By Richard Greaves (auth.)
Read or Download Transition, Reception and Modernism in W.B. Yeats PDF
Best modernism books
“In the spring of 1900, British archaeologist Arthur Evans started to excavate the palace of Knossos on Crete, bringing historical Greek legends to existence simply as a brand new century dawned amid far-reaching questions about human background, paintings, and tradition. With Knossos and the Prophets of Modernism, Cathy Gere relates the attention-grabbing tale of Evans’s excavation and its long term results on Western tradition.
Mourning Modernism: Literature, disaster, and the Politics of comfort examines the writing of disaster, mass demise, and collective loss in 20th-century literature and feedback. With specific concentrate on texts via Virginia Woolf, Walter Benjamin, and W. G. Sebald, Mourning Modernism engages the century's sign preoccupation with world-ending,a combined rhetoric of totality and rupture, finitude and survival, the tip and its posthumous remainders.
During this publication, Jessica Berman claims that modernist fiction engages at once with early twentieth-century differences of group and cosmopolitanism. even if modernist writers strengthen notably varied versions for social association, their writings go back time and again to problems with commonality and shared voice, really on the subject of dominant discourses of gender and nationality.
A part of Palgrave's Modernism and . .. sequence, Modernism and Zionism explores the connection among modernism and the Jewish nationwide ideology, the Zionist move, which was once operative in all parts of Jewish paintings and tradition.
- Sublime Noise: Musical Culture and the Modernist Writer
- Consuming Traditions: Modernity, Modernism, and the Commodified Authentic
- The Noise of Time: The Prose of Osip Mandelstam
- Modernist Aesthetics and Consumer Culture in the Writings of Oscar Wilde
Additional info for Transition, Reception and Modernism in W.B. Yeats
2 Yeats’s involvement with the theatre during the phase of transition in his poetry from 1903 to 1914 was closely tied to the change in his poetics which saw a consciously closer engagement with the world. Yet he did not accept the objective view which contemporary drama critics considered essential to good drama, although their idea was that such objectiveness was necessary to the credible dramatic presentation of life. ‘The Tragic Theatre’ shows that Yeats’s idea of the presentation of life was very different.
The immediacy of an older poetry, the closeness of expression to what it expresses, comes from the directness of the poet’s experience of the world. That the absence of intervening theory and generalization allows the life centred in the poet its proper expression is the point Yeats wants to make in this article. The increasing abstraction in language, its move away from such direct expression, renders it lifeless: What the ever-moving, delicately moulded ﬂesh is to human beauty, vivid musical words are to passion.
But the main thrust of the essay is to stress the nature of the poet’s mind as the site of the conﬂuence of emotion not personal to him, and to indicate that this emotion is to be allowed to combine there, and be transmitted as purely, as untainted by that emotion which arises from the poet’s personal circumstances, as possible. 24 Transition, Reception and Modernism in W. B. Yeats Eliot’s idea that the poet as a man, that is to say the poet as he exists in relation to the everyday world, should be kept out of the work seems at ﬁrst to be similar to the idea Yeats expresses in ‘A General Introduction for My Work’ (E&I 509).