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Journal articles on the topic 'Literary study of T.S. Eliot'

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Published: 4 June 2021

Last updated: 7 February 2022

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1

Salamina, Michele. "Giorgos Seferis as translator of T. S. Eliot." Discourse Analysis and Translation Studies 4, no. 1 (June 5, 2009): 85–100. http://dx.doi.org/10.1075/tis.4.1.05sal.

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This essay focuses on how stylistic features of different literary traditions can converge in new poetic works through translation. One such example is represented by the Nobel Prize winning Greek poet Giorgos (George) Seferis, who translated many English poets, among them, T. S. Eliot. An interesting aspect of Seferis’s writing is the role played by translation in shaping his literary works. While many critics, such as E. Keeley (1956), G. Peron (1976), N. Vayenas (1989), have explored the similarities of content and rhetorical technique between the two poets, the influence of translation in shaping Seferis’s poetry has been largely ignored. This study addresses that scholarly gap through a comparative analysis of the corpus of Seferis’s translations of Eliot and that of his own poems written in the same period

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2

Smith, Grover, Ronald Bush, and David Spurr. "T. S. Eliot: A Study in Character and Style." American Literature 57, no. 1 (March 1985): 143. http://dx.doi.org/10.2307/2926323.

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3

MARSHANIYA, Kristina M., and Olga M. USHAKOVA. "LITERARY FELINOPHILIA AND ANIMALISTIC PERSPECTIVES OF MODERNITY (T. GAUTIER, J. JOYCE, T. S. ELIOT)." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 1 (2021): 106–27. http://dx.doi.org/10.21684/2411-197x-2021-7-1-106-127.

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Each literary era is characterized by certain models of literary animalism with their own semantic accents and symbolism, types of communication “man — animal”, genre preferences. The article examines the features of literary felinistics of the Art Nouveau era, identifies the cultural and social causes of artistic felinophilia. As a material for the study there were three texts written in the period from 1869 to 1939, considered both in the wide cultural context of the modern era, and within the boundaries of their time (modern): “Ménagerie intime”, 1869 by Gaultier T., “The Cats of Copenhagen’’ (1936) by Joyce J. and “Old Possum’s Book of Practical Cats” (1939) by Eliot T. S. In the course of our research, we relied on both historical and literary works devoted to the analysis of specific animalistic images, works of a culturological nature, and also turned to the experience of structuralist studies and the ideas of new posthumanistic knowledge (Human-Animal Studies). The animalistic texts of Gauthier — Joyce — Eliot unite not only the acting cat characters, but also certain artistic perspectives, similar types of human-animal relationships, social and cultural contexts in which their heroes are represented. The feline characters of Gauthier-Joyce-Eliot have much in common: they are anthropomorphic inhabitants of the urban space of the industrial era, leading an appropriate lifestyle and possessing qualities inherent in the middle class. Gautier, Joyce, Eliot’s cats have a bright personality, extraordinary abilities, a lively mind, a rich emotional world, they live according to the laws of human society. They are attractive, intelligent, vital, civilized individuals with unique, eccentric characters (humors).

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4

Spoo, Robert, and Eric Sigg. "The American T. S. Eliot: A Study of the Early Writings." American Literature 62, no. 3 (September 1990): 520. http://dx.doi.org/10.2307/2926761.

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5

Moran, Margaret, and Cleo McNelly Kearns. "T. S. Eliot and Indic Traditions: A Study in Poetry and Belief." American Literature 61, no. 1 (March 1989): 136. http://dx.doi.org/10.2307/2926546.

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6

Perry, John Oliver, and Cleo McNelly Kearns. "T. S. Eliot and Indic Traditions: A Study in Poetry and Belief." World Literature Today 62, no. 2 (1988): 340. http://dx.doi.org/10.2307/40143774.

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7

Bergonzi, Bernard, and Eric Sigg. "The American T. S. Eliot: A Study of the Early Writings." Modern Language Review 87, no. 1 (January 1992): 183. http://dx.doi.org/10.2307/3732350.

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8

Brooker, Jewel Spears. "T. S. Eliot: A Study in Character and Style. Ronald Bush." Modern Philology 83, no. 3 (February 1986): 325–30. http://dx.doi.org/10.1086/391488.

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9

Marshaniya, Kristina M. "PROBLEMS OF REFRAIN TRANSLATION IN T. S. ELIOT’S ‘OLD POSSUM’S BOOK OF PRACTICAL CATS’." Вестник Пермского университета. Российская и зарубежная филология 12, no. 3 (2020): 79–85. http://dx.doi.org/10.17072/2073-6681-2020-3-79-85.

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The growing interest in the Old Possum’s Book of Practical Cats poetic cycle by T. S. Eliot, associated with the theatrical release of the film Cats in 2019, which is based on the musical under the same name by E. L. Webber, as well as the lack of serious academic research on the poetics of the great modernist poet’s cycle, determine the novelty and relevance of this study. The article provides a comparative analysis of Russian translations (by A. Sergeev, S. Dubovitskaya, V. Betaki, S. Sapozhnikov) of poetic refrains in the poems included in the cycle. The research is based on the material presented in the annotated, authoritative edition of Eliot’s poetry full collection The Poems of T. S. Eliot (Volume Two, 2015), compiled and edited by one of the leading modern Eliot researchers Christopher Ricks. The analysis is focused on such aspects as the degree of translation accuracy, the refrain subject structure, professional challenges and translation decisions adopted by the authors to convey the typical characteristics of English children’s folk poetry (nursery rhymes), the traditions of which Eliot follows. This article also discusses various approaches to defining refrain. Existing in many forms and having various goals, the refrain is a universal graphic and expressive tool that is used to highlight the main theme of the work and create its structure, in order to bring any important points to the attention of the reader and to facilitate their memorization. The translators’ desire to reproduce all the signs of the original refrain: the poetic structure, graphic highlighting of components that are significant for the author, the rhyming methods and the refrain emotional reflection, makes it possible to embody the features of children’s folk poetry as a literary tradition on which the stylistic unity of all the texts included in the cycle is based.

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10

Buurma, Rachel Sagner, and Laura Heffernan. "The Classroom in the Canon: T.S. Eliot's Modern English Literature Extension Course for Working People and The Sacred Wood." PMLA/Publications of the Modern Language Association of America 133, no. 2 (March 2018): 264–81. http://dx.doi.org/10.1632/pmla.2018.133.2.264.

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Literary critics have long imagined that T. S. Eliot's The Sacred Wood (1920) shaped the canon and methods of countless twentieth-century classrooms. This essay turns instead to the classroom that made The Sacred Wood: the Modern English Literature extension school tutorial that Eliot taught to working-class adults between 1916 and 1919. Contextualizing Eliot's tutorial within the extension school movement shows how the ethos and practices of the Workers' Educational Association shaped his teaching. Over the course of three years, Eliot and his students reimagined canonical literature as writing by working poets for working people—a model of literary history that fully informed his canon reformation in The Sacred Wood. This example demonstrates how attention to teaching changes the history of English literary study. It further reveals how all kinds of institutions, not just elite universities, have shaped the discipline's methods and canons.

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11

Mutka, Maria. "“To Begin on Again”: A Study of Early Cinema’s Unique Influence on Modernist Literature." Film Matters 12, no. 1 (March 1, 2021): 66–81. http://dx.doi.org/10.1386/fm_00131_1.

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This article examines the intersectionality of modernist literature and the advent of cinema, particularly in the context of the incomparable tragedies of the First World War in the 1910s, 1920s, and 1930s. Avant-garde writers like James Joyce, Virginia Woolf, Gertrude Stein, and T. S. Eliot utilized cinema-inspired techniques in some of their most famous literary works, including Ulysses and “The Waste Land.” These techniques are especially salient in light of how much both the First World War and cinema altered societal notions of time, space, and motion.

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12

Pelinser, André Tessaro. "Ressonâncias da tradição: Guimarães Rosa, Mário de Andrade e Simões Lopes Neto." O Eixo e a Roda: Revista de Literatura Brasileira 28, no. 1 (March 21, 2019): 229–51. http://dx.doi.org/10.17851/2358-9787.28.1.229-251.

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Resumo: Este artigo examina as obras de João Guimarães Rosa, Mário de Andrade e João Simões Lopes Neto com o objetivo de verificar em que medida pontos de contato identificados na ficção desses autores promovem rearranjos na série literária brasileira. O estudo parte da noção de tradição literária, tal qual formulada por T. S. Eliot e Jorge Luis Borges, e, em seguida, procura mapear a ocorrência de ressonâncias das principais obras de Mário de Andrade e Simões Lopes Neto na literatura de Guimarães Rosa. Assim procedendo, pretende averiguar como a obra de Guimarães Rosa ressignifica os textos de Mário de Andrade e Simões Lopes Neto, renovando sua legibilidade e modificando sua posição no campo literário.Palavras-chave: Guimarães Rosa; Mário de Andrade; Simões Lopes Neto; tradição literária.Abstract: We discuss João Guimarães Rosa’s, Mário de Andrade’s, and João Simões Lopes Neto’s works, with the purpose of verifying to what extent contact points identified in these authors’ fiction promote readjustments in the Brazilian literary series. The reflection is based on the literary tradition notion, as formulated by T. S. Eliot and Jorge Luis Borges, and subsequently aims at mapping the occurrence of resonances of Mário de Andrade and Simões Lopes Neto works in Guimarães Rosa’s literature. By doing so, the study intends to examine how Guimarães Rosa’s work resignifies Mário de Andrade and Simões Lopes Neto texts, renewing their legibility and modifying their position in the literary field.Keywords: Guimarães Rosa; Mário de Andrade; Simões Lopes Neto; literary tradition.

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13

Azouqa, Aida O. "Defamiliarization in the Poetry of 'Abd Al-Wahhāb Al-Bayātī and T. S. Eliot: a Comparative Study." Journal of Arabic Literature 32, no. 2 (January 1, 2001): 167–208. http://dx.doi.org/10.1163/157006401x00060.

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14

Marshaniya, Kristina M. "T. S. ELIOT’S “OLD POSSUM’S BOOK OF PRACTICAL CATS” IN THE CONTEXT OF “NURSERY RHYMES” TRADITION." Philological Class 26, no. 2 (2021): 191–99. http://dx.doi.org/10.51762/1fk-2021-26-02-16.

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This paper presents the results of a comparative study of the collection of poems Old Possum’s Book of Practical Cats (1939) by T. S. Eliot and the collection of children’s verses Mother Goose Old Nursery Rhymes (published in 1760), compiled and illustrated by A. Rackham (1913). Consisting of 15 poems, and distinguished by its frivolity against the background of other works by Eliot, the cycle Old Possum’s Book of Practical Cats has been overlooked by both Russian and foreign researchers for a long time. Recently a surge of interest in this book of verse has been provoked by the release of a feature film Cats (2019) based on the world-famous musical by Andrew Lloyd Webber. This fact as well as the lack of serious academic studies of Eliot’s book of verse has determined the urgency and novelty of this paper. It is also important to show the involvement of this segment of Eliot’s poetry into the English literary tradition. The aim of this research is to identify the influence of Victorian aesthetics of nonsense on the poetry of T. S. Eliot’s cycle. The method of comparative analysis has been chosen as the main research method. Besides, structural-semantic and linguistic-cultural methods have been used. In understanding and interpreting the term “tradition” the author relies on Eliot’s aesthetics, in which this concept is central. The terminological unit “nursery rhymes” is used in its original traditional meaning since its historical and cultural background disappears in any Russian translation or scholarly interpretation. In the course of work, certain features of nursery rhymes have been identified in the poetic texts by the great Modernist. The study of the specificity of this genre (the playful atmosphere of the text, the special rhythms and forms of coding historical events, animalistic perspectives, the use of various repetitions and imitations, the creation of author’s occasionalisms and unusual names of characters, etc.) confirms strong influence of the tradition of English nursery rhymes on T. S. Eliot’s works.

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15

WHITE, HARRY. "American Musicology and “The Archives of Eden”." Journal of American Studies 32, no. 1 (April 1998): 1–18. http://dx.doi.org/10.1017/s0021875898005775.

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In his T. S. Eliot Memorial Lectures delivered at the University of Kent in March, 1971, and subsequently published as In Bluebeard's Castle or Some Notes Towards A Re-definition of Culture, George Steiner apostrophized the condition of American culture in the following way:America is the representative and premonitory example [of the democratization of high culture]. Nowhere has the debilitation of genuine literacy gone further (consider the recent surveys of reading-comprehension and recognition in American high schools). But nowhere, also, have the conservation and learned scrutiny of the art or literature of the past been pursued with more generous authority. American libraries, universities, archives, museums, centres for advanced study, are now the indispensable record and treasure-house of civilization. It is here that the European artist and scholar must come to see the cherished after-glow of his culture. Though often obsessed with the future, the United States is now, certainly in regard to the humanities, the active watchman of the classic past.So far, so good. But Steiner's encomium (notwithstanding that second sentence) carried with it a conditional scrutiny which was less attractive in its implications.

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16

Hecht, A. "T. S. Eliot." Literary Imagination 5, no. 1 (January 1, 2003): 3–17. http://dx.doi.org/10.1093/litimag/5.1.3.

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17

Faulk, Barry, Marc Redfield, and David Chinitz. "T. S. Eliot." PMLA 110, no. 5 (October 1995): 1052. http://dx.doi.org/10.2307/463030.

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18

Churchill, Suzanne W. (Suzanne Wintsch). "Outing T. S. Eliot." Criticism 47, no. 1 (2005): 7–30. http://dx.doi.org/10.1353/crt.2006.0001.

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19

Whittier-Ferguson, John, and Dominic Manganiello. "T. S. Eliot and Dante." American Literature 63, no. 1 (March 1991): 157. http://dx.doi.org/10.2307/2926594.

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20

Fleissner, R. F., and Christopher Ricks. "T. S. Eliot and Prejudice." American Literature 62, no. 2 (June 1990): 341. http://dx.doi.org/10.2307/2926935.

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21

Clausen, Christopher, and Kenneth Asher. "T. S. Eliot and Ideology." American Literature 68, no. 2 (June 1996): 473. http://dx.doi.org/10.2307/2928316.

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22

Durrell, Lawrence. "Letters to T. S. Eliot." Twentieth Century Literature 33, no. 3 (1987): 348. http://dx.doi.org/10.2307/441496.

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23

Winn, K. "T. S. Eliot in Lausanne." Literary Imagination 15, no. 3 (September 19, 2013): 315. http://dx.doi.org/10.1093/litimag/imt055.

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24

Ellis, David. "Modernism and T. S. Eliot." Cambridge Quarterly 47, no. 1 (March 1, 2018): 53–64. http://dx.doi.org/10.1093/camqtly/bfx024.

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25

Asher, Kenneth. "T. S. Eliot and Ideology." ELH 55, no. 4 (1988): 895. http://dx.doi.org/10.2307/2873141.

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26

Loucks, James F. "T. S. Eliot at 110." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 11, no. 3 (January 1998): 2–3. http://dx.doi.org/10.1080/08957699809601255.

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27

Hunter, George K., and Charles Warren. "T. S. Eliot on Shakespeare." Shakespeare Quarterly 38, no. 4 (1987): 537. http://dx.doi.org/10.2307/2870438.

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28

Pratt, William, and Lee Oser. "T. S. Eliot and American Poetry." World Literature Today 72, no. 4 (1998): 848. http://dx.doi.org/10.2307/40154366.

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29

Monteiro, George. "T. S. Eliot and Stephen Foster." Explicator 45, no. 3 (April 1987): 44–45. http://dx.doi.org/10.1080/00144940.1987.9938680.

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30

Dasenbrock, Reed Way, Kenneth Asher, and Paul Morrison. "T. S. Eliot and Ideology." South Central Review 14, no. 3/4 (1997): 103. http://dx.doi.org/10.2307/3190213.

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31

Dembo, L. S. "T. S. Eliot, the Poet and His Critics. T. S. Eliot , Robert H. Canary." Modern Philology 83, no. 1 (August 1985): 85–86. http://dx.doi.org/10.1086/391441.

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32

Dasenbrock, Reed Way, and Anthony Julius. "T. S. Eliot, Anti-Semitism, and Literary Form." American Literature 69, no. 2 (June 1997): 424. http://dx.doi.org/10.2307/2928284.

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33

Casillo, Robert, and Anthony Julius. "T. S. Eliot, Anti-Semitism, and Literary Form." Modern Language Review 93, no. 1 (January 1998): 206. http://dx.doi.org/10.2307/3733675.

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34

Materer, Timothy. "T. S. Eliot: From Undergraduate to Literary Lion." Modernism/modernity 22, no. 2 (2015): 381–87. http://dx.doi.org/10.1353/mod.2015.0037.

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35

Chace, William M. "The Letters of T. S. Eliot." Common Knowledge 25, no. 1-3 (April 1, 2019): 431–32. http://dx.doi.org/10.1215/0961754x-7312393.

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36

Asher, Kenneth. "T. S. Eliot and Charles Maurras." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 11, no. 3 (January 1998): 20–29. http://dx.doi.org/10.1080/08957699809601259.

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37

Brooker, Jewel Spears, and Grover Smith. "The Waste Land by T. S. Eliot." American Literature 59, no. 2 (May 1987): 284. http://dx.doi.org/10.2307/2927050.

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38

Brazeal, Gregory. "The Alleged Pragmatism of T. S. Eliot." Philosophy and Literature 30, no. 1 (2006): 248–64. http://dx.doi.org/10.1353/phl.2006.0004.

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39

Presley, John W., and Gregory S. Jay. "T. S. Eliot and the Poetics of Literary History." South Atlantic Review 50, no. 1 (January 1985): 89. http://dx.doi.org/10.2307/3199534.

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40

Kolb, Jack. "Laureate Envy: T. S. Eliot on Tennyson." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 11, no. 3 (January 1998): 29–37. http://dx.doi.org/10.1080/08957699809601260.

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41

Raubicheck, Walter. "Jacques Maritain, T S. Eliot and the Romantics." Renascence 46, no. 1 (1993): 71–79. http://dx.doi.org/10.5840/renascence19934614.

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42

Moran, Margaret, Louis Menand, Calvin Bedient, and Michael Beehler. "Discovering Modernism: T. S. Eliot and his Context." American Literature 60, no. 1 (March 1988): 128. http://dx.doi.org/10.2307/2926415.

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43

Cooper, John Xiros, and Richard Shusterman. "T. S. Eliot and the Philosophy of Criticism." American Literature 61, no. 1 (March 1989): 137. http://dx.doi.org/10.2307/2926547.

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44

Blaise, Marie. "Notes : pour une poétique de T. S. Eliot." Revue de littérature comparée 308, no. 4 (2003): 449. http://dx.doi.org/10.3917/rlc.308.0449.

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45

Melaver, Martin, and Richard Shusterman. "T. S. Eliot and the Philosophy of Criticism." Poetics Today 10, no. 3 (1989): 651. http://dx.doi.org/10.2307/1772922.

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46

Davies, Alistair. "The new Cambridge companion to T. S. Eliot." Textual Practice 32, no. 6 (July 3, 2018): 1044–47. http://dx.doi.org/10.1080/0950236x.2018.1503504.

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47

Day, T. "Sensuous Intelligence: T. S. Eliot and Geoffrey Hill." Cambridge Quarterly 35, no. 3 (January 1, 2006): 255–80. http://dx.doi.org/10.1093/camqtly/bfl012.

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48

Dickey, Frances. "T. S. Eliot and Organicism. By Jeremy Diaper." Essays in Criticism 70, no. 2 (April 1, 2020): 251–57. http://dx.doi.org/10.1093/escrit/cgaa009.

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49

Martin, Wallace. "Review of T. S. Eliot: The Contemporary Reviews." Journal of Modern Literature 28, no. 4 (2005): 176–79. http://dx.doi.org/10.1353/jml.2005.0055.

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50

Chinitz, David. "T. S. Eliot and the Cultural Divide." PMLA 110, no. 2 (March 1995): 236. http://dx.doi.org/10.2307/462913.

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