scholarly journals The Isle of Sculptures of Pontevedra (1999-2019): a model to recover nature as a social and cultural space in the city

2022 ◽  
Vol 34 (1) ◽  
pp. 187-207
Author(s):  
X. Antón Castro-Fernández ◽  
Yolanda Herranz Pascual ◽  
Jesús Pastor-Bravo
Keyword(s):  
Cultural Space ◽  
The Waste Land ◽  
Waste Land ◽  
Robert Morris ◽  
The City ◽  
Dan Graham

La Isla de Esculturas fue concebida como una construcción cultural de la naturaleza y revertida a paisaje estético, teniendo en cuenta la singularidad etnográfica, histórica y antropológica del lugar donde se enclava: la Xunqueira del Lérez de Pontevedra. Constituye igualmente un homenaje al granito, material identitario de la escultura de todas las épocas y una referencia de la cultura y el arte que sus autores entroncan con la conciencia mítica y el simbolismo del The Waste Land (La tierra baldía) de T. S. Eliot. Como La tierra baldía, que reunifica pasado y presente, entre metáforas y símbolos, los escultores que intervienen en el espacio contorneado por el río Lérez acogen, en un todo, una pluralidad de alusiones culturales, lenguajes y conceptos, referencias clásicas y experiencias más contemporáneas. Fueron invitados a intervenir doce artistas: Giovanni Anselmo, Fernando Casás, José Pedro Croft, Dan Graham, Ian Hamilton Finlay, Jenny Holzer, Francisco Leiro, Richard Long, Robert Morris, Anne & Patrick Poirier, Ulrich Rückriem y Enrique Velasco.

scholarly journals Paris as ‘unreal city’: Modernist conceptions in Michiel Heyns’s Invisible Furies

2017 ◽  
Vol 54 (1) ◽  
pp. 96-110 ◽  
Author(s):  
Andries Wessels
Keyword(s):  
Social Alienation ◽  
The Waste Land ◽  
Waste Land ◽  
The Face ◽  
The Aesthetic ◽  
The City

Michiel Heyns's sixth novel, Invisible Furies (2012) is deeply inscribed in the author's profound engagement in and knowledge of the grand modernist tradition. The article aims to illuminate and discuss this underrated novel in terms of some of its modernist attributes by relating the work conceptually to the works of great modernist writers, particularly T. S. Eliot and E. M. Forster, in order to demonstrate its impressive literary scope and density of meaning. While there are direct allusions to Eliot's poetry in the text, it is a certain sensibility and perspective that reminds the reader forcibly of Eliot's vision, particularly in The Waste Land (1922) and The Hollow Men (1925). Eliot's image of the "Unreal city", derived from Baudelaire's Les sept veillards, is particularly pertinent. A number of modernist concerns or themes are addressed in this context, in particular the ambiguous merits and value of the aesthetic, social alienation, the city and the concept of Forster's "eternal moment" (his equivalent to Joyce's "epiphany", Virginia Woolf's "moment of being" and Eliot's "moment in and out of time") as a possible means of salvation in the face of the meaninglessness of a spiritu- ally and emotionally arid, modern existence. 

Unreal City, Unreal Law

2010 ◽  
Vol 6 (3) ◽  
pp. 295-306 ◽  
Author(s):  
Louis E. Wolcher
Keyword(s):  
Linear Time ◽  
The Waste Land ◽  
Waste Land ◽  
City Street ◽  
The Law ◽  
The City ◽  
Possible Cause ◽  
Human Hands

AbstractThe law of the city degrades time to the dimension of space. The cityscape replaces a horizon made by woods, fields and streams with a jagged silhouette of rectilinear buildings, lots and thoroughfares. Geometrically speaking, a city street is a line that has been transected into segments called blocks. Blocks, in turn, are further segmented by the placement of individual buildings, which are enumerated as ‘addresses’ in the manner of sequenced moments on the universal timeline. The city, like the law, is produced by human hands according to the logic of the conceptual pairs which the idea of linear time makes possible: ‘cause and caused’, ‘ground and grounded’ and ‘means and end’. But there is something profoundly unreal about both of these institutional spaces: at the end of the day, the Unreal City mentioned in T. S. Eliot’s The Waste Land corresponds to a sort of Unreal Law. Both the city and the law manifest freedom’s impossible attempt to realise its own antithesis by substituting space for time, being for becoming, reason for chance, justification for responsibility and redemption for tragedy.

The “City Man” in The Waste Land: The Geography of Reminiscence

PMLA ◽  
1965 ◽  
Vol 80 (3) ◽  
pp. 285-291 ◽  
Author(s):  
Robert A. Day
Keyword(s):  
Foreign Exchange ◽  
Ezra Pound ◽  
The Waste Land ◽  
Waste Land ◽  
Nervous Breakdown ◽  
A Minor ◽  
The City ◽  
Recent Critic

T. S. Eliot composed the first draft of The Waste Land at Margate and in Lausanne during the autumn of 1921, when funds secured through Ezra Pound had enabled him to take a long holiday for rest and recuperation. He sorely needed both, and in fact was under the care of a specialist at Lausanne, for overwork in his double capacity as bank clerk and man of letters had brought him to the verge of a nervous breakdown. Though we must allow that he was distressed by postwar chaos and the decay of Europe, themes of a more specific and less elevated nature were certainly among his thoughts. He could hardly escape from the news of the day, which we find reproduced plainly or masked in much of his early work; and he was, in the words of a recent critic, “preoccupied … with the conditions of his servitude to a bank in London”—Lloyd's Bank, where he held a minor post in the foreign exchange department at a starting salary of £120 per annum.

Beckett's Early Verse and the Modernist Long Poem: A Study of ‘Enueg I’

2019 ◽  
Vol 28 (2) ◽  
pp. 197-213
Author(s):  
Sławomir Studniarz
Keyword(s):  
Long Poem ◽  
The Waste Land ◽  
Waste Land ◽  
Artistic Activity ◽  
Underlying Network ◽  
Experimental Works ◽  
The Cantos ◽  
Semantic Dimension ◽  
Psychological Dimensions

The premise of the article is the contention that Beckett studies have been focused too much on the philosophical, cultural and psychological dimensions of his established canon, at the expense of the artistry. That research on Beckett's work is issue-driven rather than otherwise, and the slender extant body of criticism specifically on his poetic achievements bears no comparison with the massive exploration of the other facets of Beckett's artistic activity. The critical neglect of Beckett's poetry may not be commensurate with the quality of his verse. And it is in the spirit of remedying this oversight that the present article is offered, focusing on ‘Enueg I’, a representative poem from Echo's Bones, which exhibits all the salient features of Beckett's early poetry. It is argued that Beckett's early verse display the twofold influence, that of the transatlantic Modernism of Eliot and Pound, and of French poetry, specifically the visionary and experimental works of Rimbaud, Apollinaire, and the surrealists. Furthermore, the article also demonstrates that ‘Enueg I’ testifies to Beckett's ambition to compose a complex long Modernist poem in the vein of The Waste Land or The Cantos. Beckett's ‘Enueg I’ has much in common with Eliot's exemplary disjunctive Modernist long poem. Both poems are premised on the acutely felt cultural crisis and display the similar tenor in their ending. Finally, they both close with the vision of the doomed and paralyzed world, and the prevalent sense of sterility and dissolution. In the subsequent analysis, which takes up the bulk of the article, careful attention is paid to the patterning of the verbal material, including also the most fundamental level, that of the arrangements of phonemes, with a view to uncovering the underlying network of sound patterns, which contributes decisively to the semantic dimension of the poem.

THE ONOMASTIC SPACE OF IRKUTSK

2020 ◽  
pp. 164-170
Author(s):  
V.I. Semenova
Keyword(s):  
Service Sector ◽  
Population Migration ◽  
Cultural Space ◽  
Russian Economy ◽  
Spatial Coordinates ◽  
Market Relations ◽  
The City

In the post-Soviet era, the onomastic space of Irkutsk noticeably changed. First, changes are found in ergonymy. The transition of the Russian economy to market relations caused the emergence of many new commercial enterprises, which receive their own names. The process of ergonymy development is seriously affected by international population migration. Most migrants work in the service sector and often give their enterprises names associated with their homeland or reflecting national peculiarities. In the linguistic and cultural space of the city, more and more ethnic names appear. These names are included in the system of urban spatial coordinates, significantly changing the composition of ergonyms. ОБСУЖДЕНИЕ:

THE REFERENCE TO ‘STETSON’ IN THE WASTE LAND

2000 ◽  
Vol 47 (3) ◽  
pp. 338-339
Author(s):  
JAMES T. BRATCHER
Keyword(s):  
The Waste Land ◽  
Waste Land
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