The Newsletter of the T. S. Eliot Society “Prufrock” and the Ether Dome
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
The Elective System Or Prescribed Curriculum: the Controversy in American Higher Education
DOCUMENT RESUME ED 471 740 HE 035 573 AUTHOR Denham, Thomas J. TITLE The Elective System or Prescribed Curriculum: The Controversy in American Higher Education. PUB DATE 2002-08-00 NOTE 17p. PUB TYPE Reports Descriptive (141) EDRS PRICE EDRS Price MF01/PC01 Plus Postage. DESCRIPTORS *Curriculum Development; *Educational History; Educational Trends; *Elective Courses; *Higher Education; *Required Courses IDENTIFIERS *United States ABSTRACT This paper traces the development of curriculum in higher education in the United States. A classical education based on the seven liberal arts was the basis of the curriculum for the early colonial colleges. In its earliest days, the curriculum was relevant to the preparation of students for the professions of the period. Over time, the curriculum evolved and was adapted to correspond to trends in U.S. society, but the colleges did not change the curriculum without intense debate and grave reservations. The tension between a prescribed course of study and the elective principle has cycled through the history of U.S. higher education. The elective system was both a creative and destructive educational development in the post-Civil War era. Eventually, the curriculum changed to a parallel course of study: the traditional classical education and the more modern, practical program. By the end of the 19th century, the U.S. curriculum had evolved into a flexible and diverse wealth of courses well beyond the scope of the colonial curriculum. This evolution moved the university into the mainstream of U.S. life. The debate over prescribed curriculum versus electives continues to generate lively discussion today. (Contains 12 references.)(SLD) THE ELECTIVE SYSTEM OR PRESCRIBED CURRICULUM: THE CONTROVERSY IN AMERICAN HIGHER EDUCATION Emergence of Higher Education in America Thomas J. -
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. -
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. -
Time, Elements and the Phoenix Hour in Lives and Poetry of Nobel Laureates and Their Celestial Twins
Time, Elements and the Phoenix Hour in Lives and Poetry of Nobel Laureates and their Celestial Twins. Elizabetha Levin Haifa, Israel E-mail: [email protected] We see that human creativity and innovation can be understood as the amplification of laws of nature… Ilya Prigogine {NL, Air} Abstract. In our times both the works and the biographies of the Nobel laureates {NL} are accessible to empirical study. Their biographic materials portray distinguished personalities as real people with their faults and weaknesses. Such biographic studies become available mainly because in our epoch the quality and quantity of psychological observation have increased dramatically. By opening the books of their own life stories, the Nobel laureates invite us to witness the circumstances of their growth and to gain a better understanding of the limits of free will and of "Zeitgeist" dynamics. Assuming that poetry is an even more valuable source of authors' attitudes towards life than their respective autobiographies, the Nobel laureates in Literature who were awarded their prizes explicitly for poetry, constitute the most informative group for biographical research. Furthermore, according to Alfred Nobel's will (1895), the poetry of the laureates should be also "the most outstanding work in an ideal direction." The ability of such laureates to inspire entire societies makes them attractive for historical research. This paper is a pioneer venture into temporology. It seamlessly blends three different types of time: calendar times, the primordial cycles of the elements and the factor of birth-time (the Theta-factor). To make this fusion possible, this essay opens with a brief Introduction written in four parts, each part being a thumbnail sketch of one of the following basic temporal aspects: definitions of time, the four elements, the Effect of the Celestial Twins (ECT) and the model of the Phoenix Clock. -
ANALYSIS “The Waste Land” (1922) TS Eliot (1888-1965)
ANALYSIS “The Waste Land” (1922) T. S. Eliot (1888-1965) “[The essential meaning of the poem is reducible to four Sanskrit words, three of which are] so implied in the surrounding text that one can pass them by…without losing the general tone or the main emotion of the passage. They are so obviously the words of some ritual or other. [The reader can infer that “shantih” means peace.] For the rest, I saw the poem in typescript, and I did not see the notes till 6 or 8 months afterward; and they have not increased my enjoyment of the poem one atom. The poem seems to me an emotional unit…. I have not read Miss Weston’s Ritual to Romance, and do not at present intend to. As to the citations, I do not think it matters a damn which is from Day, which from Milton, Middleton, Webster, or Augustine. I mean so far as the functioning of the poem is concerned…. This demand for clarity in every particular of a work, whether essential or not, reminds me of the Pre-Raphaelite painter who was doing a twilight scene but rowed across the river in day time to see the shape of the leaves on the farther bank, which he then drew in with full detail.” Ezra Pound (1924) quoted by Hugh Kenner The Invisible Poet, T.S. Eliot (Obolensky 1959) 152 “[Eliot’s] trick of cutting his corners and his curves makes him seem obscure when he is clear as daylight. His thoughts move very rapidly and by astounding cuts. -
René Galand, Saint-John Perse, Poet of the Universal
René Galand, Saint-John Perse, poet of the universal Saint-John Perse was awarded the Nobel Prize for Literature in 1960. Most of the French writers who have won this prize wrote in prose: Romain Rolland, Anatole France, Bergson, Roger Martin du Gard, Gide, Mauriac, Camus, Sartre, Claude Simon. Sartre declined the award: accepting it would have against all his principles. It would have meant condoning the use of literature to give legitimacy to capitalistic institutions. One must recall, however that the first Nobel Prize ever given to a French writer went to a poet: Sully-Prudhomme, who is remembered mostly for a sonnet which appeals mostly to sentimental young persons: “ Le Vase brisé ” [The broken vase]. From Sully-Prudhomme to Saint-John Perse: in the span od half a century, the literary taste of members of the Nobel Academy has remarkably advanced. Saint-John Perse, as is well know, is the pen-name of Alexis Saint-Leger Leger. From the moment when he reached a high rank in the diplomatic service, he felt he had to make a complete separation between his official personality and his literary activity. But why did he choose such an Anglo-Saxon sounding pseudonym? Different explanations have been suggested. It is possible that Alexis Leger, who believes in the prophetic power of poets, was thinking of Saint-John the Baptist whose voice was heard in the desert. Others have indicated that “Saint-John” might come from the American writer of French descent Saint-Jean de Crèvecoeur. Others still, considering the West Indian origins of the poet, have thought that it might allude to the Caribbean island of Saint-John, or that perhaps it could be the English translation of the name of San Juan, the capital of Puerto Rico. -
The Wisdom of Myth: Eliot's “Ulysses, Order, and Myth”
CHAPTER 14 The Wisdom of Myth: Eliot’s “Ulysses, Order, and Myth” James Nikopoulos No examination of the reception of the Greek and Roman classics by liter- ary modernism can ignore T. S. Eliot’s 1923 review, “Ulysses, Order, and Myth.” Its famous declaration that Joyce’s novel utilizes the story of the Odyssey as a means of giving order to “the immense panorama of futility and anarchy that is contemporary history” has been the starting point for discussions, not just of the classical legacy in early twentieth century literature, but for discussions of modernism as a whole.1 Eliot’s essay not only conditioned how we think of such paradigmatic modernist texts as The Waste Land and Ulysses; it condi- tioned how we think of modernity, of myth, and of the ever-expanding reasons for why the two should ever have been paired together in the first place. It begs asking why. “Ulysses, Order, and Myth” is one of Eliot’s most anthologized works of prose, and for many years, it was the most influential response to Ulysses.2 Most if not all examinations of Joyce’s novel are in some way a response to it. Perhaps this does not seem surprising, even if most critics today assert that the “mythical method” Eliot describes pertains more to his own work in The Waste Land than to anything Joyce had ever written. In a letter addressed to the editor of The Dial one month after “Ulysses, Order, and Myth” appeared, Eliot himself said that the piece was nothing to be proud of.3 To what then can we ascribe the enduring influence of such lamentable prose? While the answer has to do, in part, with the fame of both the author and the subject of the review, we should not discount the essay’s pithy wisdom either. -
1 Educational Ethics
Educational Ethics: A Field-Launching Conference Harvard Graduate School of Education May 1-2, 2020 THURSDAY, APRIL 30: Pre-Conference Setting the Stage 9:30-3:30 Graduate student workshop (led by Randall Curren and Harry Brighouse) 4:30-6:00 HGSE Centennial Askwith Forum: Higher Education Ethics in a Global Context (Invitees: Elizabeth Kiss, Kwame Anthony Appiah, and Beverly Daniel Tatum) 7:00-9:00 Welcome dinner for Askwith Forum speakers + conference panelists who are available + graduate fellows FRIDAY, MAY 1: Defining the Space 8:15-9:00 Breakfast + Registration 9:00-9:30 Welcome and Framing the Conference 9:30-11:00 Framing Educational Ethics What are some key questions in educational ethics that parents, policy makers, school and district leaders, university leaders and faculty, and/or teachers have been contending with? Why aren’t they sufficiently answered by more general moral and political philosophy, by extant philosophy of education, or by codes of professional ethics? What would be helpful? Neema Avashia, Eighth Grade Civics Teacher, Boston Public Schools Yuli Tamir, President, Shenkar College, Tel Aviv John Silvanus Wilson, Senior Advisor and Strategist to the President, Harvard University; 11th President, Morehouse College Terri Wilson, Assistant Professor in the School of Education, UC-Boulder Moderator: Meira Levinson, Professor of Education, Harvard Graduate School of Education 11:00-11:30 Break 11:30-1:00 Educational Ethics in Context 1: Schools and universities in society How should we think about educational ethics in relation to other social institutions such as politics or economics, and in relation to the historical and cultural context in which educational institutions are constructed and sit? When and how is it appropriate to take the larger context for granted (as much as we may wish it were different) and figure out the ethical demands for educators, schools, educational systems, etc. -
Nobel Prize in Literature Winning Authors 2020
NOBEL PRIZE IN LITERATURE WINNING AUTHORS 2020 – Louise Gluck Title: MEADOWLANDS Original Date: 1996 DB 43058 Title: POEMS 1962-2012 Original Date: 2012 DB 79850 Title: TRIUMPH OF ACHILLES Original Date: 1985 BR 06473 Title: WILD IRIS Original Date: 1992 DB 37600 2019 – Olga Tokarczuk Title: DRIVE YOUR PLOW OVER THE BONES OF THE DEAD Original Date: 2009 DB 96156 Title: FLIGHTS Original Date: 2017 DB 92242 2019 – Peter Handke English Titles Title: A sorrow beyond dreams: a life story Original Date: 1975 BRJ 00848 (Request via ILL) German Titles Title: Der kurze Brief zum langen Abschied 10/2017 NOBEL PRIZE IN LITERATURE WINNING AUTHORS Original Date: 1972 BRF 00716 (Request from foreign language collection) 2018 – No prize awarded 2017 – Kazuo Ishiguro Title: BURIED GIANT Original Date: 2015 BR 20746 /DB 80886 Title: NEVER LET ME GO Original Date: 2005 BR 21107 / DB 59667 Title: NOCTURNES: FIVE STORIES OF MUSIC AND NIGHTFALL Original Date: 2009 DB 71863 Title: REMAINS OF THE DAY Original Date: 1989 BR 20842 / DB 30751 Title: UNCONSOLED Original Date: 1995 DB 41420 BARD Title: WHEN WE WERE ORPHANS Original Date: 2000 DB 50876 2016 – Bob Dylan Title: CHRONICLES, VOLUME 1 Original Date: 2004 BR 15792 / DB 59429 BARD 10/2017 NOBEL PRIZE IN LITERATURE WINNING AUTHORS Title: LYRICS, 1962-2001 Original Date: 2004 BR 15916 /DB 60150 BARD 2015 – Svetlana Alexievich (no books in the collection by this author) 2014 – Patrick Modiano Title: DORA BRUDER Original Date: 1999 DB 80920 Title: SUSPENDED SENTENCES: THREE NOVELLAS Original Date: 2014 BR 20705 -
Members of the Champlain Society Posed for a Photo in 1881 in Cambridge, Massachusetts, Before Setting Off for Their Second Summer in Maine
Photograph courtesy Mount Desert Island Historical Society Members of the Champlain Society posed for a photo in 1881 in Cambridge, Massachusetts, before setting off for their second summer in Maine. Founded by Charles Eliot, the society was a group of Harvard College undergraduates interested in documenting the natural history of Mt. Desert Island. Their work helped inspire land conservation efforts on the island and beyond. 26 MAINE BOATS, HOMES & HARBORS | April / May 2014 | Issue 129 Influenced by NATURE Early Maine sailing vacations inspired a land conservation movement BY CATHERINE SCHMITT IN MAY 1871, Charles William and the Deer Isle Thorofare. As they Eliot had been president of Har- made Bass Harbor Light on the third day , by Charles William Eliot I vard University barely two years, out, the fog cleared away. They passed and a widower just as long. He needed Long Ledge and Great Cranberry Island a break, for himself and his two young and sailed into Southwest Harbor. sons, a “thorough vacation” in the open This cruise and summer of camping, air, as he wrote to a friend. the first of many, helped instill in Eliot, He found means in the Jessie, a 33- and especially his son Charles, a sense of foot sloop, and began planning a sailing place that would have a lasting impact Charles Eliot Landscape Architect and camping trip to Maine, “down on the Mt. Desert region and beyond. From Mount Desert way.” Described as “a very The younger Charles Eliot, who became Charles Eliot in 1897 at age 33. pretty boat and tolerably fast,” the Jessie a landscape architect and partner in the and crew made a few warm-up excur- firm of Frederick Law Olmsted, Jr., ple to enjoy the same experience today.