashionable age, The Cantos, is a deeply occult paintings

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The birth of modernism : Ezra Pound, T.S. Eliot, W.B. Yeats, and the occult

From the again conceal of "The beginning of Modernism" - within the start of Modernism, Leon Surrete bargains an intensive revision of our knowing of excessive modernism. He develops a portrait of Modernism that demonstrates its continuity with American transcendentalism, French symbolisme, and English aestheticism and records, for the 1st time, the origins of modernist aesthetics within the occult.

Extra info for The birth of modernism : Ezra Pound, T.S. Eliot, W.B. Yeats, and the occult

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Creuzer's symbolism can be contrasted with the Wagner-coloured French Symbolisme in which Yeats participated by its privileging of the visual over the auditory and hence of clarity over intensity. These Creuzerian biases are reflected by Pound in his theory of the image. Although literary symbolism comes down to us from Schelling, Creuzer, the Romantic poets, and the Symbolistes, a line can be drawn between literary symbolism and occult allegoresis. The latter holds that the esoteric sense of rites, myths, and poems is perfectly comprehensible to initiates and is obscure only to the unenlightened.

It was this expanded version that was read by Eliot and his contemporaries. An abridged edition appeared in 1922 - which coincidentally was also the year of publication of Ulysses and The Waste Land, and of Mussolini's march on Rome which ushered in the era fascista. Other anthropologists sought to derive all myths from a single event, such as the diurnal round, the seasonal cycle, or gestation. E. B. Tylor - more philosophically - argued in Primitive Culture (published in 1871, the same year as The Birth of Tragedy) that myths and their accompanying rituals were clumsy attempts to develop rational accounts of observed natural events such as birth and death.

Occultism is rather less subtle. Correct understanding of occult texts is held to be dependent upon a profound familiarity with the doctrines and "philosophy" that these texts express. Hence, occultist hermeneuts - who generally do not claim to be enlightened in an occult sense - behave much like literary hermeneuts. They study 33 Introduction collateral texts and read everything by a particular author or school so that they can understand the cognitive universe implied in each and every component of the object texts.

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