pular para conteúdo
The birth of modernism : Ezra Pound, T.S. Eliot, W.B. Yeats, and the occult Ver prévia deste item
FecharVer prévia deste item
Checando...

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

Autor: Leon Surette
Editora: Montreal [Que.] : McGill-Queen's University Press, ©1993.
Edição/Formato   e-book : Documento : InglêsVer todas as edições e formatos
Base de Dados:WorldCat
Resumo:
In The Birth of Modernism Leon Surette offers a radical revision of our understanding of high modernism. Acknowledging that current post-modern and theoretical critiques have provoked fresh examination of the high culture of the first half of this century, Surette rejects their characterization of modernism as positivistic and absolutist, despite the statements in the 1920s of modernists such as Pound, Eliot, and  Ler mais...
Classificação:

(ainda não classificado) 0 com críticas - Seja o primeiro.

Assuntos
Mais como este

 

Encontrar uma cópia on-line

Links para este item

Encontrar uma cópia na biblioteca

&AllPage.SpinnerRetrieving; Encontrando bibliotecas que possuem este item...

Detalhes

Gênero/Forma: Electronic books
Criticism, interpretation, etc
Formato Físico Adicional: Print version:
Surette, Leon.
Birth of modernism.
Montréal : McGill-Queen's University Press, 1993
(DLC) 92090710
Pessoa Denominada: T S Eliot; Ezra Pound; W B Yeats; Ezra Pound; T S Eliot; W B Yeats; Ezra Pound; T S Eliot; W B Yeats; Ezra Pound; Thomas S Eliot; William B Yeats; T S Eliot; Ezra Pound; W B Yeats
Tipo de Material: Documento, Recurso Internet
Tipo de Documento: Recurso Internet, Arquivo de Computador
Todos os Autores / Contribuintes: Leon Surette
ISBN: 9780773563773 0773563776
Número OCLC: 244764429
Descrição: 1 online resource (xi, 320 p.)
Responsabilidade: Leon Surette.
Mais informações:

Resumo:

In The Birth of Modernism Leon Surette offers a radical revision of our understanding of high modernism. Acknowledging that current post-modern and theoretical critiques have provoked fresh examination of the high culture of the first half of this century, Surette rejects their characterization of modernism as positivistic and absolutist, despite the statements in the 1920s of modernists such as Pound, Eliot, and Joyce. He also rejects the diametrically opposed New Critical view of modernism as sceptical and relativistic. Through an explanation of both familiar and little-known theoretical writings of the late nineteenth and early twentieth century - the work of Friedrich Nietzsche receives particular attention - Surette develops a portrait of modernism that demonstrates its continuity with American transcendentalism, French symbolisme, and English aestheticism. His account is, in many ways, a revival of an early view of modernism as the heir of symbolisme, but Surette documents, for the first time, the origins of modernist aesthetics in the occult. Yeats' occultism has long been acknowledged, but this is the first study to show that Pound's early intimacy with Yeats was based largely on a shared interest in the occult sciences, and that Pound's epic of the modern age, The Cantos, is a deeply occult work. To substantiate these claims Surette formulates a theory of the occult and analyses the occult speculations of several of Pound's close associates during his London years, relating these to the work of influential Continental occultists and Wagnerians. The author also examines the place of myth and mythopoeia in modernist literature. He scrutinizes the complex provenance of the theories of myth, to which modernists and their apologists appeal, and demonstrates that positive anthropology, Nietzschean philology, Wagnerian opera, symbolisme, and occultism all contribute to the theories expressed by Pound and, to some extent, to Eliot's poetry. In light of these discoveries Surette considers Pound's editing of Eliot's The Waste Land and concludes that the work's early reception as an expression of scepticism and relativism has obscured aspects of the poem that are consistent with Eliot's earlier and later piety. Pound's ruthless cutting of the manuscript, Surette asserts, was not motivated primarily by stylistic concerns, as has generally been contended in the formalist arguments of the New Critics, but by thematic considerations. It was precisely because Eliot knew Pound to be well-informed about the occult that he asked far his assistance with The Waste Land.

Críticas

Críticas contribuídas por usuários
Recuperando críticas GoodReas...
Recuperando comentários DOGObooks

Etiquetas

Seja o primeiro.
Confirmar esta solicitação

Você já pode ter solicitado este item. Por favor, selecione Ok se gostaria de proceder com esta solicitação de qualquer forma.

Dados Ligados


<http://www.worldcat.org/oclc/244764429>
library:oclcnum"244764429"
library:placeOfPublication
library:placeOfPublication
owl:sameAs<info:oclcnum/244764429>
rdf:typeschema:Book
schema:about
schema:about
<http://id.loc.gov/authorities/subjects/sh2008103192>
rdf:typeschema:Intangible
schema:name"European literature--19th century--History and criticism."@en
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
<http://id.loc.gov/authorities/subjects/sh2008103349>
rdf:typeschema:Intangible
schema:name"European literature--20th century--History and criticism."@en
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:about
schema:bookFormatschema:EBook
schema:copyrightYear"1993"
schema:creator
schema:datePublished"1993"
schema:description"In The Birth of Modernism Leon Surette offers a radical revision of our understanding of high modernism. Acknowledging that current post-modern and theoretical critiques have provoked fresh examination of the high culture of the first half of this century, Surette rejects their characterization of modernism as positivistic and absolutist, despite the statements in the 1920s of modernists such as Pound, Eliot, and Joyce. He also rejects the diametrically opposed New Critical view of modernism as sceptical and relativistic. Through an explanation of both familiar and little-known theoretical writings of the late nineteenth and early twentieth century - the work of Friedrich Nietzsche receives particular attention - Surette develops a portrait of modernism that demonstrates its continuity with American transcendentalism, French symbolisme, and English aestheticism. His account is, in many ways, a revival of an early view of modernism as the heir of symbolisme, but Surette documents, for the first time, the origins of modernist aesthetics in the occult. Yeats' occultism has long been acknowledged, but this is the first study to show that Pound's early intimacy with Yeats was based largely on a shared interest in the occult sciences, and that Pound's epic of the modern age, The Cantos, is a deeply occult work. To substantiate these claims Surette formulates a theory of the occult and analyses the occult speculations of several of Pound's close associates during his London years, relating these to the work of influential Continental occultists and Wagnerians. The author also examines the place of myth and mythopoeia in modernist literature. He scrutinizes the complex provenance of the theories of myth, to which modernists and their apologists appeal, and demonstrates that positive anthropology, Nietzschean philology, Wagnerian opera, symbolisme, and occultism all contribute to the theories expressed by Pound and, to some extent, to Eliot's poetry. In light of these discoveries Surette considers Pound's editing of Eliot's The Waste Land and concludes that the work's early reception as an expression of scepticism and relativism has obscured aspects of the poem that are consistent with Eliot's earlier and later piety. Pound's ruthless cutting of the manuscript, Surette asserts, was not motivated primarily by stylistic concerns, as has generally been contended in the formalist arguments of the New Critics, but by thematic considerations. It was precisely because Eliot knew Pound to be well-informed about the occult that he asked far his assistance with The Waste Land."@en
schema:exampleOfWork<http://worldcat.org/entity/work/id/349871>
schema:genre"Electronic books."@en
schema:genre"Criticism, interpretation, etc."@en
schema:inLanguage"en"
schema:name"The birth of modernism Ezra Pound, T.S. Eliot, W.B. Yeats, and the occult"@en
schema:numberOfPages"320"
schema:publisher
schema:url<http://www.jstor.org/stable/10.2307/j.ctt801ht>
schema:url<http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=405047>
schema:url<http://site.ebrary.com/id/10141874>
schema:url<http://www.deslibris.ca/ID/403839>
schema:url<http://site.ebrary.com/id/10135958>
schema:url
schema:workExample

Content-negotiable representations

Close Window

Por favor, conecte-se ao WorldCat 

Não tem uma conta? Você pode facilmente criar uma conta gratuita.