T. S. Eliot Collection
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EXPERIMENT: a Manifesto of Young England, 1928- 1931 Two Volumes
EXPERIMENT: A Manifesto of Young England, 1928- 1931 Two Volumes Vol. 2 of 2 Kirstin L. Donaldson PhD University of York History of Art September 2014 Table of Conents Volume Two Appendix: Full Transcript of Experiment Experiment 1 (November 1928) 261 Experiment 2 (February 1929) 310 Experiment 3 (May 1929) 358 Experiment 4 (November 1929) 406 Experiment 5 (February 1930) 453 Experiment 6 (October 1930) 501 Experiment 7 (Spring 1931) 551 260 EXPERIMENT We are concerned with all the intellectual interests of undergraduates. We do not confine ourselves to the work of English students, nor are we at pains to be littered with the Illustrious Dead and Dying. Our claim has been one of uncompromising independence: therefore not a line in these pages has been written by any but degreeless students or young graduates. It has been our object to gather all and none but the not yet ripe fruits of art, science and philosophy in the university. We did not wish so much that our articles should be sober and guarded as that they should be stimulating and lively and take up a strong line. We were prepared in fact to give ourselves away. But we know that Cambridge is painfully well-balanced just now (a sign, perhaps of anxiety neurosis) and so we were prepared also to find, as the reader will find, rather too guarded and sensible a daring. Perhaps we will ripen into extravagance. Contributions for the second number should be send to W. Empson of Magdalene College. We five are acting on behalf of the contributors, who have entrusted us with this part of the work. -
An Unexplained Death TPB an Unexplained Death the True Story of a Body at the Belvedere MIKITA BROTTMAN
An Unexplained Death TPB An Unexplained Death The True Story of a Body at the Belvedere MIKITA BROTTMAN The unnerving true story of an unexplained death in Baltimore’s historic Belvedere building When the body of a missing man is discovered in the Belvedere, an apparent suicide, resident Mikita Brottman becomes obsessed with the mysterious circumstances of his death. The Belvedere used to be a hotel dating back to Baltimore’s Golden Age but is now converted into flats, and as Brottman investigates the perplexing case of the dead man, she soon becomes caught up in the strange and violent secrets of the Belvedere’s past. Her compulsions drive her to an investigation lasting over a decade. Utterly absorbing and unnerving, An Unexplained Death will lead you down the dark and winding corridors of the Belvedere and into the deadly impulses and obsessions of the human heart. RELEASE DATE: 8 NOVEMBER 2018 ABOUT THE AUTHOR Export/Airside - Export/Airside/Ireland Mikita Brottman is a writer and a professor in the Department of PAPERBACK Humanistic Studies at the Maryland Institute College of Art in downtown 9781786892652 Baltimore. She is also a certified psychoanalyst and runs a true crime £ podcast called Forensic Transmissions. She lives in the old Belvedere Hotel in Mount Vernon, Baltimore, with her partner, David, and French bulldog, Oliver. @MikitaBrottman | mikitabrottman.com An Unexplained Death TPB 02 SALES & DISTRIBUTION CONTACTS TRADE ORDERS & AUTHORIZED REPRESENTATIVES RETURNS UK Sales Manager The Book Service Ltd (TBS) Sam Brown Frating Green, Colchester, 07980 712110 Essex CO7 7DW [email protected] Phone +44 (0)1206 256 060 Key Account Manager www.thebookservice.co.uk Kim Lund Grantham Book Services (GBS) 07980 712111 Trent Road [email protected] Grantham Scotland and North East England Lincolnshire John McColgan NG31 7XQ Tel. -
Caryl Phillips
Caryl Phillips born 1958, St. Kitts, West Indies website: www.carylphillips.com Education B.A. (Honours) The Queens College, Oxford University (1979) Honorary Degrees • Hon. D. Univ: Leeds Metropolitan University (1997) • Hon. D. Univ: University of York (2003) • Hon. D. Lett: University of Leeds (2003) • Hon. D. Lett: University of the West Indies (2010) • Hon. D. Lett: University of Edinburgh (2012) • Docteur Honoris Causa: University of Liege, Belgium (2015) Publications Fiction • A VIEW OF THE EMPIRE AT SUNSET (2018) • Farrar, Straus, and Giroux. USA • Random House/Vintage. UK • THE LOST CHILD (2015) • Farrar, Straus, and Giroux. USA • Oneworld. UK • IN THE FALLING SNOW (2009) • Harvill Secker. UK • Knopf. USA • DANCING IN THE DARK (2005) • Secker and Warburg. UK • Knopf. USA • A DISTANT SHORE (2003) • Secker and Warburg. UK • Knopf. USA • THE NATURE OF BLOOD (1997) • Faber and Faber. UK • Knopf. USA • CROSSING THE RIVER (1993) • Bloomsbury. UK • Knopf. USA (1994) • CAMBRIDGE (1991) • Bloomsbury. UK • Knopf. USA (1992) • HIGHER GROUND (1989) • Viking. UK • Viking. USA • A STATE OF INDEPENDENCE (1986) • Faber and Faber. UK • Farrar, Straus and Giroux. USA • THE FINAL PASSAGE (1985) • Faber and Faber. UK • Penguin. USA Non fiction • COLOUR ME ENGLISH (2011) • Harvill Secker. UK • The New Press. USA • FOREIGNERS (2007) • Harvill Secker. UK • Knopf. USA • A NEW WORLD ORDER (2001) • Secker and Warburg. UK • Vintage. USA • THE ATLANTIC SOUND (2000) • Faber and Faber. UK • Knopf. USA • THE EUROPEAN TRIBE (1987) • Faber and Faber. UK • Farrar, Straus and Giroux. USA Anthologies • THE RIGHT SET: A TENNIS ANTHOLOGY (1999) [Editor] • Faber and Faber. UK • Vintage. USA • EXTRAVAGANT STRANGERS: A LITERATURE OF BELONGING (1997) [Editor] • Faber and Faber. -
TS ELIOT's PLAYS and RECEPTION Eliot's
T.S. ELIOT’s PLAYS and RECEPTION Eliot’s plays, which begin with Sweeney Agonistes (published 1926; first performed in 1934) and end with The Elder Statesman (first performed 1958; published 1959), are, with the exception of Murder in the Cathedral (published and performed 1935), inferior to the lyric and meditative poetry. Eliot’s belief that even secular drama attracts people who unconsciously seek a religion led him to put drama above all other forms of poetry. All his plays are in a blank verse of his own invention, in which the metrical effect is not apprehended apart from the sense; thus he brought “poetic drama” back to the popular stage. The Family Reunion (1939) and Murder in the Cathedral are Christian tragedies—the former a tragedy of revenge, the latter of the sin of pride. Murder in the Cathedral is a modern miracle play on the martyrdom of Thomas Becket. The most striking feature of this, his most successful play, is the use of a chorus in the traditional Greek manner to make apprehensible to common humanity the meaning of the heroic action. The Family Reunion (1939) was less popular. It contains scenes of great poignancy and some of the finest dramatic verse since the Elizabethans, but the public found this translation of the story of Orestes into a modern domestic drama baffling and was uneasy at the mixture of psychological realism, mythical apparitions at a drawing-room window, and a comic chorus of uncles and aunts. After World War II, Eliot returned to writing plays with The Cocktail Party in 1949, The Confidential Clerk in 1953, and The Elder Statesman in 1958. -
J.M. Reibetanz Four Quartets As Poetry of Place One Thinks of Four
J.M. Reibetanz Four Quartets as Poetry of Place One thinks of Four Quartets preeminently as a religious and philosophical poem; yet its argument does not proceed simply or preeminently on an abstract level. Rather, ideas enter our consciousness and our understanding through felt experience. Whether it be the paradox of the still point, the mystical negative way of illumination, the attitude of humility, the nature of time, the relationship of attachement, detachment, indifference and history, the necessity for atonement, or any of the other difficult ideas Eliot argues, the poetry leads us into a full experience of concepts by grounding them in places. Thus, we know the still point primarily through our vision in the rose-garden of Burnt Norton; the negative way of ilJumination is presented spatially as a descent into the darkness beneath the level of the London underground; the attitude of humility is derived out of the atmosphere of death that pervades East Coker; the nature of time is seen through our experience of the river and the sea; the thorny relationship of attachment, detachment, indifference and history is argued through the paradigm of the nettles on the hedgerow of Little Gidding; and the necessity for atonement arises from our experience of the tongues of fire that descend on wartime London. Even the primary religious concept of the Quartets. the Incarnation, is not fully argued in conceptual terms until three quarters of the way through the poem, at the end of The Dry Salvages. Long before that, however, its mystery is revealed to us in particular moments of illumination that transpire in time and also in place. -
Unit-1 T. S. Eliot : Religious Poems
UNIT-1 T. S. ELIOT : RELIGIOUS POEMS Structure 1.0 Objectives 1.1 Introduction 1.2 ‘A Song for Simeon’ 1.3 ‘Marina’ 1.4 Let us sum up 1.5 Review Questions 1.6 A Select Bibliography 1.0 Objectives The present unit aims at acquainting you with some of T.S. Eliot’s poems written after his confirmation into the Anglo-Catholic Church of England in 1927. With this end in view, this unit takes up a close reading of two of his ‘Ariel Poems’ and focuses on some traits of his religious poetry. 1.1 Introduction Thomas Stearns Eliot was born on 26th September, 1888 at St. Louis, Missouri, an industrial city in the center of the U.S.A. He was the seventh and youngest child of Henry Ware Eliot and Charlotte Champe Stearns. He enjoyed a long life span of more than seventy-five years. His period of active literary production extended over a period of forty-five years. Eliot’s Calvinist (Puritan Christian) ancestors on father’s side had migrated in 1667 from East Coker in Somersetshire, England to settle in a colony of New England on the eastern coast of North America. His grandfather, W.G. Eliot, moved in 1834 from Boston to St. Louis where he established the first Unitarian Church. His deep academic interest led him to found Washington University there. He left behind him a number of religious writings. Eliot’s mother was an enthusiastic social worker as well as a writer of caliber. His family background shaped his poetic sensibility and contributed a lot to his development as a writer, especially as a religious poet. -
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. -
Temtestella1971.Pdf
REPETITION IN POETRY OF T, S. ELIOT THROUGH =-WEDNESDAY A SDlINAR PAPER Presented to the Faculty of the Graduate College Wisconsin State University--La Crosse In Partial Fulfillment of the Requirements for the Degree Master of Science M Stelh Margaret Temte January 1971 WISCONSIN STATE UNIVERSITY--LA CRQSSE CANDIDATE: Stella Margaret Temte f recommend acceptance of this seminar paper to the Graduate College in partial fulfillment of this candidate's requirements for the degree Master of Science in Teach- . Date Seminar Paper Advisor This seminar paper is approved for the Graduate College: Date ' REPETITION IN POETRY OF T. S. ELIOT THROUGH -ASH-WEDNESDAY ABSTRACT With a background of study in the poetry, plays, essays, and literary criticism of T. S. Eliot, I was intrigued by his commit- ment to the potenti- of language and the "music" of poetry. I particularly liked his use of repetition and realized it was a prominent rhetorical device in his poetry and plays. To write a seminar paper about Eliot's use of repetition it was necessary to study the many kinds of repetition as identified in classical rhetoric and to study their uses as described by authors and critics. Very early I became aware that 9 would have to limit my field to the poetry, excluding the plays; further, to selected poems; and finally, to selected poems, excluding the long -Four Quartets. There were several ways of approaching the task. I chose to analyze the poems as individual entities and to analyze them with reference to the repetition as it directs the reader to meaning and to what Eliot called the "deeper, unnamed feeline. -
The Language of a Voidance in Ts Eliot's Treatment of the Birth And
124 Religion, Literature and the Arts Project 'THE STILL UNSPEAKING AND UNSPOKEN WORD': THE LANGUAGE OF A VOIDANCE IN T.S. ELIOT'S TREATMENT OF THE BIRTH AND DEATH OF CHRIST' Charlotte Clutterbuck Whenever T.S. Eliot writes about the Crucifixion in his poetry, he distances jt by setting it in the past or the future, 1 or by using metaphor and grammatical devices. Only in The Rock does he mention the subject directly in main clauses, and then the reference is liturgical: And the Son of Man was not crucified once for all ... But the Son of Man is crucified always ... Chorus VI In Eliot's poetry, Christ is usually passive, and rarely the centre of attention. Eliot minimises Christ's humanity, never using the word 'Jesus', and only once, in Gerontion, using '011'ist'; instead he speaks of 'the Infant' or 'the Word'. His poetry is not devotional, and shows no compassion for the suffering man or the new-born baby, but concentrates on the theological meaning of Christ's life, on his divinity rather than his humanity. One reason for this may be Eliot's lifelong discomfort with human feelings,2 especially those surrounding 'Birth, and copulation, and death' (Sweeney Agonistes). Another may be the conflicting Catholic and Puritan traditions behind his own faith. Moreover, as Graham Hough has pointed out, the fragmentary mefuods of modernist poetry are not suited to Christian poetry, so that 'Eliot was a poet and a Christian, but he was never a Clu:istian poet - as George Herbert was a Christian poet'. -
“All Manner of Things Shall Be Well”
School of Languages and Media Studies English Department Master Degree Thesis in Literature, 15 hp Course code: EN3053 Supervisor: Billy Gray “All Manner of Things Shall be Well”: Tractarianism, Eliot, and the Natural World in Four Quartets Monica Murphy Dalarna University English Department Degree Thesis Spring 2016 At Dalarna University it is possible to publish the student thesis in full text in DiVA. The publishing is open access, which means the work will be freely accessible to read and download on the internet. This will significantly increase the dissemination and visibility of the student thesis. Open access is becoming the standard route for spreading scientific and academic information on the internet. Dalarna University recommends that both researchers as well as students publish their work open access. I give my/we give our consent for full text publishing (freely accessible on the internet, open access): Yes ☒ No ☐ Table of Contents Introduction 1 I. The Oxford Movement: Liturgy and Poetics 7 II. Analogy 10 III. Sacramentality 13 IV. Burnt Norton and East Coker: Formed nature 15 V. The Dry Salvages: The Voyage Transformed 21 VI. Little Gidding: Language Transformed 26 Conclusion 30 Works Cited 33 Murphy 1 INTRODUCTION When T. S. Eliot announced his conversion to Christianity in 1928, Virginia Woolf wrote to her sister that “poor dear Tom Eliot [. .] may be called dead to us all from this day forward. He has become an Anglo-Catholic, believes in God and immortality, and goes to church [. .] There’s something obscene in a living person sitting by the fire and believing in God” (qtd. -
SERMON: “A L Based on Part V of “East Coker” by T.S. Eliot by Dr. John Tamilio III the First Unitarian Church of St. Louis
SERMON: “A LIFETIME BURNING IN EVERY MOMENT” Based on Part V of “East Coker” by T.S. Eliot By Dr. John Tamilio III The First Unitarian Church of St. Louis Sunday, September 27, 2015 © 2015, Dr. Tamilio I bring you greetings from the members and friends of the United Church of Christ in Canton, Massachusetts, where I serve as their Pastor, and from my colleagues at Salem State University, Endicott College, and Andover Newton Theological School where I serve as an assistant professor of philosophy, theology, and literature. I also bring words of deepest gratitude from the T.S. Eliot Society for your generosity in hosting the Sunday program that is part of our annual meeting. It is an honor to preach at the spiritual home of the young T.S. Eliot — and that of his father (Henry Ware Eliot) and his grandfather and founder (William Greenleaf Eliot) before him. It is also strange and a bit liberating to be preaching in a Unitarian Universalist Church. It’s a bit of a guilty pleasure, I must confess. As you may know, we in the United Church of Christ (the UCC) are often referred to as “Unitarians Considering Christ.” This is much better than the name that inevitably arises when someone misspells the word “united” and we become “The Untied Church of Christ.” While my theology is a bit more “traditional” than most UCC pastors, my deep affinity for anything Eliot makes us sisters and brothers of a different mother. In my tradition, the “readings” for worship always come from Scripture: the Hebrew Bible as well as the New Testament. -
The Intersection of the Timeless Moment: Philosophical Structure
THE INTERSECTION OF THE TIMELESS MOMENT: PHILOSOPHICAL STRUCTURE AND ANTI-STRUCTURE IN T.S. ELIOT’S FOUR QUARTETS by ALAN LAYNE SMITH (Under the Direction of Adam Parkes) ABSTRACT This work is a consideration of a poetic dialectic of structured and anti-structured philosophical thought within T. S. Eliot’s Four Quartets. This dialectic, first perceived by Eliot during his years spent as a candidate for the degree of doctor of philosophy at Harvard University, sets a philosophical structure gleaned from the teachings of F. H. Bradley’s pragmatic idealism and appreciated in the poetry of Dante Alighieri in poetic discourse with an anti-structure first apprehended by Eliot within the metaphysical void of Nāgarjuna’s Mādhyamikan via negativa. This essay proposes a sustained link between philosophical and metaphysical interests explored and qualified within Eliot’s graduate thesis and the poetic expression of the transcendent possibilities of those notions of structure and anti-structure within his Four Quartets. INDEX WORDS: Structure, Anti-structure, F. H. Bradley, Nagarjuna, T. S. Eliot, Four Quartets, Philosophy, Metaphysics, Transcendence, Anglicanism THE INTERSECTION OF THE TIMELESS MOMENT: PHILOSOPHICAL STRUCTURE AND ANTI-STRUCTURE IN T.S. ELIOT’S FOUR QUARTETS by ALAN LAYNE SMITH University of Georgia, 2009 A Thesis Submitted to the Graduate Faculty of The University of Georgia in Partial Fulfillment of the Requirements for the Degree MASTER OF ARTS ATHENS, GEORGIA 2009 © 2009 Alan Layne Smith All Rights Reserved THE INTERSECTION OF THE TIMELESS MOMENT: PHILOSOPHICAL STRUCTURE AND ANTI-STRUCTURE IN T.S. ELIOT’S FOUR QUARTETS by ALAN LAYNE SMITH Major Professor: Adam Parkes Committee: Susan Rosenbaum Aidan Wasley Electronic Version Approved: Maureen Grasso Dean of the Graduate School The University of Georgia August 2009 iv DEDICATION This work is dedicated with love and gratitude to my family.