Gender, Desire, and Sexuality in T. S. Eliot by Cassandra Laity, Nancy K. Gish

By Cassandra Laity, Nancy K. Gish

Bringing jointly students from quite a lot of severe ways, this assortment reviews T.S. Eliot's engagement with wish, homoeroticism and feminism in his poetry, prose and drama. specifically, it illuminates the impression of Eliot's poet mom; the dynamic of homosexuality in his paintings; his poetic id with passive hope; and his reception by means of lady teachers from the early 20th century to the current. The ebook may be crucial studying for college kids of Eliot and Modernism, in addition to of queer idea and gender reviews.

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Gender, Desire, and Sexuality in T. S. Eliot

Bringing jointly students from quite a lot of severe techniques, this assortment reports T. S. Eliot's engagement with wish, homoeroticism and feminism in his poetry, prose and drama. specifically, it illuminates the impact of Eliot's poet mom; the dynamic of homosexuality in his paintings; his poetic identity with passive hope; and his reception through woman teachers from the early 20th century to the current.

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S. Eliot: A Voice Descanting, ed. Shyamal Bagchee (New York: St. Martin’s Press, 1990), 149–63. Smith observes the similarity between Poe’s “encoffined” speakers and Dante’s damned. 25. Ramazani, Poetry of Mourning, 21. Ramazani neglects the homoerotic aspects of the elegy and deliberately conflates Freud’s distinction between mourning and melancholia, which is crucial to understanding the link between desire and identification at work in the latter. 26. T. S. Eliot, “Reflections on Contemporary Poetry,” Egoist 6, no.

Sigmund Freud, “Mourning and Melancholia,” in General Psychological Theory, ed. Philip Rieff (New York: Collier, 1963), 170. 24. See Grover Smith, “Eliot and the Ghost of Poe,” in T. S. Eliot: A Voice Descanting, ed. Shyamal Bagchee (New York: St. Martin’s Press, 1990), 149–63. Smith observes the similarity between Poe’s “encoffined” speakers and Dante’s damned. 25. Ramazani, Poetry of Mourning, 21. Ramazani neglects the homoerotic aspects of the elegy and deliberately conflates Freud’s distinction between mourning and melancholia, which is crucial to understanding the link between desire and identification at work in the latter.

In contrast to the murderous aesthetic transfiguration performed in, for instance, “La Figlia” and the “marriage” monologues of this period, such as “Exequy,” “Elegy,” and “The Death of the Duchess,” same-sex mourning in Eliot renders the lost object of desire beautiful after death. Carole Seymour-Jones’s Painted Shadow, a recently published, groundbreaking biography of Vivien, makes the strongest case to date for the significance and scope of Eliot’s homoerotic experience. ”11 Although Seymour-Jones neglects to explore the psychological ramifications of such triangulated desire, which fits the pattern first analyzed by Eve Kosofsky Sedgwick,12 she offers a wealth of hitherto unknown information concerning Eliot’s relationships with numerous young men throughout the 1920s and 30s, including L´eonide Massine, a dancer with the Ballets Russes, and a German youth named Jack, who shared a cottage with the Eliots for six months.

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