![]() Stalking the Subject: Modernism and the Animal. “‘The Pleasures of Higher Vices’: Sexuality in Eliot’s Work.” Chinitz, Companion 350–62. ![]() “Conflict and Concealment: Eliot’s Approach to Women and Gender.” Chinitz, Companion 323–34. “The Dialect in/of Modernism: Pound and Eliot’s Racial Masquerade.” American Literary History 4.1 (1992): 56–76. “Sweeney among the Nightingales.” Roby 75–79. Auden, and the Idea of a Christian Poetics. Eliot on the Artist as ‘Primitive.’” Modern Language Quarterly 47.4 (1986): 393–421. Deviant Modernism: Sexual and Textual Errancy in T. Eliot’s Bawdy Verse: Lulu, Bolo and More Ties.” Journal of Modern Literature 27.1–2 (2003): 14–25. Eliot the Publisher.” British Library Press Room. Eliot, Anthropologist and Primitive.” American Anthropologist 78.4 (1976): 797–811. “The Yellow Fog of ‘Prufrock.’” The Bulletin of the Rocky Mountain Modern Language Association 26.2 (1972): 52–54. San Diego: Harcourt, 1994.Įmerson, Ralph Waldo. The Waste Land: A Facsimile and Transcript of the Original Drafts Including the Annotations of Ezra Pound. The Use of Poetry and the Use of Criticism: Studies in the Relation of Criticism to Poetry in England. “The Metaphysical Poets.” Selected Prose of T. Inventions of the March Hare: Poems 1909–1917. “The Evolution of Sweeney in the Poetry of T. Lewisburg, PA: Bucknell UP, 2000.ĭeGraaff, Robert M. Eliot and the Poetics of Evolution: Sub/Versions of Classicism, Culture, and Progress. The Savage and the City in the Works of T. Chicago: U of Chicago P, 2003.Ĭrawford, Robert. Blackwell Companions to Literature and Culture 62. “The Great War at Home and Abroad: Violence and Sexuality in Eliot’s ‘Sweeney Erect.’” Modernism/modernity 9.3 (2002): 423–38.Ĭhinitz, David E., ed. Eliot.” Roby 48–49.īrooker, Jewel Spears. “Some Psychological Patterns in the Poetry of T. ![]() ![]() This process is experimental and the keywords may be updated as the learning algorithm improves.īaldridge, Marie. These keywords were added by machine and not by the authors. However, there exists only one relatively brief monograph on the subject-Marianne Thormählen’s Eliot’s Animals (1984)-and questions about how and why Eliot represented animals merit reconsideration in light of recent developments in Eliot studies, modernist studies, and the emerging field of animal studies. Considered in this light, Old Possum is not merely a charmingly anomalous children’s book, but rather the clearest example of an interest in creatures legible throughout Eliot’s work. Indeed, once we begin to look for them, animal references emerge as a pervasive and important cluster of figurative and symbolic elements in Eliot’s poetry. Such an affinity for animal pseudonyms calls to mind instances of animal disguises in his poetry: in “Mélange Adultère de Tout,” the speaker plans to celebrate his birthday in an African oasis, dressed in a giraffe skin (16–18) 3 in “The Hollow Men,” the speaker wishes to wear “Such deliberate disguises / Rat’s coat, crowskin” (32–33). Apteryx” 2 and he was nicknamed “the elephant” by his Faber and Faber colleagues (“‘In a Bloomsbury Square’”). Eliot titled his notebook of early poems “Inventions of the March Hare” he wrote articles for The Egoist under the name of “Apteryx,” or even “T. Though scholars have considered the possum persona and its implications, 1 other animal personae in Eliot’s oeuvre have received less attention. Many people know that Eliot wrote Old Possum’s Book of Practical Cats, if only because it served as the basis for Andrew Lloyd Webber’s hit musical Cats. Eliot was fond of adopting animal personae. ![]()
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