By Eliot, Thomas Stearns; Joyce, James; Lamos, Colleen; Proust, Marcel; Proust, Marcel; Joyce, James; Eliot, Thomas Stearns
This unique learn reevaluates principal texts of the modernist canon--Eliot's early poetry together with The Waste Land, Joyce's Ulysses and Proust's Remembrance of items Past--by interpreting sexual energies and identifications in them which are regularly considered as perverse. Colleen Lamos' research of the operations of gender and sexuality in those texts unearths conflicts, about the definition of masculine heterosexuality, which lower around the aesthetics of modernism. What emerges is a reconsideration of modernist literature as an entire, gender different types, and the relation among errant sexuality and literary "mistakes."
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Additional info for Deviant modernism : sexual errancy in T.S. Eliot, James Joyce, and Marcel Proust
Valéry. According to Eliot, with Valéry came “a change of attitude toward the subject matter”; turning upside down the proper order of poetry, Valéry “ceased to believe in ends and was only interested in processes,” especially in his self-conscious use of language in composition (CC –; emphasis Eliot’s). The ethical, even sexual implications of this inversion of poetic value are evident in Eliot’s wry aside that “la poésie pure, that kind of purity came easily to Poe” (CC ).
Eliot’s assertion here is, strictly speaking, tautological, yet his rhetorical error promotes the putative truthfulness of his claim by means of its performative reiteration. Many of Eliot’s essays subsequent to “Tradition and the Individual Perversion Talent” continue his critique of perversion as a swerve from what he believed was the proper object of poetry – the poem as an aesthetic object – toward the expression of the poet’s personality. Among the instances of such perversity in Eliot’s critical prose is John Donne.
Aristotle had none of these impure desires to satisfy; in whatever sphere of interest, he looked solely and steadfastly at the object” (SW ). Aristotle’s analytical method possesses an ethical value for Eliot as a stepping-stone to ascetic purity. “The end of the enjoyment of poetry is a pure contemplation from which all the accidents of personal emotion are removed; thus we aim to see the object as it really is” and, through “a labour of the intelligence, . . to attain that stage of vision amor intellectualis Dei” (SW –).