A Study on T.S. Eliot’s Perception of Time in Four Quartets: with Particular Reference to Zen Buddhist Time

2021 ◽  
Vol 57 ◽  
pp. 71-97
Author(s):  
Jihee Kim
Keyword(s):  
Four Quartets ◽  
Perception Of Time ◽  
Zen Buddhist

scholarly journals Sense of Time in A. Akhmatova’s and T.S. Eliot’s Latter Poetry (Comparative Analysis of Poem Without a Hero and Four Quartets)

2018 ◽  
Vol 6 (1) ◽  
pp. 1
Author(s):  
Anna Kurasova
Keyword(s):  
World War Ii ◽  
American Literature ◽  
Spiritual Values ◽  
World War ◽  
Four Quartets ◽  
The Past ◽  
The Face ◽  
Sense Of Time ◽  
Anglo American ◽  
Perception Of Time

Anna Akhmatova and Thomas Stearns Eliot are considered among the most influential representatives of Modernism, Eliot - in Anglo-American Literature, and Akhmatova – in Russian. Modernism emerged at the beginning of the 20th century, seeking to point out people's failure to maintain a culture based on spiritual values,  an idea that was central to the works of Eliot and Akhmatova. By analysing and contrasting their last major poems, Four Quartets and Poem Without a Hero, this paper aims to present Eliot’s and Akhmatova’s perception of time and modernity. Faced with the tragedy of World War II, Eliot and Akhmatova turned to reflecting on notions of time and history. Despite the differences in the poets’ experiences, mentality, and background, Four Quartets and Poem Without a Hero bear a resemblance to each other in many respects and express the common for Akhmatova and Eliot perception of time. The poets saw time as a complex continuum, in which every element has its place and persistently interacts with all the other elements; thus, the past is present in our lives today and shapes our destiny. Therefore, history is not simply a sequence of past events unrelated to the present, but rather an active creator of every moment of our present lives. Establishing the immutable connection between the past, the present, and the future, the poets remind their readers of the notions of sin, guilt and responsibility. The poets also shared an attitude towards modernity, which they saw as a time of lost people who deny their past and for that reason will have no future unless they change. Therefore, in the face of eternity, which is wiser than we are capable of seeing, all that remains for humanity is acceptance and humility.

The Fate of a Materialistic Buddhist: A Cultural Editioin of "Jikininki" by Lafcadio Hearn

2017 ◽  
Vol 4 ◽  
pp. 77-92
Author(s):  
Natali Cavanagh ◽  
Sarah James ◽  
Shannon Walter
Keyword(s):  
Cultural Traditions ◽  
Cultural Forces ◽  
Zen Buddhist

Lafcadio Hearn has written and adapted many Japanese folktales that explore religious and cultural traditions of the civilization. "Jikininki" tells the tale of a Buddhist priest who encounters a cursed, corpse-eating ghost. The authors examine the depiction of this corpse-devouring moster, its relation to teh cultural forces in rural Japan, and the representation of a fear of losing both the global Zen Buddhist and rural traditions through selfish mistreament and material desires.

War of Perception, Perception of Time

2018 ◽  
Vol 12 (2) ◽  
pp. 252-267
Author(s):  
Kuniichi Uno
Keyword(s):  
Michel Tournier ◽  
Crucial Question ◽  
History Of Art ◽  
The World ◽  
History Of ◽  
Desert Island ◽  
Perception Of Time

For Gilles Deleuze's two essays ‘Causes and Reasons of Desert Islands’ and ‘Michel Tournier and the World Without Others’, the crucial question is what the perception is, what its fundamental conditions are. A desert island can be a place to experiment on this question. The types of perception are described in many critical works about the history of art and aesthetical reflections by artists. So I will try to retrace some types of perception especially linked to the ‘haptic’, the importance of which was rediscovered by Deleuze. The ‘haptic’ proposes a type of perception not linked to space, but to time in its aspects of genesis. And something incorporeal has to intervene in a very original stage of perception and of perception of time. Thus we will be able to capture some links between the fundamental aspects of perception and time in its ‘out of joint’ aspects (Aion).

Bayesian Inference in Human Time Perception

2017 ◽  
Author(s):  
Darren Rhodes
Keyword(s):  
Time Perception ◽  
Likelihood Function ◽  
Human Perception ◽  
Future Research ◽  
Temporal Properties ◽  
History Of Research ◽  
Psychophysical Testing ◽  
History Of ◽  
Fundamental Dimension ◽  
Perception Of Time

Time is a fundamental dimension of human perception, cognition and action, as the perception and cognition of temporal information is essential for everyday activities and survival. Innumerable studies have investigated the perception of time over the last 100 years, but the neural and computational bases for the processing of time remains unknown. First, we present a brief history of research and the methods used in time perception and then discuss the psychophysical approach to time, extant models of time perception, and advancing inconsistencies between each account that this review aims to bridge the gap between. Recent work has advocated a Bayesian approach to time perception. This framework has been applied to both duration and perceived timing, where prior expectations about when a stimulus might occur in the future (prior distribution) are combined with current sensory evidence (likelihood function) in order to generate the perception of temporal properties (posterior distribution). In general, these models predict that the brain uses temporal expectations to bias perception in a way that stimuli are ‘regularized’ i.e. stimuli look more like what has been seen before. Evidence for this framework has been found using human psychophysical testing (experimental methods to quantify behaviour in the perceptual system). Finally, an outlook for how these models can advance future research in temporal perception is discussed.

Delving into Horror

2019 ◽  
Vol 29 (5) ◽  
pp. 135-150
Keyword(s):  
The Self ◽  
Time And Space ◽  
The Third ◽  
The World ◽  
The Subject ◽  
Perception Of Time ◽  
Definition Of

The springboard for this essay is the author’s encounter with the feeling of horror and her attempts to understand what place horror has in philosophy. The inquiry relies upon Leonid Lipavsky’s “Investigation of Horror” and on various textual plunges into the fanged and clawed (and possibly noumenal) abyss of Nick Land’s work. Various experiences of horror are examined in order to build something of a typology, while also distilling the elements characteristic of the experience of horror in general. The essay’s overall hypothesis is that horror arises from a disruption of the usual ways of determining the boundaries between external things and the self, and this leads to a distinction between three subtypes of horror. In the first subtype, horror begins with the indeterminacy at the boundaries of things, a confrontation with something that defeats attempts to define it and thereby calls into question the definition of the self. In the second subtype, horror springs from the inability to determine one’s own boundaries, a process opposed by the crushing determinacy of the world. In the third subtype, horror unfolds by means of a substitution of one determinacy by another which is unexpected and ungrounded. In all three subtypes of horror, the disturbance of determinacy deprives the subject, the thinking entity, of its customary foundation for thought, and even of an explanation of how that foundation was lost; at times this can lead to impairment of the perception of time and space. Understood this way, horror comes within a hair’s breadth of madness - and may well cross over into it.

Time

2018 ◽  
Author(s):  
Bruno and
Keyword(s):  
Temporal Coherence ◽  
The Other ◽  
Sensory Receptors ◽  
Traditional Notion ◽  
Physical Energy ◽  
Multisensory Interactions ◽  
The Senses ◽  
Perception Of Time ◽  
Temporal Extent ◽  
Stimulus Time

Within the traditional notion of the senses, the perception of time is especially puzzling. There is no specific physical energy carrying information about time, and hence no sensory receptors can transduce a ‘temporal stimulus.’ Time-related properties of events can instead be shown to emerge from specific perceptual processes involving multisensory interactions. In this chapter, we will examine five such properties: the awareness that two events occur at the same time (simultaneity) or one after the other (succession); the coherent time-stamping of events despite inaccuracies and imprecisions in coding simultaneity and succession (temporal coherence); the awareness of the temporal extent occupied by events (duration); the organization of events in regular temporal units (rhythm).

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