scholarly journals Man of the Theatre: Stage Performances of T. S. Eliot’s Work in Spain (1949–2016)

Neophilologus ◽  
2021 ◽  
Author(s):  
Dídac Llorens-Cubedo
Keyword(s):  
A Priori ◽  
Cocktail Party ◽  
Family Reunion ◽  
National Theatre ◽  
The Family ◽  
Verse Drama ◽  
National Catholicism ◽  
Stage Performances ◽  
The 1950S

AbstractT. S. Eliot’s presence in Spanish theatres has taken various forms. His verse drama enjoyed a relative popularity in the late 1940s and in the 1950s: Murder in the Cathedral, The Family Reunion and The Cocktail Party were staged by student and amateur groups, “chamber” companies and even a national theatre. Reviews were ambivalent, most of them finding fault with the plays’ poetic density as an impediment for performance. Although, as a conservative Anglo-Catholic, Eliot was a priori an unproblematic author for the Francoist establishment and its censorship, critics loyal to Spanish National Catholicism were uncomfortable with the tragic fatalism of The Family Reunion, or with the non-judgemental treatment of adultery in The Cocktail Party. When Eliot’s plays were losing their appeal from the late 1950s onwards, only Murder in the Cathedral was occasionally performed in Spain. More recently, intermedial transpositions and dramatizations of Eliot’s poetry have consolidated his image as a great influential poet whose drama is a rarity.

Mr. Eliot's Fix-It-Shops

1982 ◽  
Vol 3 (1) ◽  
pp. 162
Author(s):  
Else Ribeiro Pires Vieira
Keyword(s):  
Literary Genre ◽  
Basic Pattern ◽  
Cocktail Party ◽  
Family Reunion ◽  
Religion And Psychology ◽  
Religious Context ◽  
The Family ◽  
The World ◽  
Existential Problem

Eliot's plays follow the basic pattern of sin - expiation - communion. Murder in the Cathedral and The Family Reunion are cast in a religious context and the characters hope for communion through suffering and in the after-life. The Cocktail Party, The Confidential Clerk and The Elder Statesman are cast in a secular context and the characters seek to integrate themselves through action, rather than through martyrdom. From The Cocktail Party on, the dramatization of the characters' integration reveals Eliot’s shift from transcendental to earthly concerns. That shift influences his choice of literary genre and approach to character, plot, diction and style. The distinction between comedy and tragedy is erased. Sin begins to be referred to also as an existential problem; priest and psychiatrist become one in other words, Eliot gradually overlaps the languages of religion and psychology. However, the secularization of his last plays does not mean that the experience is not religious. Religion becomes less a matter of Church ritual conceived in the ways of the world.

“Regional” Cinema or Products of Bricolage? An Introduction to Malayalam Studio Film of the Early 1950s

2013 ◽  
Vol 4 (1) ◽  
pp. 31-49 ◽  
Author(s):  
Jenson Joseph
Keyword(s):  
Narrative Structure ◽  
Cultural Considerations ◽  
Indian Cinema ◽  
South Indian ◽  
The Family ◽  
Stage Performances ◽  
The 1950S ◽  
Set Up ◽  
Cultural Pressures

This article offers an overview of the exhibition and distribution sectors in Kerala between the late 1920s and the 1940s, and the economic and cultural considerations behind the initiatives to set up production centers within this region by the late 1940s. The incipient industry identified the “family social” as a convenient format to negotiate with the industrial and aesthetic terms set by South Indian cinema, mainly based in Madras, and the cultural demands placed on it by linguistic constituencies and elite patronage in the 1950s. The industrial constraints of small budgets and a narrow linguistic market necessitated an aesthetic that could cater to a socially and regionally mixed audience. Strategies of adapting existing popular genres like mythologicals, and subordinating these to the overarching narrative structure privileging an aesthetic of contemporaneity, enabled the early studio films to negotiate commercial and cultural pressures. Jeevithanouka (The Boat of Life; Vembu, 1951 ) is discussed as an instance where elements from popular mythologicals and stage performances were appropriated to privilege rationalist values.

scholarly journals The Essence of the Upanishad in T. S. Eliot's Poems and Plays

2021 ◽  
Vol 34 (01) ◽  
pp. 11-24
Author(s):  
Damaru Chandra Bhatta
Keyword(s):  
The Self ◽  
Human Beings ◽  
Cocktail Party ◽  
Family Reunion ◽  
Life And Death ◽  
Four Quartets ◽  
Perpetual Peace ◽  
The Family ◽  
New Knowledge ◽  
Born Again

This paper attempts to explore the essence of the principal Upanishads of the Hindu philosophy in T. S. Eliot’s selected seminal poems and plays. The principal Upanishads are the Ishavasya, Kena, Katha, Prashna, Mundaka, Mandukya, Taittiriya, Aitareya, Chhandogya, Brihadaranyaka and Shvetashvatara. The famous poems are “Ash-Wednesday” and Four Quartets, and the famous plays are Murder in the Cathedral, The Family Reunion, and The Cocktail Party under scrutiny in this paper. The essence of the principal eleven Upanishads is that Brahman is source of all creations including the human beings, who get results according to their karma and are born again and again until they get moksha (liberation) through the self-realization of Brahman; therefore, our goal should be to attain moksha or Brahman, only through which we can experience perpetual peace and unbound bliss. Likewise, Eliot suggests that we should attempt to go back to our “Home” (Brahman, also a symbol of peace and bliss), for which we must attempt several times until we become qualified through the non-dual knowledge of “the still point” (Brahman) and its self-realization along with the spiritual practices of renunciation and asceticism. The practice of unattached action done without the hope of its fruit (nishkam karma) and unselfish devotion (Bhakti) are secondary paths to attain liberation. Since the path of spiritual knowledge can make us realize Brahman immediately, Eliot prefers this path of knowledge to the progressive or indirect paths of action and devotion. Thus, his texts reflect the essence of the Upanishads. The significance of this paper within the context of existing scholarship lies in its introduction to the new knowledge that Eliot’s poems and plays could be extensively interpreted by finding the essence of the Upanishads in his texts. Practically, the knowledge of the essence of the Upanishads can help us know the mystery of life and death, and Atman and Brahman, and get liberation from all kinds of suffering and misery, and the cycle of life and death as well before death.

Can a Narcissist Ever Marry?: James Fisher and The Uninvited Guest

2014 ◽  
Vol 4 (1) ◽  
Author(s):  
Brett Kahr
Keyword(s):  
Clinical Material ◽  
Couple Relationships ◽  
Cocktail Party ◽  
False Self ◽  
Winter's Tale ◽  
Pathological Narcissism ◽  
The Family ◽  
History Of ◽  
Marital Partners

Few books in the burgeoning field of couple psychoanalysis have garnered as much admiration as James Fisher's The Uninvited Guest: Emerging from Narcissism towards Marriage. In this memorial essay, the author pays tribute to the late Dr Fisher and to his perennial book which explores the ways in which pathological narcissism, among other factors, inhibit the development of spousal intimacy, often destroying partnerships entirely. The author describes the creative way in which Fisher drew upon great works of literature, most notably William Shakespeare's A Winter's Tale, and T. S. Eliot's The Cocktail Party, as well as long-forgotten clinical material from Fisher's predecessors at the Family Discussion Bureau (forerunner of the Tavistock Centre for Couple Relationships), in order to understand the ways in which marital partners struggle with false self couplings. The author assesses the importance of Fisher's contribution in the context of the history of couple psychoanalysis.

scholarly journals Further steps on the reconstruction of convex polyominoes from orthogonal projections

2021 ◽  
Author(s):  
Paolo Dulio ◽  
Andrea Frosini ◽  
Simone Rinaldi ◽  
Lama Tarsissi ◽  
Laurent Vuillon
Keyword(s):  
Discrete Geometry ◽  
Convex Subset ◽  
Convex Sets ◽  
A Priori ◽  
Orthogonal Projections ◽  
Reconstruction Process ◽  
Combinatorial Properties ◽  
The Family ◽  
Discrete Counterpart ◽  
Interior Part

AbstractA remarkable family of discrete sets which has recently attracted the attention of the discrete geometry community is the family of convex polyominoes, that are the discrete counterpart of Euclidean convex sets, and combine the constraints of convexity and connectedness. In this paper we study the problem of their reconstruction from orthogonal projections, relying on the approach defined by Barcucci et al. (Theor Comput Sci 155(2):321–347, 1996). In particular, during the reconstruction process it may be necessary to expand a convex subset of the interior part of the polyomino, say the polyomino kernel, by adding points at specific positions of its contour, without losing its convexity. To reach this goal we consider convexity in terms of certain combinatorial properties of the boundary word encoding the polyomino. So, we first show some conditions that allow us to extend the kernel maintaining the convexity. Then, we provide examples where the addition of one or two points causes a loss of convexity, which can be restored by adding other points, whose number and positions cannot be determined a priori.

"The Family Reunion" Reconsidered

1965 ◽  
Vol 17 (1) ◽  
pp. 10
Author(s):  
Helen P. Avery
Keyword(s):  
Family Reunion ◽  
The Family

THE FAMILY REUNION

1963 ◽  
Vol XIII (1) ◽  
pp. 106-106
Author(s):  
RONALD GASKELL
Keyword(s):  
Family Reunion ◽  
The Family

scholarly journals ‘I Looked and Beheld a Country’: Home Movies, Homesteads and the Family Archive

2020 ◽  
Vol 4 (1) ◽  
Author(s):  
Daniel Clayton Rathbone
Keyword(s):  
Southern Africa ◽  
Family Life ◽  
Family Identity ◽  
Home Movies ◽  
Family Photographs ◽  
The Family ◽  
British Colonial ◽  
The Creation ◽  
The 1950S

Home movies, like family photographs, are important parts of family life, acting as ways to frame the idea of the family and connect different, inter-generational memories together. Footage of key moments helps develop a family identity, as well as locate it within broader historical contexts. As a result, home movies provide an incredibly useful source with which to examine the intersections between narratives of the family, nation and belonging. Utilising a collection of personal home movies, this paper will explore how these themes are touched on within the context of British Colonial Southern Africa. These films explore how ideas of family identity are rooted within ideas of home and belonging, articulating a conceptualisation of colonial Southern Africa as a ‘home-scape’ for descendant of British settlers living there during the 1950s and 1960s. These home movies draw attention to the creation of the idea of home and family, while also producing disruptive elements to those narratives.

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