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RILKE and the MODERNIST TRADITION: a BRIEF LOOK at “ARCHAIC TORSO of ••• APOLLO”* Pyeaam ABBASI**
Uluslararası Sosyal Araştırmalar Dergisi The Journal of International Social Research Cilt: 6 Sayı: 24 Volume: 6 Issue: 24 Kış 2013 Winter 2013 www.sosyalarastirmalar.com Issn: 1307-9581 RILKE AND THE MODERNIST TRADITION: A BRIEF LOOK AT “ARCHAIC TORSO OF ••• APOLLO”* Pyeaam ABBASI** Abstract The twentieth century is associated with drastic changes as well as disintegration of old beliefs and grand narratives. Modern poets felt that it was high time they searched for new potentialities of language and made changes in form in order to express and explore changes the world was experiencing. The oneness of the world within and the world without is not peculiar to Rilke. He explores human consciousness as well as the interaction between human and the non-human world. This paper argues that his poetry is an invitation to the reader to participate and create. In “Archaic Torso of Apollo” the transfixed poet finds the torso full of life and vitality, a complete work of art and suggestive of the modernist tradition. As a modern poet Rilke would see the world within and the world without as the same aspects of each other. He believes that existence consists of interactions between things and the perceiving selves and that the inner world, familiar to our consciousness, is continuous with, even identical to, the material world we think of as exterior to our conscious selves. The interaction between the poet (subject) and the torso (subject) creates the sense of transformation. The article concludes that transformation seems to be the most critical change that the modern man needs to experience in the chaotic and disjointed world of the 20 th century. -
MY GERMANY Graham Mummery Talk Delivered at Ludwig Maximillian University, Munich, Friday 2Nd July 2010 at W-Orte Festival
MY GERMANY Graham Mummery Talk delivered at Ludwig Maximillian University, Munich, Friday 2nd July 2010 at W-Orte Festival I am going to talk to you about my experience of Germany, its language and culture. For clar- ity, I add that when I speak of Germany, or German, I include much that is from outside that geographical and political entity we know as Germany. For example composers such as Mo- zart and Schubert who came from Austria, or writers like Kafka and Rilke, who came from Prague count as German within this definition. This means we are talking about a Germany of my imagination. With its borders so defined, let’s enter. My first awareness of Germany comes in early childhood. My oldest friend, has a German mother. This is prob- ably my first awareness ofany country other my own, and that there might be different languages to English. My friend’s mother comes from Hamlin on the Wese, the town with the story of the Pied Piper, which I remember be- ing read to me from a book of fairy stories, which also included others like Hansel and Gretal and Rumplestiltskin which were written down by the Bothers Grimm. In the book, there were pictures of white castles, like those built by Ludwig II here in Bavaria. One way or another, Germany has been in my imagination from very early. My next glimpse comes through music. In the nineteenth century, Germans visiting Britain called it “Das Land ohne Musik.” An injustice, maybe, but with some truth in it. It was long before an Englishman became Director of the Berlin Philharmonic. -
The Waste Land: a Personal Grouse
The Waste Land: A Personal Grouse Leon Surette University of Western Ontario Eliot¶s Waste Land must be the most discussed and analyzed poem of its length in the language, yet, for all that, it is perhaps still the most contested of all poems firmly ensconced in the canon. Initially receivedat least by its boostersas an articulation of the alienation, disillusion and scepticism of the young twentieth century, it has since been attacked from many anglesas reactionary, mystical, homosexual, anti-Semitic, elitist, phallocentric andperhaps most damaginglyas a con. The last criticism comes from the rather acid pen of Lawrence Rainey, who denounces the whole of Modernist art DV OLWWOH PRUH WKDQ ³D VWUDWHJ\ ZKHUHE\ WKH ZRUN of art invites and solicits its cRPPRGLILFDWLRQ´ (3).1 The Waste Land, Rainey says, was ³DQ HIIRUW WR DIILUP the output of a specific marketing-publicity apparatus through the enactment of a triumphal and triumphant occasion´ 7KHUHLVQRGRXEWWKDWWKHSXEOLFDWLRQRIThe Waste Land was orchestrated by Eliot, Pound, and Eliot¶s Harvard friend, Schofield Thayer, co-editor of The Dial, but if we are to condemn all artworks whose creators indulged in self promotion, the canon would shrink radically. Of course, the poem has its defendersindeed, they are legion; however, few any longer defend the poem¶V ³P\WKLFDO PHWKRG´DIHature emphasized by early boosters and by Eliot himself. 5RQDOG %XVK IRU H[DPSOH GLVPLVVHV WKH ³)UD]HU DQG :HVWRQ LPDJHU\´DV³VXSHULPSRVHGSLHFHPHDORQWRVHFWLRQVWKDWKDGEHHQ ZULWWHQHDUOLHU´an assessment with which it is difficult to disagree. +RZHYHUKHJRHVRQWRVXUPLVH³WKDW(OLRWKDGVRPHNLQGRIVKRUW- lived religious illumination during the process of re-envisioning the IUDJPHQWVRIKLVSRHP´ WKHUHE\SURVSHFWLYHO\GHIHQGLQJLWIURP Rainey¶s accusations of manipulative career buildingwhich it certainly was. -
Poetics and the Waste Land
Poetics and The Waste Land Subjects, Objects and the “Poem Including History” Wassim Rustom A Thesis Presented to The Department of Literature, Area Studies and European Languages University of Oslo In Partial Fulfilment of the Requirements for the MA Degree May 2016 Poetics and The Waste Land Subjects, Objects and the “Poem Including History” Wassim Rustom © Wassim Rustom 2016 Poetics and The Waste Land: Subjects, Objects and the “Poem Including History” Wassim Rustom http://www.duo.uio.no Abstract The aim of this thesis is to trace key elements of the poetics that produced The Waste Land, T. S. Eliot’s landmark work of modernist poetry. Part I of the thesis examines the development of the Hulme-Pound-Eliot strand of modernist poetry through a focus on the question of subjectivity and the relationship between philosophical-epistemological ideas and modernist poetics. It traces a movement from a poetic approach centred on the individual consciousness towards one that aims to incorporate multiple subjectivities. Part II offers a complementary account of Eliot’s shift towards a more expansive scope of subject matter and of the fragmented poetic structure of The Waste Land. The argument is based on Jacques Rancière’s analysis of the modern regime of poetics dominant in the West since the Romantics, which identifies “literature” with the “life of a people” and is characterized by an inclusive logic that poeticizes ordinary subjects, objects and fragments. To my parents Contents Introduction.........................................................................................................................1 Part I 1 Early Modernism and Turn-of-the-century Philosophy: Subjectivity and Objectivity...9 1.1 Subjectivity and Narrative Technique................................................................................ -
The Waste Land by T
The Waste Land by T. S. Eliot Copyright Notice ©1998−2002; ©2002 by Gale. Gale is an imprint of The Gale Group, Inc., a division of Thomson Learning, Inc. Gale and Design® and Thomson Learning are trademarks used herein under license. ©2007 eNotes.com LLC ALL RIGHTS RESERVED. No part of this work covered by the copyright hereon may be reproduced or used in any form or by any means graphic, electronic, or mechanical, including photocopying, recording, taping, Web distribution or information storage retrieval systems without the written permission of the publisher. For complete copyright information on these eNotes please visit: http://www.enotes.com/waste−land/copyright Table of Contents 1. The Waste Land: Introduction 2. Text of the Poem 3. T. S. Eliot Biography 4. Summary 5. Themes 6. Style 7. Historical Context 8. Critical Overview 9. Essays and Criticism 10. Topics for Further Study 11. Media Adaptations 12. What Do I Read Next? 13. Bibliography and Further Reading 14. Copyright Introduction Because of his wide−ranging contributions to poetry, criticism, prose, and drama, some critics consider Thomas Sterns Eliot one of the most influential writers of the twentieth century. The Waste Land can arguably be cited as his most influential work. When Eliot published this complex poem in 1922—first in his own literary magazine Criterion, then a month later in wider circulation in the Dial— it set off a critical firestorm in the literary world. The work is commonly regarded as one of the seminal works of modernist literature. Indeed, when many critics saw the poem for the first time, it seemed too modern. -
Franz Kafka's Transformations
Franz Kafka’s Transformations Andrew Barker ALONE amongst the contributions to the volume, this essay does not address a Scandinavian topic. The theme of transformation in Franz Kafka’s work and life does, however, allow us to recall that Peter Graves is himself a notable example of a changeling, having begun his career at Aberdeen University as a student of German under the venerable Professor Wilhelm (Willy) Witte. What is presented here may thus serve as a reminder of a world Peter inhabited long ago, before he morphed into the Scandinavian polymath we know and honour today. The impetus for the present contribution came from reading James Hawes’ exhilarating study Excavating Kafka (2008).1 This work was promptly written off by Klaus Wagenbach, the doyen of Kafka studies in Germany, who is quoted as saying: ‘Irgendein Dämel kommt daher, weiß nix und schreibt über Kafka’ (Jungen 2008).2 In defence of Wagenbach’s po-faced dismissal of a much younger, non-German scholar’s work, one might plead that his grasp of English was insufficient for him to grasp the book’s satirical and polemical intentions. In fact, Excavating Kafka is the work of a scholar who knows a great deal about Kafka, and writes about him with panache and insight. I can match Hawes neither in my knowledge of Kafka nor the secondary literature, but I share with him a mounting frustration with the commonly-peddled myths about Kafka’s life and work, and it is some of these which I shall address in this short paper. Looking at the work first, I shall concentrate on what is probably Kafka’s most iconic story, Die Verwandlung (1912; ‘Metamorphosis’), the English translation of whose title I find particularly problematic. -
BAM Announces the Complete Cast of Beckett's Endgame, Featuring John Turturro and Directed by Andrei Belgrader Running April
BAM announces the complete cast of Beckett’s Endgame, featuring John Turturro and directed by Andrei Belgrader running April 25–May 18 Max Casella, Elaine Stritch, and Alvin Epstein to join cast BAM 2008 Spring Season is sponsored by Bloomberg Endgame Written by Samuel Beckett Directed by Andrei Belgrader Produced by BAM BAM Harvey Theater (651 Fulton St.) April 25 & 26 at 7:30 Apr 29—May 3, May 6—10, May 13—17 at 7:30pm (note: Apr 30 is the press opening) May 3, 10 & 17 at 2pm April 27, May 4, 11 & 18 at 3pm Tickets: $25, 45, 65, 75 BAM.org or 718.636.4100 Brooklyn, NY/March 11, 2008—BAM announces the complete cast of its upcoming production of Samuel Beckett’s Endgame. Joining John Turturro (Hamm) will be acclaimed TV, stage, and screen actor Max Casella (“The Sopranos,” The Lion King) as Clov. Veteran classical actor Alvin Epstein (Waiting for Godot, The Three Penny Opera, Tuesdays with Morrie) will play Nagg and the legendary Broadway actress Elaine Stritch will play Nell. The one-act play, originally published in 1957, is considered to be one of Beckett’s most important works. Endgame will be directed by Andrei Belgrader (American Repertory Theatre’s Ubu Rock, Yale Repertory Theatre’s Scapin). Twenty-four performances of Endgame will take place in the BAM Harvey Theater (651 Fulton St.) from April 25 through May 18 (press opening: April 30). Tickets, priced at $25, 45, 65, 75, can be purchased by calling BAM Ticket Services at 718.636.4100 or by visiting BAM.org. -
Waiting for Godot and Rosencrantz and Guildenstern Are Dead Axel KRUSI;
SYDNEY STUDIES Tragicomedy and Tragic Burlesque: Waiting for Godot and Rosencrantz and Guildenstern are Dead AxEL KRUSI; When Rosencrantz and Guildenstern are Dead appeared at the .Old Vic theatre' in 1967, there was some suspicion that lack of literary value was one reason for the play's success. These doubts are repeated in the revised 1969 edition of John Russell Taylor's standard survey of recent British drama. The view in The Angry Theatre is that Stoppard lacks individuality, and that Rosencrantz and Guildenstern are Dead is a pale imitation of the theatre of the absurd, wrillen in "brisk, informal prose", and with a vision of character and life which seems "a very small mouse to emerge from such an imposing mountain".l In contrast, Jumpers was received with considerable critical approval. Jumpers and Osborne's A Sense of Detachment and Storey's Life Class might seem to be evidence that in the past few years the new British drama has reached maturity as a tradition of dramatic forms aitd dramatic conventions which exist as a pattern of meaningful relationships between plays and audiences in particular theatres.2 Jumpers includes a group of philosophical acrobats, and in style and meaning seems to be an improved version of Stoppard's trans· lation of Beckett's theatre of the absurd into the terms of the conversation about the death of tragedy between the Player and Rosencrantz: Player Why, we grow rusty and you catch us at the very point of decadence-by this time tomorrow we might have forgotten every thing we ever knew. -
The Work of Poverty
THE WORK OF POVERTY • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • The Work of Poverty SAMUEL BECKEtt’S VAGABONDS AND THE THEATER OF CRISIS Lance Duerfahrd THE OHIO STATE UNIVERSITY PRESS • COLUMBUS Copyright © 2013 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Duerfahrd, Lance Alfred, 1967– The work of poverty : Samuel Beckett's vagabonds and the theater of crisis / Lance Duerfahrd. p. cm. Includes bibliographical references and index. ISBN-13: 978-0-8142-1237-0 (cloth : alk. paper) ISBN-10: 0-8142-1237-9 (cloth : alk. paper) ISBN-13: 978-0-8142-9339-3 (cd-rom) ISBN-10: 0-8142-9339-5 (cd-rom) 1. Beckett, Samuel, 1906–1989. En attendant Godot. English—Criticism and interpreta- tion. 2. Beckett, Samuel, 1906–1989—Influence. I. Title. PQ2603.E378Z618 2013 842'.914—dc23 2013022653 Cover design by Jennifery Shoffey-Forsythe Text design by Juliet Williams Type set in Palatino Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 Contents • • • • • • • • • • • List of Illustrations vi Acknowledgments vii INTRODUCTION Begging Context 1 CHAPTER 1 Godot behind Bars 12 CHAPTER 2 Waiting for Godot in Sarajevo and New Orleans 63 CHAPTER 3 La Pensée Vagabonde: Vagabond Thought 112 CHAPTER 4 Textual Indigence: The Reader in an Aesthetics of Poverty 143 AFTERWORD Staging Godot in -
“The Double Bind” of 1989: Reinterpreting Space, Place, and Identity in Postcommunist Women’S Literature
“THE DOUBLE BIND” OF 1989: REINTERPRETING SPACE, PLACE, AND IDENTITY IN POSTCOMMUNIST WOMEN’S LITERATURE BY JESSICA LYNN WIENHOLD-BROKISH DISSERTATION Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Comparative Literature in the Graduate College of the University of Illinois at Urbana-Champaign, 2010 Urbana, Illinois Doctorial Committee: Associate Professor Lilya Kaganovsky, Chair; Director of Research Professor Nancy Blake Professor Harriet Murav Associate Professor Anke Pinkert Abstract This dissertation is a comparative, cross-cultural exploration of identity construction after 1989 as it pertains to narrative setting and the creation of literary place in postcommunist women’s literature. Through spatial analysis the negotiation between the unresolvable bind of a stable national and personal identity and of a flexible transnational identity are discussed. Russian, German, and Croatian writers, specifically Olga Mukhina, Nina Sadur, Monika Maron, Barbara Honigmann, Angela Krauß, Vedrana Rudan, Dubravka Ugrešić, and Slavenka Drakulić, provide the material for an examination of the proliferation of female writers and the potential for recuperative literary techniques after 1989. The project is organized thematically with chapters dedicated to apartments, cities, and foreign lands, focusing on strategies of identity reconstruction after the fall of socialism. ii To My Family, especially Mom, Dad, Jeffrey, and Finnegan iii Table of Contents Chapter One: Introduction: “We are, from this perspective, -
“The Human Condition” in Samuel Beckett's Waiting for Godot Michiko
“The Human Condition” in Samuel Beckett’s Waiting for Godot Michiko Tsushima, University of Tsukuba, Japan The Asian Conference on Arts & Humanities 2020 Official Conference Proceedings Abstract In his essay about two painters, the van Velde brothers, Samuel Beckett presents a view that both men share a profound interest in “the human condition,” which precedes their interest in painting. This view relates to Beckett’s own conception of art. He himself was interested in “the human condition” in his creation of art. Beckett experienced the devastation of the Second World War. Through his work (e.g., Waiting for Godot, Endgame, and Happy Days), he explored the condition of those who survive in the world in its extremity. This paper sheds light on “the human condition” revealed in the act of waiting in Waiting for Godot, a French play written in 1949. The play depicts the human condition as the condition of being “tied to Godot.” This condition implies the human finitude—the tormenting in-between condition—being short of the world and that of never being able to escape from the here and now. At the same time, this condition of being “tied to Godot” indicates one last ounce of belief in the world. By disclosing this invisible “tie,” Waiting for Godot evokes “the link between man and the world” (Deleuze) in the audience’s mind. Keywords: Samuel Beckett, The Human Condition, Waiting iafor The International Academic Forum www.iafor.org Introduction In his essay about two brother-painters, Bram and Geer van Velde, “La peinture des van Velde ou le Monde et le Pantalon” (1945), Samuel Beckett presents a view that both men share a profound interest in “the human condition,” which precedes their interest in painting. -
Fusing the Voices: the Appropriation and Distillation of the Waste Land
Fusing the voices: the appropriation and distillation of The waste land Martin John Fletcher Submetido em 19 de julho de 2015. Aceito para publicação em 23 de outubro de 2015. Cadernos do IL, Porto Alegre, n.º 51, dezembro de 2015. p. 51-66 ______________________________________________________________________ POLÍTICA DE DIREITO AUTORAL Autores que publicam nesta revista concordam com os seguintes termos: (a) Os autores mantêm os direitos autorais e concedem à revista o direito de primeira publicação, com o trabalho simultaneamente licenciado sob a Creative Commons Attribution License, permitindo o compartilhamento do trabalho com reconhecimento da autoria do trabalho e publicação inicial nesta revista. (b) Os autores têm autorização para assumir contratos adicionais separadamente, para distribuição não exclusiva da versão do trabalho publicada nesta revista (ex.: publicar em repositório institucional ou como capítulo de livro), com reconhecimento de autoria e publicação inicial nesta revista. (c) Os autores têm permissão e são estimulados a publicar e distribuir seu trabalho online (ex.: em repositórios institucionais ou na sua página pessoal) a qualquer ponto antes ou durante o processo editorial, já que isso pode gerar alterações produtivas, bem como aumentar o impacto e a citação do trabalho publicado. (d) Os autores estão conscientes de que a revista não se responsabiliza pela solicitação ou pelo pagamento de direitos autorais referentes às imagens incorporadas ao artigo. A obtenção de autorização para a publicação de imagens, de autoria do próprio autor do artigo ou de terceiros, é de responsabilidade do autor. Por esta razão, para todos os artigos que contenham imagens, o autor deve ter uma autorização do uso da imagem, sem qualquer ônus financeiro para os Cadernos do IL.