Speculations on Eliot's Time-World: An Analysis of the Family Reunion in Relation to Hulme and Bergson

1949 ◽  
Vol 21 (1) ◽  
pp. 18 ◽  
Author(s):  
Anne Ward
Keyword(s):  
1965 ◽  
Vol 17 (1) ◽  
pp. 10
Author(s):  
Helen P. Avery
Keyword(s):  

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

2009 ◽  
Vol 2 (1) ◽  
Author(s):  
Stephanie Ho ◽  
Paul Ashton

Although Egyptians are generally known to be a non-migrating people closely tied to their land, the late 1950s and 1960s saw waves of Egyptians leaving their homeland for Europe, North America and Australia. Migration to Australia was limited prior to this period. In 1933, there were only 500 Egyptian-born people recorded as living in Australia. This number jumped to 8,000 in 1954 and 22,000 by 1966. Today there are around 34,000 Egyptian-born people in Australia and approximately 16,500 of them (nearly 50 per cent) live in Sydney.Around three-quarters of Egyptian migrants settled in Australia before 1976. However, there were substantial numbers of 'recent arrivals' (accounting for almost 15 per cent of this group) in 1986–91. Most of these later migrants came under the family reunion scheme. Generally the Egyptian community is a highly educated one, with qualification levels that exceed those of the average Australian. Today many Egyptian migrants living in Sydney belong to the professional and managerial classes.


1968 ◽  
Vol 15 (8) ◽  
pp. 296-302
Author(s):  
H. Z. MACCOBY
Keyword(s):  

Theology ◽  
1939 ◽  
Vol 38 (228) ◽  
pp. 455-456
Author(s):  
Ashley Sampson
Keyword(s):  

1939 ◽  
Vol 11 (4) ◽  
pp. 116
Author(s):  
R. O. McG. ◽  
T. S. Eliot ◽  
Ibsen ◽  
G. B. Shaw ◽  
Catherine Shepherd ◽  
...  
Keyword(s):  

1982 ◽  
Vol 3 (1) ◽  
pp. 162
Author(s):  
Else Ribeiro Pires Vieira

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.


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