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

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.

“The Peripatetic Philosopher”: Unlocking the Trauma of Richard Jefferies

This article considered the juvenilia of Richard Jefferies in light of the traumatic experiences of his early childhood, which included the sudden loss of his elder sister and a move from the country to the city to live with his aunt and uncle. Using a psychobiographical approach the article considers the impact of the prejudice directed towards him from the local Swindon community during his mid-to-late teens, which spurred him forward in honing his skill as an observational writer. Consonant with this process was the discovery and expression of his authentic voice, which was tempered by the financial need to write for the local newspapers. The article illustrates how his treatment of an area of waste land near his boyhood home affords insight into his emotional wellbeing and his maturation as an author and thinker. Through the close reading of passages written between the ages of sixteen and nineteen, alongside excerpts from his mature works, the article identifies a new unexplored dimension to the author and his works at a formative time in his career.

Distance, and Intimacy, and T. S. Eliot’s Self-Critical Laughter

Eliot’s humor frequently resembles the superiority-based models of Freud and Bergson. His humor in letters is often racist, misogynist, and homophobic. But he also uses laughter to examine failed communication and the limits of sympathy among reader, speaker, and subject. From depictions of laughing characters in Prufrock and Other Observations to the merriment in Old Possum’s Practical Cats, Eliot treats laughter itself, rather than the joke provoking it, as a form of communication conveying truths language cannot. Eliot’s laughter comes from doubt. His comedy is both superiority-based and empathic: amusement reminds Eliot of his own failures. Eliot’s self-conscious laughter becomes a unique vehicle for communication between artist and audience, if not between individuals. In The Waste Land, tragicomic moments teach readers to be skeptical of their own satirical impulses, and almost bridge the abysmal distance between subjectivities.

The “Vernacular Process” and the (Re)construction of Tradition in Ralph Ellison’s Invisible Man

The present paper is an attempt to explore, in and through the prism of Ralph W. Ellison’s Invisible Man (1952), the workings of Ellison’s “vernacular process” as a concept that informs the author’s critical views incorporated in the novel. More specifically, Ellison’s revisionary enterprise in this narrative demonstrates his view of African-American tradition as integrated in American and Western tradition. While the form of “invisible criticism” in which Ellison engages is a rather self-conscious manifestation of his critical model of the “vernacular process,” the present work contends that this Ellisonian model actually foreshadows Henry Louis Gates Jr.’s critical paradigm of “Signifyin(g).” What Gates names “literary Signification” stands for an indigenous African-American form of literary revision consisting in a black text’s repeating with difference of another black text’s tropes or rhetorical strategies, or such text’s appropriation of aspects of form in a white antecedent text. Through “literary Signification,” Invisible Man revises African-American texts exemplified in the present article by Richard Wright’s Black Boy (1945) and Native Son (1940). Likewise, Ellison’s narrative also revisits American and European texts, an enterprise to be seen in the present work’s examination of Ellison’s revision of James Joyce’s A Portrait of the Artist as a Young Man (1916), Walt Whitman’s romantic poetry, and T.S Eliot’s The Waste Land (1922). By establishing through “literary Signification” his African-American literary “relatives” as well as his Western and American “ancestors,” Ellison ultimately constructs the African-American literary tradition as embedded in the Euro-American tradition and thus underlines the syncretic character of American literature and culture. Keywords: Integrative, Revision, Tradition, Signifyin(G), “Vernacular Process”.

The Marathi Kaulnāmā: Property, Sovereignty and Documentation in a Persianate Form

Kaulnāmās were ubiquitous in early modern Marathi bureaucratic documentation. They were issued as deeds of assurance offering protection and confirming various rights, especially during warfare or invasion. Such documents were issued at different levels of the administrative hierarchy in the Adilshahi and Maratha administrations to prevent flight from troubled areas, extend cultivation, and encourage commerce. They also recorded grants of waste land to cultivators on graduated rates of taxation, or to merchants for developing market towns. This paper historicizes the kaulnāmā form from the seventeenth through the early nineteenth centuries, exploring the kinds of transactions of power, sovereignty and property it was part of. Through this focus on the trajectory of particular documentary forms, it reflects on the nature of the Persianate within Marathi bureaucratic practices, and the history of the Marathi language more broadly.

Exploring the Lyric-Dramatic Interaction in the Work of T.S. Eliot

<p>T. S. Eliot's fascination with the interaction between the lyric and the dramatic is evident from the fact that his poetry was often dramatic even before he began to write verse drama. Part of the reason for this interaction in Eliot was a kind of radical modernism that ensured a return to a primitivism where there was little distinction between the lyric and the dramatic. In this thesis I argue that this interaction is central to the nature of Eliot's creative work. The need for an interaction between the lyric and dramatic meant that The Waste Land (1922) possessed several dramatic qualities making it a precursor to Eliot's entry into the realm of poetic drama with the play, Sweeney Agonistes (1932). As part of my thesis, I conducted theatre workshops of the first two parts of The Waste Land in order to discover what dramatic elements emerged from the text and how their presence affected the lyric-dramatic interaction in the work, something which can surface only through performance. I argue that The Waste Land and Sweeney Agonistes occupy critical spaces in the mapping of the lyric-dramatic interaction in Eliot's creative oeuvre. The intensity of the lyric-dramatic interaction in Eliot's poetry builds up to a moment where he comes extremely close to drama in The Waste Land moving him to ultimately write his first play, Sweeney Agonistes. While Eliot's works after these two texts continue to exhibit characteristics of this lyric-dramatic interaction, the nature of this interaction undergoes a transformation after Eliot's conversion, manifesting itself in his religious poetry and drama which turns out to be a cul-de-sac in his experimentations. The intensity of this interaction in his work then gradually reduces to a point where the lyric and the dramatic no longer overlap especially after Eliot's first commercially successful play, The Cocktail Party (1949). By examining the reasons for the slow disassociation of these two crucial elements in Eliot's later work, I aim to stress the centrality of The Waste Land and Sweeney Agonistes to the lyric-dramatic trajectory in his work.</p>

Exploring the Lyric-Dramatic Interaction in the Work of T.S. Eliot

<p>T. S. Eliot's fascination with the interaction between the lyric and the dramatic is evident from the fact that his poetry was often dramatic even before he began to write verse drama. Part of the reason for this interaction in Eliot was a kind of radical modernism that ensured a return to a primitivism where there was little distinction between the lyric and the dramatic. In this thesis I argue that this interaction is central to the nature of Eliot's creative work. The need for an interaction between the lyric and dramatic meant that The Waste Land (1922) possessed several dramatic qualities making it a precursor to Eliot's entry into the realm of poetic drama with the play, Sweeney Agonistes (1932). As part of my thesis, I conducted theatre workshops of the first two parts of The Waste Land in order to discover what dramatic elements emerged from the text and how their presence affected the lyric-dramatic interaction in the work, something which can surface only through performance. I argue that The Waste Land and Sweeney Agonistes occupy critical spaces in the mapping of the lyric-dramatic interaction in Eliot's creative oeuvre. The intensity of the lyric-dramatic interaction in Eliot's poetry builds up to a moment where he comes extremely close to drama in The Waste Land moving him to ultimately write his first play, Sweeney Agonistes. While Eliot's works after these two texts continue to exhibit characteristics of this lyric-dramatic interaction, the nature of this interaction undergoes a transformation after Eliot's conversion, manifesting itself in his religious poetry and drama which turns out to be a cul-de-sac in his experimentations. The intensity of this interaction in his work then gradually reduces to a point where the lyric and the dramatic no longer overlap especially after Eliot's first commercially successful play, The Cocktail Party (1949). By examining the reasons for the slow disassociation of these two crucial elements in Eliot's later work, I aim to stress the centrality of The Waste Land and Sweeney Agonistes to the lyric-dramatic trajectory in his work.</p>

Mai rangiriri ki Pōkaewhenua: The confiscation of Pōkaewhenua in the national interest - 1961-1969

<p>The title of this thesis, Mai Rangiriri ki Pōkaewhenua, refers to the battle of Rangiriri as the point of reference that marks the first confiscation of Waikato land. It was at Rangiriri that Waikato Māori took up arms to defend their land against the invading army and in doing so, by Crown law, forfeited their customary ownership over their land through confiscation. It would be one hundred years later that another confiscation occured at Pōkaewhenua in the 1960s. The confiscation of Māori land is commonly discussed in New Zealand history literature as a practice of the nineteenth-century. However in this thesis I argue the practice of confiscation has endured into the 1960s through facilitated alienations of allegedly unproductive Māori land through lease and sale. This thesis examines the case study of Lot 512 in the Parish of Whangamarino to show how government agencies utilised some common practices of confiscation such as through legislation, economic expansion, settlement, conflict of interests, tenurial revolution and the concept of waste land to confiscate Pōkaewhenua through facilitated alienation in the national interest. Although the practice of alienation was widespread, the sale and lease of Māori land due to an alleged lack of productivity under Part XXV of the Māori Affairs Act 1953 was seldom investigated as part of Treaty settlements. For hapū and whānau, particularly in the Waikato, the re-examination of land alienation may change their land history and the manner in which future Treaty claims are investigated. Contemporarily, the drive for greater productivity of Māori land, as seen in the 2013 Review of the Te Ture Whenua Māori Act, focuses again on making all Māori land productive in the national interest, with little consideration of the impact on it’s Māori owners. The criteria and rationale for this push for productivity is strongly reminiscent of the practice in the 1960s and 1860s, and suggests any national interest alienations that occur as a result of the 2013 review, may also be confiscation. One significant implication of this thesis for the field of Māori Studies is that the investigation of Lot 512 provides another perspective on confiscation. This thesis expands the definition of confiscation to allow for alienation by sale and lease in the national interest and departs from the limitation of the nineteenth-century. This research also contributes to Māori Studies through the analysis of Part XXV of the Māori Affairs Act 1953. As a wider implication for Māori land, it challenges researchers to look more closely at Māori land sales in the 1950-1960s, the manner in which those sales and leases were undertaken and questions national interest arguments for alienating further Māori land. This thesis is centred around a Māori world view and approach to research and is tied specifically to Pōkaewhenua – Lot 512 in the Parish of Whangamarino, but has implications for thinking about the way Indigenous rights are made subservient to colonial interests.</p>

"Between two worlds become much like each other": Liminal spaces in the poetry of David Jones and T.S. Eliot

<p>T. S Eliot remains a literary giant close to fifty years after his death while David Jones, in contrast, is undeniably a marginal figure in the world of poetry but one who is slowly gaining a larger profile. Jones has from the very beginning been aligned with Eliot by virtue of Eliot’s own comments and by a succession of critics who cast him as Eliot’s disciple. The time has come, however, for the side notes to Eliot, which have become almost a convention of Jonesian criticism, to be expanded into a detailed comparative study between his and Eliot’s work. Eliot scholars appear to show no interest in pursuing comparisons to Jones, as he is hardly mentioned, even in passing, in discussions of Eliot’s work. This too, is something that deserves to be reassessed. Undertaking a new approach to Jones-Eliot comparisons develops Jones criticism and opens up a new branch of Eliot studies. This thesis repositions Jones and Eliot from the way they have, thus far, been critically related to one another by focusing on liminal space in both poets’ major texts: The Anathemata, In Parenthesis, The Waste Land, and Four Quartets. This threshold space can be found in their landscapes and in the way they adapt poetic techniques, such as imagery and juxtapositions of irreconcilable opposites. The between-space of transition manifested in their texts reflects the wider environment of flux and transition Jones and Eliot experienced in the first half of the twentieth century. Using the work of a range of literary critics, historians, philosophers, and geographers, including Arnold van Gennep, Victor Turner, Michel Foucault, Edward W. Soja, Michel de Certeau, Andrew Thacker, Thomas Dilworth, David Harvey, and Stephen Kern, establishes a spatially focused model of liminality which facilitates a close reading of these spaces in Jones’s and Eliot’s work.</p>

"Between two worlds become much like each other": Liminal spaces in the poetry of David Jones and T.S. Eliot

<p>T. S Eliot remains a literary giant close to fifty years after his death while David Jones, in contrast, is undeniably a marginal figure in the world of poetry but one who is slowly gaining a larger profile. Jones has from the very beginning been aligned with Eliot by virtue of Eliot’s own comments and by a succession of critics who cast him as Eliot’s disciple. The time has come, however, for the side notes to Eliot, which have become almost a convention of Jonesian criticism, to be expanded into a detailed comparative study between his and Eliot’s work. Eliot scholars appear to show no interest in pursuing comparisons to Jones, as he is hardly mentioned, even in passing, in discussions of Eliot’s work. This too, is something that deserves to be reassessed. Undertaking a new approach to Jones-Eliot comparisons develops Jones criticism and opens up a new branch of Eliot studies. This thesis repositions Jones and Eliot from the way they have, thus far, been critically related to one another by focusing on liminal space in both poets’ major texts: The Anathemata, In Parenthesis, The Waste Land, and Four Quartets. This threshold space can be found in their landscapes and in the way they adapt poetic techniques, such as imagery and juxtapositions of irreconcilable opposites. The between-space of transition manifested in their texts reflects the wider environment of flux and transition Jones and Eliot experienced in the first half of the twentieth century. Using the work of a range of literary critics, historians, philosophers, and geographers, including Arnold van Gennep, Victor Turner, Michel Foucault, Edward W. Soja, Michel de Certeau, Andrew Thacker, Thomas Dilworth, David Harvey, and Stephen Kern, establishes a spatially focused model of liminality which facilitates a close reading of these spaces in Jones’s and Eliot’s work.</p>