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Myth, anti-myth, post-myth: On Western and Eastern myth and allusions to antiquity in Irish British, expatriate American, local American, and postcolonial modernist poetry (Yeats, Eliot, Williams, Moore, Lorca, Walcott) (W. B. Yeats, T. S. Eliot, William Carlos Williams, Marianne Moore, Federico Garcia Lorca, Spain, Derek Walcott, St. Lucia).

机译:神话,反神话,后神话:关于爱尔兰和英国,外籍美国人,当地美国人和后殖民现代主义诗歌(耶茨,艾略特,威廉姆斯,摩尔,洛尔卡,沃尔科特)的西方和东方神话以及对上古的寓言(WB叶芝, TS艾略特,威廉·卡洛斯·威廉姆斯,玛丽安·摩尔,费德里科·加西亚·洛尔卡,西班牙,德里克·沃尔科特,圣卢西亚。

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For many critics of modern poetry, the term "modernism" continues to defy definition. After all, defining what has ever made modernism "new" requires coming to terms with a century-old disagreement about the status of myth and antiquity within modernity. In this dissertation, I argue that by seeing their missions in terms of mythic transformations, anti-mythic liberations, or ironic syntheses of the two, modern British, American, and Postcolonial poets have been profoundly attuned to the paradoxical terms of this debate. By allegedly undertaking to "heal" what they presented as a multifold split in our modern consciousness, for instance, the "mythic modernists" Yeats, Eliot and Pound staged repeated, developing conflicts between their will to visionary apprehension and their sense of "the real." Continually projecting their mythic ideals onto history in order to legitimize their current, often personal disenchantments, they thereby ironized their ontological and political claims for modernity. Williams, Moore, and Stein, in contrast, worked explicitly to liberate their poetry from this entire modus operandi , to free their work of self-conscious mythic paradigms and archaic associations. As a paradoxical result, I argue, the poetry of Williams and his followers can nevertheless be understood only in the context of the mythos that Williams claimed to reject. Moreover, Williams's anti-mythic mythos mirrors the central "mythic modernist" theme of nostos to the fusion of internally opposed aesthetics. Such "post-mythic" partial outsiders to the Anglo-American paradigm as Lorca and Walcott, finally, subsequently satirized this very mythic/anti-mythic paradox in their bids to redefine the history of modernism in terms of the "periphery" to which they could no longer be relegated. I argue throughout this dissertation that the key inventions of each poet should be approached in the context of that poet's personal development, a context inextricably bound up with the larger terms of the mythic/anti-mythic debate. This argument provides an important model for redefining the nature of literary modernism and a key step in restoring these profoundly influential poets to history.
机译:对于许多现代诗歌批评家而言,“现代主义”一词继续违背定义。毕竟,要定义使现代主义成为“新事物”的东西,就需要在一个世纪前就现代中神话和上古的地位达成共识。在这篇论文中,我认为,通过对现代英国,美国和后殖民诗人的神话转变,反神话解放或讽刺的综合观察他们的使命,已深深地适应了这场辩论的悖论性术语。通过所谓的“治愈”他们在我们现代意识中呈现的多重分裂,例如,“神话现代主义者”叶芝,艾略特和庞德上演了反复的话,在他们对有远见的理解的意志和他们对“真正的”的认识之间形成了冲突。 。”他们不断地将其神话理想投射到历史上,以使他们目前(通常是个人)的迷惑合法化,从而讽刺了他们对现代性的本体论和政治主张。相比之下,威廉姆斯,摩尔和斯坦因则明确地致力于将他们的诗歌从整个作案手法中解放出来,以使他们的工作失去自我意识的神话范式和古老的联想。我认为,作为一个矛盾的结果,威廉姆斯及其追随者的诗歌只能在威廉姆斯声称拒绝的神话背景下才能理解。此外,威廉姆斯的反神话神话反映了nostos的中心“神话现代主义者”主题与内部对立美学的融合。最终,诸如洛卡和沃尔科特这样的英美范式的“神话后”局部局外人,随后讽刺了这个非常神话/反神话的悖论,力图根据他们所处的“外围”重新定义现代主义的历史。不能再降级了。在整篇论文中,我认为,应根据每个诗人的个人发展来探讨每位诗人的关键发明,而这是与神话/反神话辩论的大范围密不可分的联系。这一论断为重新定义文学现代主义的本质提供了重要的模式,也是将这些具有深远影响力的诗人恢复到历史的关键一步。


  • 作者

    Massimilla, Stephen.;

  • 作者单位

    Columbia University.;

  • 授予单位 Columbia University.;
  • 学科 Literature Comparative.; Literature English.; Literature American.; Literature Romance.
  • 学位 Ph.D.
  • 年度 2006
  • 页码 481 p.
  • 总页数 481
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 I0;I561;I712;I1;
  • 关键词

  • 入库时间 2022-08-17 11:39:41


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