1922: Literature, Culture, Politics

1922: Literature, tradition, Politics examines key features of tradition and historical past in 1922, a 12 months made well-known by means of the booklet of a number of modernist masterpieces, comparable to T. S. Eliot's The Waste Land and James Joyce's Ulysses. person chapters written by way of top students provide new contexts for the year's major artworks, philosophy, politics, and literature. 1922 additionally analyzes either the political and highbrow forces that formed the cultural interactions of that privileged second. even if this quantity takes post-World warfare I Europe as its leader concentration, American artists and authors additionally obtain considerate attention. In its multiplicity of perspectives, 1922 demanding situations misconceptions in regards to the 'Lost Generation' of cultural pilgrims who flocked to Paris and Berlin within the Twenties, therefore stressing the broader impact of that momentous yr.

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Despite Eliot’s excellent French, he makes substantial apology for the piece directly to Larbaud, fearing that Larbaud – who was quickly becoming the preeminent early interpreter of Ulysses – might find “that the translation hardly does justice to the original” (1988, 578). The fact of Eliot’s translation, though, makes the piece even more of a treasure-trove, and demonstrates Eliot’s serious commitment to supporting Joyce’s work even when Joyce’s reception in English-speaking countries remained uncertain.

When he finally returned to the Elegies in the first months of 1922, the war was still not far from his mind. It makes sense, then, to review Rilke’s responses to the Great War from the beginning. In the opening days of the conflict, he felt – as many people did at the time – that war might shake them into positive action. 5 By mid-February 1916, he had been conscripted and assigned to the Austrian Rilke’s Duino Elegies and Sonnets to Orpheus 31 War Archive, where he rapidly became distressed by the need to create encouraging accounts of military engagements, even when the war was not going well.

The Criterion went on to offer an international array of contributors in most issues, while it listed a number of “periodicals” as suggested further reading from countries ranging from the United States to Germany, France, Italy, Denmark, Brazil, Russia, Switzerland, Holland, and more. Uncanny Semblables and Serendipitous Publications 19 Eliot’s pluralist journalistic strivings echo many of the impulses of both The Waste Land and Ulysses, where Eliot and Joyce each render the outlooks of their Anglophone early twentieth-century cultures as always global as well as local, and always traversed with multiple linguistic traditions.

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