T.S. Eliot

The nexus between culture and literature is as old as human civilization itself. From the days of Plato and Aristotle, down to the present day Culture Studies and its representative voices like Harold Bloom and Wayne Booth, the discourse has seen an explosion of sorts. At present, its connection with traditional cultural studies has been reduced to minimum yet the social implications of the concept remain. The present paper aims at formulating a general theory of culture in relation to literary criticism. The paper approaches culture through Christian, Liberal Humanist and Marxist points of view assuming their representatives respectively in the personas of T.S. Eliot, Matthew Arnold and Raymond Williams. The paper highlights the differences in their approaches while connecting them with the socioeconomic and literary background of the ages they belonged to. Further, the paper takes up Eliot, Arnold and Williams separately delineating carefully their peculiar approaches to culture as a product in time and a process in history.

"We still cast bewildered glances backwards toward the events of Pentecost instead of looking forward to the goal toward which the Spirit leads us. Because of this, humanity is wholly unprepared for the things that will come."-C.G. Jung. Does the responsibility of religions lie in teaching us to think less and believe more, or rather to think not only more but also differently? Should there perhaps be an equivalence between the principles of religion and the principles of the Enlightenment? According to Kant (Immanuel Kant), the Enlightenment is "humanity's emergence from self-imposed immaturity." "Immaturity is the inability to use one's own understanding without guidance from another. This immaturity is self-imposed if its cause is not a lack of understanding but a fear of using it independently. Hence, the motto of the Enlightenment: Sapere aude! Have the courage to use your own reason!"1 In other words, take responsibility for your reasoning. Have the courage to think not only more but also differently. The maturity of enlightenment is not unattainable; it requires only freedom. However, Kant notes: "(...) From all sides, I hear: Do not argue! The officer says: Do not argue, march! The tax collector says: Do not argue, pay! The priest says: Do not argue, believe!" Kant is clear that a priest is obliged to educate his flock in accordance with the doctrines of the Church he serves, as this is a condition of his employment. However, as a scholar, that same priest is not only entirely free but also bears the responsibility to convey carefully considered and well-intentioned critiques regarding the flawed aspects of those doctrines to his congregation. He is also obliged to propose solutions for better organising religious and ecclesiastical matters. Thus, as a scholar addressing his flock through his works, the priest enjoys unrestricted freedom to use his reason and speak in his own name.3 The classical interpretation of God's perfection creates the two greatest problems facing modern thought grounded in the principle of sapere aude: the origin of evil and the ontological justification for human creation. If God is understood as actus purus, meaning perfect and fully realised, there is no potentiality or non-being in God awaiting fulfilment. Therefore, evil cannot exist alongside the perfect God. .

The creativity of an artist/writer/poet provides him/her a vehicle to travel across reality and takes him/her to the world of myths and imagination, where he/she can find relief. The literature is full of mythical characters and voices that echo the sound of the composer"s misery; Icarus, Medusa, Prometheus, Ahilya and Bhishma all sprung out of the mind of an individual sufferer. This paper is focused on the detailed analysis of mythical characters presented in the long poem The Westland. It highlights some aspects of the characters as the social sufferers in the classical tales. The paper"s purpose is to throw light on questions to answer, such as: Why has consecutive suffering-based literature been marked as classic? Why literature is called the saga of suffering? We will also discuss the reasons for the reader"s deep interest in tragic tales, different kinds of suffering, the artist/writer/poet"s way of expressing his/her experience during living in society and how literature provides a way to live for others" life.

By the logic of the authorial persona they created, Katharine Bradley and Edith Cooper did not write the books of lyric poetry and verse drama they published between 1884-1914. Bradley and Cooper considered Michael Field the author and called 'him' the works' creator. Their commitment to the joint persona is instructive: it reveals that Michael Field is not just a pseudonym but also an imaginative construct that enabled Bradley and Cooper's poetic output. It is useful to consider the persona as itself a creative genre, one with specific formal properties and communicative modes. In creating Michael Field, Bradley and Cooper show that they consider identity and authorship akin to the poetic genres with which they work: adaptable and malleable conventions available for reimagining. Bradley and Cooper revised inherited literary forms in their verse dramas, their sonnets, their masque, and their Elizabethan-style songs. Similarly, Bradley and Cooper remake inherited identity categories and reform subjectivity. Playing with form is one way for Bradley and Cooper to express what they think and feel, as well as who they are. This chapter will address why Bradley and Cooper created an alternate artistic identity, how their pseudonyms evolved to become Michael Field, and the ways in which understanding Bradley and Cooper's carefully constructed poetic persona can help scholars and readers understand their ideas about gender, sex, art, identity, and autonomy. It is clear that Bradley and Cooper understood the gendered terrain of the late-Victorian publishing environment. To be a 'poetess', or even a 'lady poet', is to be subject to gendered norms dictating what modes of expression are appropriate for a woman, what topics are seemly for her to address. Early in their career as Michael Field, Bradley explained in a letter to Robert Browning why she and Cooper deemed it necessary to be known as a man. Public knowledge that two women authored the 1884 dramas Callirrhoë and Fair Rosamund, Bradley averred, 'would indeed be utter ruin to us' because 'we have many things to say the world will not tolerate from a woman's lips'. 1 If they were known as women writers, they would 'be stifled in drawing-room conventionalities'. 2 Throughout their career, Bradley and Cooper insisted that reviewers refer to Michael Field as singular and masculine. 'Michael Field is always one', writes Bradley to John Gray, explaining that when reviewing their poetry, Gray should use '["]this writer["]' or '["]he["] when a pronoun must come in'. To be justly evaluated as poets, Bradley and Cooper recognized the need to be masculine and singular. Bradley and Cooper gain authority from their identity as Michael Field, who, when presumed to be a young male writer, is regarded as 'a poet of notable endowments and distinguished powers'. In his review of Callirrhoë and Fair Rosamund, William Watson argues that Michael Field's dialogue follows an emotional logic that defies the dictates of continuity. What might seem a fault, he writes, is in fact a virtue, 'one he shares with Shakespeare'. 5 This

This paper reinterprets 'The Love Song of J. Alfred Prufrock' by T.S. Eliot in the context of a modern-day youth and refugee identity and claims that the poem is a concordance to the experiences of the globally displaced people at large. The purpose of the research in response to the expanding topicality of trauma, migration, and identity politics in literature studies to ask three fundamental questions: How can the alienation of Prufrock be applied to the psyche of a refugee? How does fragmentation and uncertainty that Eliot employs in his works relate to disoriented realities of displaced youth? Is it possible to regard Prufrock as a refugee of modernity? Through interpretive method, the analysis relies on close readings of text in a conversation with the trauma theory, identity theory, and critical refugee studies. This analysis reveals that the confusion of Prufrock, his emotional paralysis and dislocation in the city resemble the psychological mechanisms of survival of refugees. The modernism tools used by Eliot, including fragmentation and ambiguity predict the postmodern trauma story lines. After all, this poem turns out to not be a fossil of literary modernism at all, but a breathing text that addresses the emotional topographies of displacement in our day in very urgent terms.

Modern literature has been aligned with new principles, introducing innovative paradigms, and offering alternative perspectives. Iterations and repetitions became principal features of modern aesthetics. T. S. Eliot's intertextual dialogue and allusions significantly echo previous works of art, cultures and traditions. This paper focuses on T. S. Eliot's The Waste Land (1922), which exhibits a different stylistic approach. Rereading the poem with Derrida's Iterability as analytical tool could aid in deciphering different meanings. This paper aims to analyse how language, scenes, characters, and allusions to different religions and philosophies are revisited from their intended context and used in a new style. They create retroactive meanings, make communication possible, and embody the perfect conditions of the time in which the poem was written. Derrida argues that iterability refers that the text's communication could be possible without a recipient or contributor and allows a text to communicate beyond its intended context and audience.

This article examines T. S. Eliot’s “Gerontion” (1920), “Sweeney Among the Nightingales” (1919), and “Marina” (1930) as a trajectory of Eliot’s poetic and spiritual vision, moving from cultural desiccation and grotesque caricature to intimations of renewal. Drawing upon close textual analysis and critical perspectives, the essay situates “Gerontion” within the ruins of post–World War I Europe, where biblical and Jacobean echoes expose a world of spiritual drought and historical disillusionment. “Sweeney Among the Nightingales” is read as a grotesque parody of modern existence, where sexuality, violence, and parody of classical tragedy collapse the distinction between ancient heroism and modern vulgarity. Finally, “Marina” signals Eliot’s turn toward religious faith and personal renewal, its imagery of sea, pine, and childhood memory affirming the possibility of grace without overt dogma. Engaging with critics such as Stephen Spender, Hugh Kenner, Elizabeth Schneider, Lyndall Gordon, A. David Moody, and Grover Smith, the essay demonstrates Eliot’s persistent interrogation of history, ritual, and faith. It argues that these three poems, taken together, dramatize Eliot’s modernist poetics of despair and redemption, exposing the fragmented condition of modernity while holding out the possibility of spiritual transformation.

https://aipublications.com/ijllc/detail/after-such-knowledge-what-forgiveness-decay-violence-and-redemption-in-t-s-eliot-s-gerontion-sweeney-among-the-nightingales-and-marina/

This article examines T. S. Eliot’s “Gerontion” (1920), “Sweeney Among the Nightingales” (1919), and “Marina” (1930) as a trajectory of Eliot’s poetic and spiritual vision, moving from cultural desiccation and grotesque caricature to intimations of renewal. Drawing upon close textual analysis and critical perspectives, the essay situates “Gerontion” within the ruins of post–World War I Europe, where biblical and Jacobean echoes expose a world of spiritual drought and historical disillusionment. “Sweeney Among the Nightingales” is read as a grotesque parody of modern existence, where sexuality, violence, and parody of classical tragedy collapse the distinction between ancient heroism and modern vulgarity. Finally, “Marina” signals Eliot’s turn toward religious faith and personal renewal, its imagery of sea, pine, and childhood memory affirming the possibility of grace without overt dogma. Engaging with critics such as Stephen Spender, Hugh Kenner, Elizabeth Schneider, Lyndall Gordon, A. David Moody, and Grover Smith, the essay demonstrates Eliot’s persistent interrogation of history, ritual, and faith. It argues that these three poems, taken together, dramatize Eliot’s modernist poetics of despair and redemption, exposing the fragmented condition of modernity while holding out the possibility of spiritual transformation.

Jabra Ibrahim Jabra (1920–1994) is described as one of the significant Arab intellectuals of the 20th century. He was a novelist, poet, translator, literary critic, and visual artist. Jabra’s contributions were of great importance in shaping the course of modern Arabic literature through his pioneering role in translation, the criticism of poetry not to mention the novel, and articulating the principles of literary modernism. This study highlights his biography, major works, and contributions to literary translation. it is also drawing a comparative analysis between him and the renowned Iraqi poet Badr Shakir al-Sayyab.

The Waste Land (1922) stands as one of the most influential poems of the twentieth century, embodying the despair, fragmentation, and cultural crisis of the post-World War I world. It disrupts traditional poetic form and invokes a wide range of cultural references, producing a work that is simultaneously bewildering and illuminating. Often hailed as the "epitome of modernism," the poem challenges readers with its fractured voices, shifting settings, and dense allusions. Far from a simple lament, The Waste Land is a profound exploration of cultural collapse, spiritual desolation, and the enduring quest for renewal within a broken civilization. Let us know about T S Eliot… Thomas Stearns Eliot (1888-1965) was an American-born poet, critic, and dramatist who later became a British citizen. A central figure in literary modernism, Eliot combined classical scholarship with radical poetic experimentation. His major works, including Prufrock and Other Observations, The Waste Land, Four Quartets, and his critical essays, reshaped twentieth-century poetry. Deeply influenced by philosophy, religion, and myth, Eliot sought to confront the spiritual emptiness of modern life. Awarded the Nobel Prize in Literature in 1948, he remains renowned for his intellectual rigor, innovative techniques, and ability to fuse personal anguish with collective cultural critique.

The extraordinary curiosity that we find in much modernist literature about myth, and the way myth erupts into, collides with, or can be discovered in modern lives, is a subject on which much critical ink has been spilt. But the operative word is "modernist". This palaver about myth is a preoccupation routinely attributed to modernism, perhaps even constitutive of modernism. It is not, however, confined to writers of the modernist canon. This essay considers an instance of mythical writing in the fiction of a writer who, if he finds a place in the history of modern literature at all, is never, as far as I know, grouped among the modernists, the vanguard of modernity. In fact in many respects, John Buchan is just the candidate you might call upon to portray modernism's archetypal and necessary opposite or other.

Against the widespread characterization of the modernist era as skeptical, positivist and antireligious, my dissertation reclaims the importance of the modernist occult, not as mere socio-historical background, but as major influence on poetic form. I focus on two American writers – Ezra Pound and H.D. – who, in spite of radically divergent political beliefs and critical afterlives, initiated what I call a “poetics of secrecy,” designed to simultaneously reveal and conceal unspeakable truths. Using a combination of textual and contextual approaches, I trace the emergence of that poetics back to Pound’s and H.D.’s early love affair in Pennsylvania (1900s), and outline its metamorphoses throughout two world wars and beyond. Considering the modernist poem in terms of “secrecy,” I argue, sheds new light on the most problematic aspects of modernism – fascism, sexism, racism and antisemitism – as well as on the major modernist themes that are textual difficulty and unreadability, polyphony and multilingualism, translation and non-translation. Bringing those two poets back together, after a few decades of scholarly distancing of H.D. from Pound, allows me to foreground their respective paradoxes and self-contradictions, but also to better frame their lasting spell on future generation of poets – most emblematically, Robert Duncan.

This article reconsiders the early critical reception of Algernon Charles Swinburne’s 1866 collection Poems and Ballads with a view to articulating the extent to which the critical hostility that famously greeted the book upon publication was mediated by the category of ‘boyishness’. I show that the complaint that the 29-year-old Swinburne wrote, and by implication thought and felt, too much like a boy and not enough like an adult man lay at the core of the critical onslaught and contributed to underpin critics’ various complaints of obscenity, blasphemy, bad taste and so on. After considering the nature of the connection between the boyish quality often associated with Swinburne as a person throughout his life and the poetical ‘boyishness’ critics perceived in his work, I propose a taxonomy of three main meanings of boyishness that emerge from the early critics’ attacks: boyishness as lack of virility, boyishness as lack of self-restraint, and boyishness as lack of intellectual maturity. By analysing these critical readings in the context of various medical, pedagogical and more broadly cultural discourses of the time, I make the case that Swinburne found himself cast as someone who presented precisely the characteristics of boyhood of which a functioning adult man was supposed to rid himself. The broader argument is that by giving close attention to age-based slurs, we can gain a more fine-grained account of mid-Victorian attitudes to childhood and maturity, and society’s self-image more generally.

The devastation of the First World War marked a decisive rupture in the moral, cultural, and spiritual frameworks that had shaped Western society for centuries. Once-assured systems of meaning, rooted in religious faith, shared traditions, and stable institutions, were shaken to their core by the war's unprecedented destruction and the political upheavals that followed. The millions of dead, the industrialized slaughter, and the collapse of empires left a generation

This article traces the emergence and evolution of 'rhetoric' as a historical key term of metaliterary discourse. In the modernist period, the term 'rhetoric' was given a conspicuously central role in the heated debate over literary style and its relation to ordinary language, not incidentally after rhetoric's fall from grace as an academic discipline over the course of the 19 th century. Scores of writers (e. g. Symons, Yeats, Hofmannsthal, Gourmont, Pound, Eliot) attacked 'rhetoric,' variously (and often vaguely) defined as convoluted poetic diction, moralistic or political preaching, and meaningless abstraction. Yet, the broader cultural context in which this anti-rhetorical discourse was situated reveals a climate of widespread suspicion of language as a sign system, with the term 'rhetoric' functioning as a receptacle for feelings of dissatisfaction with language. In contrast, Jean Paulhan's sophisticated reappropriation of 'rhetoric' in Les fleurs de Tarbes (The Flowers of Tarbes) and other writings reasserted confidence in language and its commonplace expressions, and in the "arts of writing." Paulhan's proposed solution helps us to shed light on a demonstrable tendency in modernist poetics to incorporate rather than simply expel rhetorica search for a properly modernist rhetoric.

This paper examines how Ocean Vuong's poem "Aubade with Burning City" utilizes the literary device of the objective correlative to convey emotional and historical trauma. Drawing on T.S. Eliot's theory, which argues that emotion is best expressed through a set of symbolic objects and images rather than direct statement, the research analyzes Vuong's imagery-snowfall in Saigon, the sound of "White Christmas," and the motif of a burning city-as emotionally charged corollaries to love, war, and loss. By blending personal memory with national catastrophe, Vuong expands the objective correlative beyond Eliot's original conception, situating it within a transnational and postcolonial framework. The study applies a close reading approach alongside insights from trauma theory and modernist criticism to demonstrate how Vuong's sensory and formal techniques engage the reader in an embodied experience of dislocation and remembrance. Ultimately, the paper argues that Vuong reinvents the objective correlative to reflect the complexities of diasporic identity and collective memory, offering a powerful model for how contemporary poetry can ethically represent trauma. This research contributes to a growing body of literature on affect, memory, and formal innovation in twenty-firstcentury poetry.

The thesis sets out to examine Ezra Pound's attitudes to the English Romantic tradition from its inception to his own time, with a view to discovering whether or not he looks upon it as a healthy or decrepit tradition. His attitudes are contrasted with those of his contemporaries in a study of three pairs of writers; two Romantics, Keats and Byron; two Victorians, Tennyson and Browning; and two Moderns, Eliot and Lawrence. By charting the changes in his outlook over his lifetime, a clear split becomes noticeable between the early apprentice poet and the later mature poet-critic interested in disseminating the knowledge and insights he has collected. The considerable deviance of his opinion from the accepted attitudes of the day demonstrates the consistency and independence of his own concepts. The conclusion of the thesis is that, in finding the English tradition to be decrepit, Pound does not find the cause to lie in Romanticism. Rather, it is caused by a desertion, or ignoranc...

This article aims to study the influence of the tenets of the Imagist movement in Europe on the poetry of the vernacular poet Jibanananda Das. The Imagist movement in English literature, led by Ezra Pound, can be equated with similar sentiments shared around the Bengali literary magazine Kabita with contributors such as Buddhadeva Bose, Jibanananda Das, Amiya Chakraborty, and Sudhindranath Dutt. The guidelines defined by the Imagists regarding brevity and precision of images, the importance of musicality in the creation of rhythm, and the frequent use of foreign texts influenced several significant Bengali poets in the twentieth century. In the same way that Pound and the Imagists in general moved away from the emotional excesses of the Romantics (Shelley) and the Victorians (Tennyson), modern Bengali poets of the period, such as Jibanananda and Buddhadeva Bose, tried to construct a poetic language away from the legacy of Tagore. Beginning with a short introduction to the culture of literary influence, the article will move on to discuss the salient features of Imagism, followed by its reception by the then-Bengali poets. The final part of the article will explore the sensibilities in Jibanananda Das's poetry and its unique location as regards the Imagist experience.

Dialog niniejszy nagrany został w Brwinowie w lipcu 2016 roku . Spisałem go, dokonałem wstępnej redakcji i przesłałem Tomaszowi Burkowi, prosząc o ewentualne poprawki, skreślenia, uzupełnienia . Mimo wielu wątpliwości autor "Dziennika kwarantanny" wyraził zgodę na publikację tekstu w dwumiesięczniku literackim "Topos" (2016, nr 5) . Ustaliliśmy, że zostanie on opatrzony paradoksalną formułą: "Nieostateczny, roboczy zapis rozmowy -publikowany za zgodą Tomasza Burka" . Po niespodziewanej i przedwczesnej śmierci Pana Tomasza odnalazło się kilkanaście stron Jego odręcznych notatek, które pozwoliły ulepszyć tekst . Tam, gdzie nie było możliwe pogodzenie dopisku/komentarza z porządkiem rozmowy, został on udostępniony w przypisie lub jako odrębna notatka . Przemysław Dakowicz PRZEMYSŁAW DAKOWICZ (PD): Kiedy zastanawiałem się nad tym, jaki powinien być główny cel naszej rozmowy, pomyślałem, że chodzi przede wszystkim o danie świadectwa . Pańskie doświadczenie życiowe, pański udział w najważniejszych wydarzeniach drugiej połowy XX wieku, nieustanna czynna obecność na granicy między sprawami publicznymi a kulturą, czy (powiedzmy to wprost) między literaturą a polityką -wszystko to sprawia, że dialog, którego przedmiotem jest indywidualna biografia, musi zyskać kształt czegoś w rodzaju świadectwa, musi stać się "raportem" z tego, co minione . Nie będzie to jednak -o czym jestem głęboko przekonany -rozmowa o charakterze, by tak rzec, wspomnieniowo-antykwarycznym, ponieważ wszystko, o czym chcielibyśmy tu opowiedzieć, składało się TB: Postawa Przybosia -nie było to jednak jakieś hałaśliwe uczestnictwo w socrealizmie, który go niewątpliwie brzydził . Szedł na ustępstwa, pisał łatwiejsze wiersze, nie stał się jednak propagandystą w rodzaju Ważyka, który, niestety, był w stalinowskich czasach dyktatorem, ideologiem… PD: …tak zwanym "ustawiaczem" . Ważyk współorganizował ten instytucjonalny, odgórny nacisk na literaturę -Przyboś taką rolą nie był zainteresowany, choć przecież zapędy dyktatorskie miał przez całe życie . [śmiech] TB: Tak, oczywiście . Wracam więc do tego dodatkowego argumentu, który przemawiał za pożegnaniem zmarłego Przybosia . On w roku 1958 wystąpił partii, w bardzo szczególnych okolicznościach . PD: Innych niż Andrzejewski, Żuławski, Hertz, Jastrun i pozostali protestujący przeciwko wycofaniu zgody na druk "Europy" . TB: Przyboś zrobił coś równie ważnego, ale o wiele mniej głośno . Mianowicie podano do wiadomości, że rozstrzelany został Imre Nagy, przywódca powstania węgierskiego . Kiedy Nagy objął władzę w 1956 roku, ogłosił wyjście Węgier z Układu Warszawskiego i neutralność . Kochaliśmy Imre Nagya na odległość, chcieliśmy mieć swojego Imre Nagya . W 1958 został na nim wykonany wyrok . Wtedy Przyboś poszedł do KC i oddał legitymację partyjną . Przebaczyłem mu wtedy wszystko, nawet to, że wcześniej nie wystąpił z PZPR . To był wielki gest . Bo nie musiał, o tej sprawie niewielu już pamiętało . A jednak on uznał, że jest to kwestia honoru, że on do takiej partii, międzynarodowej partii, nie może należeć, nie godzi się . Wcześniej nic nie wskazywało na to, by Przyboś solidaryzował się ze zrewoltowanymi Węgrami (a uczynił to Ważyk w wierszu zaczynającym się od słów: "Byłem z wami w ten dzień, gdy pod pomnikiem Bema / wznosiliście węgierskie i polskie sztandary . / Nie wiem, kto z was raniony, a kogo już nie ma, / kiedy głosy umilkły i świecą pożary"; kończącym się zaś strofą jak kropką postawioną nad i: "My, cośmy byli dziejów sumieniem, milczymy, / i oto racją stanu jest ta mowa nie ma… / Gdzie po zwłokach powstańców pełzną gorzkie dymy, / tam ostatni mit runął . Został pomnik Bema") . Nie składał Przyboś publicznie żadnego oświadczenia, nie było go widać na żadnej filmowanej scence, kiedy Polacy masowo oddawali krew dla Węgrów . Pewnie miał wiele zarzutów, których nie manifestował, ale w pięćdziesiątym ósmym uznał, że miarka się przebrała . To była jed-

Tom Pastuszek Chełmońskiego, który ukazał się po ośmiu latach niemal doskonałego poetyckiego milczenia Jarosława Marka Rymkiewicza, to zbiór wierszy przemawiających przede wszystkim jako kompozycja wielu nawzajem się objaśniających i uzupełniających elementów . Odczytywany pojedynczo, każdy z nich znaczy mniej niż wtedy, gdy interpretowany jest w ramach wielopłaszczyznowej konstrukcji, którą współtworzy . Podstawowe zadanie, przed jakim stają czytelnik i interpretator -również autor niniejszych notatek -polega więc na dotarciu do kolejnych warstw znaczeniowych dzieła i opisaniu ich funkcji strukturalnych . Zanim podejmę próbę wyjaśnienia, w jaki sposób -według mojego najgłębszego przekonania -powinien być czytany Pastuszek Chełmońskiego, chciałbym zająć się znaczeniami wpisanymi w coś, co nazwałbym "powierzchnią semantyczną" książki Rymkiewicza . Zastrzegam przy tym, że kiedy mówię o "powierzchni" nie znaczy to, iż zespół znaczeń i obrazów, które da się do niej zaliczyć, uznaję za mniej istotny lub godny lekceważenia . Każdy twórca powołujący do życia dzieło wielowarstwowe, wielowymiarowe, wielomówne ma świadomość, że to, co pozostaje na powierzchni, jest równie istotne, jak to, co pod nią ukryte . Głębia powstaje jedynie poprzez relację z tym, co 1

Intertextuality is one of the literary phenomena that has preoccupied structuralists and poststructuralists critics since 1960s. It is the technique of multi-levelled texts that have rhetorical, significantory, and textual facets. Previously critical studies of intertextuality in Eliot's poems focused on his masterpieces like "The Waste Land" and "The Love Song of J. Alfred Prufrock", but they did not throw light on his "Old Possum's Book of Practical Cats". This study is concerned with the aspects of the intertextuality in three selected poems of T. S. Eliot's "Old Possum's Book of Practical Cats". Its purpose is determining the semiotic meaning of such aspects as allusion, parody, quotations, and we try to appropriate and uncover their functions as well as to investigate their literary presuppositions in Eliot's selected poems. The study falls into three sections: a theoretical introduction of intertextuality, intertextuality in Eliot's three selected poems, and a conclusion. The three selected poems are entitled "The Naming of Cats", "Old Deuteronomy", and "Growltiger's Last Stand". The research employs the semiotic conceptions of intertextuality among Roland Barthes, Julia Kristeva, and Michael Riffaterre. It departs from the philosophical theory of the contemporary French Philosopher Gilles Deleuze, the theory of "ensemble". To sum up, intertextuality in T. S. Eliot's selected poems of Old Possum's Book of Practical Cats is featured by the employment of allusions, sayings and quotations. They convert the poetic text from its mimetic aspect to its semiotic one. Intertexuality in the three poems performs poetic and esthetic functions through its intertexts that are positioned in dialogical spaces. These intertexts accomplish the significance of the poetic texts on the heuristic and hermeneutic levels of reading through their sentences (matrices), ungrammaticalities, and literary utterances of rhetorical presuppositions.

PRE-CORRECTED PROOF. This essay considers whether eschatological speculation is appropriate in light of the mystery of human suffering. I argue that a pneumatological construal of the beatific vision offers important resources for this question. In the beatific vision, the Spirit perfects the human person by bringing them to participatory attention to the whole of their life, so that the person participates in the final event of making meaning out of the life lived. There is no general, all-encompassing description of how this heals a history of suffering, because the redemption happens in the attention shared between the individual and God.

This paper deals with  the  re-structuring of knowledge in Europe and America precipitated by Charles Darwin's publication in 1859 of On the Origin of Species.  The evidence, originating in geology and biology, that the universe was immeasurably old and constantly changing that  led to the rapid maturation of the social sciences,  including anthropology,, sociology, history, religion, philosophy, and psychology.  The shift from a view of reality consisting of static entities linked in space to a view consisting of fluid entities moving through time was at the heart of nineteenth-century intellectual life and was the stimulus for major experiments in the arts.  In this paper, I outline the post-Darwinian intellectual revolution and relate it to the birth of modernism, with emphasis on the poetry of T. S. Eliot.

Eliot was educated, chiefly at Harvard, between 1906 and 1916. In June 1910, he
received his M.A, and in October, crossed the Atlantic to attend the lectures of Henri Bergson. At the end of his year in Paris, he returned to Harvard to work on a Ph.D. in philosophy, in the course of whichJ. G.  Frazer and F. H. Bradley joined Bergson as major influences. In the fall of 1914, he began a year’s study of Aristotle and modern philosophy at Merton College, Oxford, during which he completed a draft of a Ph.D. thesis on Bradley’s epistemology. These years include two watershed moments in Eliot’s intellectual and spiritual life: the first, associated with Bergson, was the decision to pursue a career in philosophy; the second, associated with Bradley, was the
decision to abandon it. In this paper, I examine the influence of three significant mentors (Bergson, Frazer, and Bradley) during this formative period and explain their contribution to Eliot's mind as he stood at the intersection of a career in philosophy and one in poetry.

This paper examines Sylvia Plath’s creativity in portraying taboo topics in
an artistic way. In “Lady Lazarus”, she fictionalized her own suicide attempts
and created a sympathetic persona to captivate the attention of the readers.
Nonetheless, Plath managed to navigate through taboo topics like suicide,
and she raised awareness on mental illness.

T.S. Eliot’s objective correlative and the dissociation of sensibility are two very important critical concepts in the history of English literary studies. They are the outcome of Eliot’s individual style of reading, which is made up of his unique understanding of the qualities of the poet, what makes a good or ideal poet, and how the good poet’s poems are structured and cohere. Eliot is deeply concerned with the arcane aspects of poetry, as he is also very interested in the ostensible hold of the phenomena, on which the invisible votaries reside and from which they derive their status and position as poets.How strongly the poet is influenced by the phenomena of nature and society is studied in the dissociation of sensibility, while the objective correlative looks at the use of those influences in poetry. In both, Eliot is directing his attention collectively to the metaphysical school of poetry, but that does not stop him from reminding us that dissociation was indeed a peculiar quality in some poetry. His is an appreciation of art through craftsmanship, creativity, skill, and adherence to rules. It is quite an intricate, serious, and demanding exercise, something we have no doubt Eliot knows in the landscape of metaphysical poetry.

Comment apaiser la souffrance ? Quels mots et quels gestes peuvent soulager la perte, qu’elle soit humaine, matérielle ou morale ?
Ces questions ne sont pas propres à nos sociétés modernes. Les Anciens étaient conscients des limites de la parole : les figures d’inconsolables peuplent leur littérature. Mais, malgré les échecs thérapeutiques et les résistances, ils étaient confiants dans les pouvoirs du logos et de la parole consolante.
Cette anthologie exhaustive et inédite donne à lire des siècles de paroles réconfortantes, de mots aussi intimes qu’universels, qui témoignent de la longue histoire de la consolation, depuis les textes sanskrits et ceux de l’antiquité gréco-latine, jusqu’au Moyen Âge et à l’époque moderne qui les revisitent. Les admirables écrits ici réunis, et pour une bonne part nouvellement traduits, sont de natures diverses : littéraires, éthiques, rhétoriques, philosophiques et spirituels, tous à visée consolatoire.
Le recueil est articulé en trois parties. La première propose une découverte par les textes de cette longue tradition consolatoire. Un deuxième volet, « formes et genres », témoigne de la diversité formelle des discours de consolation : lettres, traités, oraisons funèbres, sermons, poésie épique, élégiaque, théâtre, etc. Le dernier volet montre, toujours par les textes, comment les discours de consolation ont été construits et quelles sont leurs limites.
Si notre besoin de consolation est impossible à rassasier, l’humanité n’a jamais cessé de s’y employer.

The article interprets Przemysław Dakowicz's poetics as an attempt to diagrammatically reproduce the mechanisms of postmodern culture with particular emphasis on its connections with the economic base in the form of the so-called cognitive capitalism. The poet diagnoses contemporary times as "schizophrenic", referring to Capitalism and schizophrenia by Gilles Deleuze and Félix Guattari. From the perspective of literary history, the poetry of great modernists also turns out to be an important inspiration for his work-from Ezra Pound and T.S. Eliot to Tadeusz Różewicz, as well as their reception by Jarosław Marek Rymkiewicz.

In a world increasingly obsessed with individual voices, personal trauma arcs, and the poet as influencer, T.S. Eliot’s 1919 essay "Tradition and the Individual Talent" feels like a cold splash of rational clarity—and somehow, still relevant.Eliot dares to dismantle the romantic fantasy of the poet as an emotional oracle. Instead, he reimagines poetry as collaboration with the gone, a fusion of the present self with the ever-living past. This paper explores Eliot’s argument that great poetry does not erupt from emotion alone, but from a cultivated “historical sense” and an intentional escape from personality. Deploying a qualitative, textual analysis approach, this study walks through Eliot’s dense yet dazzling prose, translating his key concepts—tradition, impersonality, and historical consciousness—into contemporary relevance. It examines how Eliot’s model stands up (or doesn’t) in today’s multicultural, hybrid literary world where identity is central and storytelling is political. Through critical engagement with his metaphor of the poet as a catalyst and tradition as a shifting order, the paper reveals Eliot’s vision of literature not as personal catharsis, but as timeless architecture. Yet, Eliot is not beyond critique. His Eurocentric lens, rigid notions of canon, and discomfort with emotional excess make him a controversial figure for modern readers. This study, then, is not a worship of Eliot—it’s a conversation. A push and a pull, it unfolds as a poetic sparring match between past ideals and present realities.

Le soleil ni la mort ne se peuvent regarder fixement. La Rochefoucauld, Maximes On voudrait parfois être une tête de Méduse pour changer en pierre un groupe comme celui-là et puis appeler les gens. […] Il s!agit là d!une sortie hors de l!humain, de se rendre dans un domaine tout à la fois tourné vers l!humain et tel que l'humain s'y sent déplacé […] L!art garde ici encore une fois quelque chose d'étrange, de dépaysant. […] L!art met le moi à distance. Il demande ici qu'il y ait dans une certaine direction une certaine distance, un certain chemin. Et la poésie ? La poésie qui doit bien, n!est-ce pas, prendre le chemin de l!art ? Ce serait donc cela le chemin au bout duquel il y a la tête de Méduse.

This study examines the role of liminality in Tennessee Williams' The Glass Menagerie (1945), analyzing how transitional states shape character development, identity formation, and the interplay between illusion and reality. While the play has been widely studied, the role of liminality as a framework for understanding the play's character transformations and narrative structure has not. Grounded in anthropological theories of liminality, particularly van Gennep's rites of passage model and Victor Turner's concept of liminal spaces, and through thematic analysis, theoretical coding, and purposive textual interpretation, I investigated how the play characters Amanda, Tom, and Laura navigate liminal spaces, confronting personal aspirations and societal limitations. Liminality functions as a transformative force, exposing characters' struggles with uncertainty, displacement, and unfulfilled desires. This research offers a novel theoretical perspective that integrates anthropological thought with literary analysis, enhancing the understanding of postwar American drama and its depiction of psychological and social transitions.

Termin sen jest wieloznaczny-określany jako "grupa zjawisk z dziedziny wewnętrznego życia umysłu" 1 , a przez poetów nazywany także marzeniami i wizjami. "Na starożytnym Wschodzie-zauważyła Danuta Danek-sny uchodziły za formę objawienia się bogów […]. Bóstwo stworzyło sen, by wskazać drogę śniącemu, który jest «ślepy»" 2. Słowacki nie tłumaczy opisywanych przez siebie snów, ale widzi w nich wskazówki. Sny pojawiające się w jego utworach pozwalają dotrzeć do prawd niedostępnych na innych drogach poznania, odsłaniają zarówno wnętrze istoty ludzkiej, jak i wnętrze wszechświata 3. Gaston Bachelard twierdził, że sen przetworzony przez język i ułożony w dzieło poetyckie staje się marzeniem na jawie 4 , a nie snem, który, ze względu na subiektywne poznanie, może być częściowo utajony. Opowiadając sny, człowiek nadaje im dodatkowe interpretacje, bowiem w jego pamięci pozostają tylko niektóre obrazy, układające się następnie w historie. Surrealiści zwracali uwagę na trudności, jakie mogą wystąpić podczas opisywania snów. Sen jest niewyrażalny, pamięć płata figle, zaciera obrazy, więc by móc mówić o śnietrzeba spać 5. André Breton zwrócił uwagę na to, że człowiek jedną trzecią życia spędza na spaniu. Zdarzyło się też nie raz, że kolejnej nocy śniła się Bretonowi kontynuacja snu z nocy poprzedniej, dlaczego więc-pytał-nie przyznaje się snom roli oczywistości, skoro są naszym drugim życiem? Breton wierzył, że w niedalekiej przyszłości dwa stanysnu i jawy-połączą się w jeden, zwany

Chez Quevedo, la citation est une relation d’hommage, de référence non parodique, visant à justifier une actualité par un passé reconnu comme glorieux ou digne d’admiration. Elle réactive par divers processus, souvent complexes, une autorité première qui soutient les propos de l’auteur second s’inscrivant à sa suite. Elle permet de mettre en avant une communauté d’idées, un idéal partagé. Ce travail analyse les différentes modalités de citations et le rôle central de la lecture dans ce processus.

Az ebbe a csoportba tartozó magyar nyelven megjelent anyagokat részben az orosz nyelvű írások118 és Tarkovszkij írásainak magyar fordításai119, részben önálló, a filmről szóló egyéb -változó szakmai színvonalú -gondolatok képezik. Az utóbbi forrásmunkák áttekintése után arra a következtetésre jutottam, hogy jelen fejezetben való részletes ismertetésük nem szolgálja közvetlenül a kitűzött 120

Medical Humanities, an emerging interdisciplinary field that incorporates humanities (literature, philosophy, ethics, history, and religion), social sciences (anthropology, cultural studies, psychology, sociology), and arts (literature, theatre, film, and visual arts) into medical education and practice, emphasizes literature and the arts in relation to clinical practices, to cultivate skills such as observation, analysis, empathy, and self-reflection crucial for providing compassionate healthcare. The rise of Medical Humanities as a scholarly field in has led to more conversation about health and disease. Humanities and Arts offer valuable insight into human experience, suffering, personality, and social responsibility, as well as a historical perspective on medical practices. An interdisciplinary approach to health and illness, medicine, the body and narrative, material culture and the arts, disability and healthcare, ethics and pedagogy, and emerging global concerns might positively affect future living practices. The present paper examines Sylvia Plath's 'The Surgeon at 2 a.m.' and Anne Sexton's "The Operation" poems, which explore the normative and disciplinary aspects of medical practice. Plath and Sexton's 'clinical lyricism' challenges mainstream beliefs and power structures by depicting surgery as colonial or exploitative. In their poems, surgeons maintain their authority by assuming objectivity and disregarding patients' experiences. This process is expressed through images of colonization and surgeons' claim to transcendence. Sexton and Plath identify a paradox related to medical framework and the concept of bodily integrity.

es una novela autobiográfica, de confesión, que sigue la tradición que empezara desde San Agustín ai Cardenal Newman. Es más parecido a este género que al bildungsroman (novela de educación y de formación de un personaje principal) como Parrinder (1984: 72) sostiene. El curso de los acontecimientos, de la manera en que se siguen en A Portrait ofthe Artist as a Young Man, sugiere que tal libro está más cerca del género y de la tradición de la confesión que no de la novela de formación o aprendizaje. No obstante Levin (1941: 47) matiza esta afirmación y nos hace ver que A Portrait se trata de un Künstlerroman puesto que ^* En adelante en las citas se usará P.A. para designar A Portrait ofthe Artist as a Young Man, con el objeto de hacer la lectura más asequible y reducir, por tanto, las dimensiones de las citas. " Este trabajo primitivo de James Joyce está basado en una obra de Walter Fater Imaginary Portraits (1887).