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

作者: Leon Surette
出版商: Montreal [Que.] : McGill-Queen's University Press, ©1993.
版本/格式:   電子書 : 文獻 : 英語所有版本和格式的總覽
資料庫:WorldCat
提要:
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  再讀一些...
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詳細書目

類型/形式: Electronic books
Criticism, interpretation, etc
其他的實體格式: Print version:
Surette, Leon.
Birth of modernism.
Montréal : McGill-Queen's University Press, 1993
(DLC) 92090710
提及的人: 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
資料類型: 文獻, 網際網路資源
文件類型: 網路資源, 電腦資料
所有的作者/貢獻者: Leon Surette
ISBN: 9780773563773 0773563776
OCLC系統控制編碼: 244764429
描述: 1 online resource (xi, 320 p.)
責任: Leon Surette.
更多資訊:

摘要:

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.

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