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T. S. Eliot's Ascetic Idealcharts an intellectual history of T. S. Eliot's interaction with asceticism. Eliot's early encounters with the ascetic ideal began a lifetime of interplay and reflection upon self-denial, purgation, and self-surrender.

The thought-tormented characters in T. S. Eliot's early poetry are paralyzed by the gap between mind and body, thought and action. The need to address this impasse is part of what drew Eliot to philosophy, and the failure of philosophy to appease his disquiet is the reason he gave for abandoning it. In T. S. Eliot's Dialectical Imagination, Jewel Spears Brooker argues that two of the principles that Eliot absorbed as a PhD student at Harvard and Oxford were to become permanent features of his mind, grounding his lifelong quest for wholeness and underpinning most of his subsequent poetry. The first principle is that contradictions are best understood dialectically, by moving to perspectives that both include and transcend them. The second is that all truths exist in relation to other truths. Together or in tandem, these two principles-dialectic and relativism-constitute the basis of a continual reshaping of Eliot's imagination. The dialectic serves as a kinetic principle, undergirding his impulse to move forward by looping back, and the relativism supports his ingrained ambivalence. Brooker considers Eliot's poetry in three blocks, each represented by a signature masterpiece: \"The Love Song of J. Alfred Prufrock,\" The Waste Land, and Four Quartets. She correlates these works with stages in the poet's intellectual and spiritual life: disjunction, ambivalence, and transcendence. Using a methodology that is both inductive-moving from texts to theories-and comparative-juxtaposing the evolution of Eliot's mind as reflected in his philosophical prose and the evolution of style as seen in his poetry-Brooker integrates cultural and biographical contexts. The first book to read Eliot's poems alongside all of his prose and letters, T. S. Eliot's Dialectical Imagination will revise received readings of his mind and art, as well as of literary modernism.

The winner of the Nobel Trize for Literature, the twentieth century's most famous poet and its most influential literary arbiter, T.S. Eliot has long been thought to be an obscure and difficult poet-forbiddingly learned, maddeningly enigmatic. Now, in this brilliant exploration of T.S. Eliot's work, prize-winning poet Craig Raine reveals that, on the contrary, Eliot's poetry (and drama and criticism) can be seen as a unified and coherent body of work. Indeed, despite its manifest originality, its radical experimentation, and its dazzling formal variety, his verse yields meaning just as surely as other more conventional poetry. Raine argues that an implicit controlling theme-the buried life, or the failure of feeling-unfolds in surprisingly varied ways throughout Eliot's work. But alongside Eliot's desire \"to live with all intensity\" was also a distrust of \"violent emotion for its own sake.\" Raine illuminates this paradoxical Eliot-an exacting anti-romantic realist, skeptical of the emotions, yet incessantly troubled by the fear of emotional failure-through close readings of such poems as \"The Love Song of J Alfred Prufrock,\" \"Gerontion,\" The Hollow Men, Ash Wednesday, and many others. The heart of the book contains extended analyses of Eliot's two master works-The Waste Land and Four Quartets. Raine also examines Eliot's criticism-including his coinage of such key literary terms as the objective correlative, dissociation of sensibility, the auditory imagination-and he concludes with a convincing refutation of charges that Eliot was an anti-Semite. Here then is a volume absolutely indispensable for all admirers of T.S. Eliot and, in fact, for everyone who loves modern literature.

T. S. Eliot's work demands much from his readers. The more the reader knows about his allusions and range of cultural reference, the more rewarding are his poems, essays and plays. This book is carefully designed to provide an authoritative and coherent examination of those contexts essential to the fullest understanding of his challenging and controversial body of work. It explores a broad range of subjects relating to Eliot's life and career; key literary, intellectual, social and historical contexts; as well as the critical reception of his oeuvre. Taken together, these chapters sharpen critical appreciation of Eliot's writings and present a comprehensive, composite portrait of one of the twentieth century's pre-eminent men of letters. Drawing on original research, T. S. Eliot in Context is a timely contribution to an exciting reassessment of Eliot's life and works, and will provide a valuable resource for scholars, teachers, students and general readers.

T. S. Eliot's work demands much from his readers. The more the reader knows about his allusions and range of cultural reference, the more rewarding are his poems, essays and plays. This book is carefully designed to provide an authoritative and coherent examination of those contexts essential to the fullest understanding of his challenging and controversial body of work. It explores a broad range of subjects relating to Eliot's life and career; key literary, intellectual, social and historical contexts; as well as the critical reception of his oeuvre. Taken together, these chapters sharpen critical appreciation of Eliot's writings and present a comprehensive, composite portrait of one of the twentieth century's pre-eminent men of letters. Drawing on original research, T. S. Eliot in Context is a timely contribution to an exciting reassessment of Eliot's life and works, and will provide a valuable resource for scholars, teachers, students and general readers.

Part of the Decades of Modern British Playwriting series, the volume provides a critical survey of the theatre produced in the 1950s together with detailed studies by a team of experts of the work of T. S. Eliot, Terence Rattigan, John Osborne and Arnold Wesker.

Este artículo analiza las funciones estéticas de la memoria, los recuerdos y los sueños en la novela Lo que dijo el trueno (2022) de Fernando Díaz San Miguel. La primera parte, a partir de ciertos datos introductorios de la novela en cuestión, entre ellos, algunos de sus rasgos posmodernos, se interesa en la pervivencia de T. S. Eliot en el campo literario. En la segunda, por un lado, se desarrolla una breve historia de las teorías posmodernas aunadas al concepto de postnacionalidad y por otro, de los Cultural Memory Studies junto a algunas nociones de interés para el análisis literario. En la tercera y última, se sistematizan algunas funciones de la memoria en cinco categorías y se analizan algunos fragmentos representativos. Como parte de los resultados, el recurso de la memoria se articula, desde un episteme posmoderno, con algunas de las funciones de los sueños y los recuerdos en la novela en estudio para construir una propuesta estética cuya característica principal es la presencia de tensos diálogos ontológicos entre realidad y ficción, característica común en las metaficciones históricas.

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.