FUSING THE VOICES: THE APPROPRIATION AND INSTITUTIONALIZATION OF THE WASTE LAND
Although T. S. Eliot’s masterpiece, The Waste Land, is a defiantly enigmatic and bewildering poem, the text still occupies a central place in the literary canon nearly a century after its conception. Eliot’s initial idea was to publish the work as several separate poems, yet despite this, The Waste...
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| Formato: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2016 |
| País: | Brasil |
| Recursos: | Universidade Federal do Rio Grande do Sul (UFRGS) |
| Repositorio: | Cadernos do IL (Online) |
| Idioma: | inglés |
| OAI Identifier: | oai:seer.ufrgs.br:article/57180 |
| Acesso em linha: | https://seer.ufrgs.br/index.php/cadernosdoil/article/view/57180 |
| Access Level: | acceso abierto |
| Palavra-chave: | T. S. Eliot Ezra Pound The Waste Land Modernism English poetry critical discourse |
| Resumo: | Although T. S. Eliot’s masterpiece, The Waste Land, is a defiantly enigmatic and bewildering poem, the text still occupies a central place in the literary canon nearly a century after its conception. Eliot’s initial idea was to publish the work as several separate poems, yet despite this, The Waste Land is still studied as a unified whole with a unifying voice and an identifiable “message”. In this paper I argue that the poem’s reputation today rests upon a mass of critical discourse which insists on interpreting “meaning” at the expense of considering the poem’s musical, allusive and hypnotic power. |
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