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By Jean-Michel Rabaté

1922: Literature, tradition, Politics examines key features of tradition and background in 1922, a yr made recognized via the ebook of numerous modernist masterpieces, similar to T.S. Eliot's The Waste Land and James Joyce's Ulysses. person chapters written through prime students provide new contexts for the year's major artistic endeavors, philosophy, politics, and literature. 1922 additionally analyzes either the political and highbrow forces that formed the cultural interactions of that privileged second. even though this quantity takes post-WWI Europe as its leader concentration, American artists and authors additionally obtain considerate attention. In its multiplicity of perspectives, 1922 demanding situations misconceptions in regards to the "Lost Generation" of cultural pilgrims who flocked to Paris and Berlin within the Twenties, hence stressing the broader effect of that momentous yr.

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In this way, in this book, all the elements are constantly melting into each other, and the illusion of life, of the thing in the act, is complete: the whole is movement. Eliot, the Criterion (1967, 96). S. 1). 1. Illustration by the author of the article. The Waste Land and Ulysses would become two of the most groundbreaking and influential texts ever written, with The Waste Land often considered the paradigmatic poem of modernism, and Ulysses often considered the paradigmatic novel of the period.

In T. S. Eliot Selected Essays, 13–22. Reprint, London: Faber and Faber, 1999. Harding, Jason. Oxford: Oxford University Press, 2002. Oxford: Wiley-Blackwell, 2009. ” Comparative Literature xi (1959): 97–110. ca/pao/docview/1290139107/fulltextPDF/143313D8 accountid=6180 (accessed September 1, 2013). Reprint, New York: Random House, 1986. Reprint, New York: Norton, 2007. ” The Criterion (1922): 94–103. Litz, A. Walton. 1 (Fall 1972): 5–18. North, Michael. Reading 1922: A Return to the Scene of the Modern.

A number of similar questions punctuate the poem. I believe that a dim recollection of such questions from Goethe’s “Euphrosyne” was the trigger for Rilke’s First Elegy. ”10 Distinct traces of Goethe’s elegiac meters (distichs consisting of mainly dactylic hexameters and “pentameters” composed of two sets of two and a half feet, the second set of which is distinctively dactylic) can be heard in the Duino Elegies, though Rilke’s handling of the form is a free adaptation that does not strictly observe the meter and curtails occasional lines.

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