scholarly journals El miedo mítico y la redención cristiana en el teatro en verso de T. S. Eliot: The Family Reunion

2021 ◽  
pp. 35-47
Author(s):  
Natalia Carbajosa Palmero
Keyword(s):  
Family Reunion ◽  
The Family ◽  
Siglo Xx

Con The Family Reunion (1939), Eliot ensaya por primera vez el método mítico de su poesía en el teatro en verso, más concretamente en un escenario burgués. De este modo, el miedo y la angustia del siglo XX se escenifican con el telón de fondo de Las Euménides de Esquilo, la historia intemporal de expiación que se relata en la trilogía La Orestíada. Este artículo se centra en el moderno Orestes de Eliot, Harry, quien, al igual que los personajes de la poesía temprana del autor (Sweeney, Prufrock o Gerontion) se enfrenta a la desesperación de un modo que Eliot irá afinando en sucesivas obras. Asimismo, subraya el papel principal de The Family Reunion como punto de inflexión en la producción dramática de Eliot, por cuanto la obra aborda novedosamente el malestar contemporáneo, relacionándolo con un relato cristiano de pecado, expiación y sacrificio. Por último, el artículo explora las semejanzas entre el teatro en verso de Eliot y la poesía de los Cuatro cuartetos, escritos durante los mismos años que su producción para la escena y, en gran medida, bajo idénticos parámetros.

"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 The Egyptians in Sydney

2009 ◽  
Vol 2 (1) ◽  
Author(s):  
Stephanie Ho ◽  
Paul Ashton
Keyword(s):  
North America ◽  
Family Reunion ◽  
Highly Educated ◽  
The Family

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.

DIFFICULTIES IN THE PLOT OF “THE FAMILY REUNION”

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

Book Review: The Family Reunion

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

The Family Reunion

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

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.

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