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T. S. ELIOT AND THE CULTURAL DIVIDE

BY DAVID E. CHINITZ

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T. S. ELIOT AND THE CULTURAL DIVIDE BY DAVID E.

CHINITZ PDF

Be the initial which are reading this T. S. Eliot And The Cultural Divide By David E. Chinitz Based on some reasons, reviewing this publication will certainly provide even more benefits. Also you require to review it step by action, page by page, you could finish it whenever and wherever you have time. Again, this on-line publication T. S. Eliot And The Cultural Divide By David E. Chinitz will certainly offer you simple of reading time and task. It likewise provides the encounter that is budget friendly to reach as well as obtain greatly for better life.

From the Inside Flap

The modernist poet T. S. Eliot has been applauded and denounced for decades as a staunch champion of high art and an implacable opponent of popular culture. But Eliot's elitism was never what it seemed. T. S. Eliot and the Cultural Divide refurbishes this great writer for the twenty-first century, presenting him as the complex figure he was, an artist attentive not only to literature but to detective fiction, vaudeville theater, jazz, and the songs of Tin Pan Alley.

David Chinitz argues that Eliot was productively engaged with popular culture in some form at every stage of his career, and that his response to it, as expressed in his poetry, plays, and essays, was ambivalent rather than hostile. He shows that American jazz, for example, was a major influence on Eliot's poetry during its maturation. He discusses Eliot's surprisingly persistent interest in popular culture both in such famous works as The Waste Land and in such lesser-known pieces as Sweeney Agonistes. And he traces Eliot's long, quixotic struggle to close the widening gap between high art and popular culture through a new type of public art: contemporary popular verse drama.

What results is a work that will persuade adherents and detractors alike to return to Eliot and find in him a writer who liked a good show, a good thriller, and a good tune, as well as a "great" poem.

About the Author

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Download: T. S. ELIOT AND THE CULTURAL DIVIDE BY DAVID E. CHINITZ PDF

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T. S. ELIOT AND THE CULTURAL DIVIDE BY DAVID E.

CHINITZ PDF

For decades T. S. Eliot has been applauded and denounced as a staunch champion of high art and an implacable opponent of popular culture. But Eliot's elitism was never what it seemed. T. S. Eliot and the Cultural Divide represents this great writer as the complex figure he was, an artist attentive not only to literature but also to detective fiction, vaudeville theater, jazz, and the songs of Tin Pan Alley.

David Chinitz argues that Eliot was productively engaged with popular culture in some form at every stage of his career, and that his response to it, as expressed in his poetry, plays, and essays, was dynamic rather than hostile. He shows that American jazz, for example, was a major influence on Eliot's poetry during its maturation. He discusses Eliot's surprisingly persistent interest in popular culture, both in such famous works as The Waste Land and in such lesser-known pieces as Sweeney Agonistes. And he traces Eliot's long, quixotic struggle to close the widening gap between high art and popular culture through a new type of public art: contemporary popular verse drama.

What results is a work that will persuade adherents and detractors alike to return to Eliot and find in him a writer who liked a good show, a good thriller, and a good tune, as well as a "great" poem.

Sales Rank: #3491984 in Books ●

Published on: 2005-12-01 ●

Original language: English ●

Number of items: 1 ●

Dimensions: 9.00" h x .70" w x 6.00" l, .82 pounds ●

Binding: Paperback ●

274 pages ●

From the Inside Flap

The modernist poet T. S. Eliot has been applauded and denounced for decades as a staunch champion of high art and an implacable opponent of popular culture. But Eliot's elitism was never what it seemed. T. S. Eliot and the Cultural Divide refurbishes this great writer for the twenty-first century, presenting him as the complex figure he was, an artist attentive not only to literature but to detective fiction, vaudeville theater, jazz, and the songs of Tin Pan Alley.

David Chinitz argues that Eliot was productively engaged with popular culture in some form at every stage of his career, and that his response to it, as expressed in his poetry, plays, and essays, was ambivalent rather than hostile. He shows that American jazz, for example, was a major influence on Eliot's poetry during its maturation. He discusses Eliot's surprisingly persistent interest in popular culture both in such famous works as The Waste Land and in such lesser-known pieces as Sweeney Agonistes. And he traces Eliot's long, quixotic struggle to close the widening gap between high art and popular culture through a new type of public art: contemporary popular verse drama.

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1 of 1 people found the following review helpful. Superb

By Wayne Dynes

After the death of T. S. Eliot in 1965, his reputation as a poet and critic, once stratospheric, began a long descent, abetted by the postmodernist attack on modernism, of which Eliot ranked as a canonical exemplar. In recent years, Eliot's reputation has begun to revive. David E. Chinitz' book is a remarkable contribution to this revival. It convincingly demolishes the image of the poet as a dull, judgmental figure, showing many aspect of contact with popular culture. Writing with deft strokes, Mr. Chinitz seems to have read everything, always deploying his erudition strategically. This book may well rank as the most important critical work ever published on the poet.

13 of 13 people found the following review helpful. Not your grandfather's T.S. Eliot . . .

By A reader from San Diego

I learned a great deal from this extremely readable book, which argues

that Eliot should be viewed through the lens of his relationship with

popular culture and not just as a literary highbrow. Chinitz shows how

Eliot has been constructed over time by critics and others as an elitist

or stuffy intellectual, and he develops his own intriguing portrayal of

Eliot as someone who wanted to, tried to, and often but not always

succeeded in crossing the "cultural divide," that space between high art

and popular culture. He doesn't just point out pop culture references in

Eliot's work; he also very effectively reveals how various sources,

ranging from popular songs and plays to comedians and comic strips,

influenced Eliot's poetry, his ideas, and the path of his career. The

book leaves you feeling that Eliot needs to be reinterpreted and newly

understood. I found Chinitz's writing style very accessible and

"user-friendly" as well as entertaining.

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not have to go someplace to check out guides. You can read this publication T. S. Eliot And The Cultural Divide By David E. Chinitz every single time and every where you really want. Even it remains in our extra time or sensation bored of the jobs in the workplace, this is right for you. Obtain this T. S. Eliot And The Cultural Divide By David E. Chinitz now as well as be the quickest individual that finishes reading this book T. S. Eliot And The Cultural Divide By David E. Chinitz

From the Inside Flap

The modernist poet T. S. Eliot has been applauded and denounced for decades as a staunch champion of high art and an implacable opponent of popular culture. But Eliot's elitism was never what it seemed. T. S. Eliot and the Cultural Divide refurbishes this great writer for the twenty-first century, presenting him as the complex figure he was, an artist attentive not only to literature but to detective fiction, vaudeville theater, jazz, and the songs of Tin Pan Alley.

David Chinitz argues that Eliot was productively engaged with popular culture in some form at every stage of his career, and that his response to it, as expressed in his poetry, plays, and essays, was ambivalent rather than hostile. He shows that American jazz, for example, was a major influence on Eliot's poetry during its maturation. He discusses Eliot's surprisingly persistent interest in popular culture both in such famous works as The Waste Land and in such lesser-known pieces as Sweeney Agonistes. And he traces Eliot's long, quixotic struggle to close the widening gap between high art and popular culture through a new type of public art: contemporary popular verse drama.

What results is a work that will persuade adherents and detractors alike to return to Eliot and find in him a writer who liked a good show, a good thriller, and a good tune, as well as a "great" poem.

About the Author

David E. Chinitz is associate professor of English at Loyola University Chicago.

References

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