Learning Path » 5A Interacting

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    Updating about ESC English Programme sent to the clas mouthspeaker

    Carissima Beatrice,

    ti mando la definizione di correlativo oggettivo esattamente come la trovi  al link  da me già inserito a suo tempo nella cartella relativa a l 5 A T.S. Eliot and The Waste Land.

    La puoi mostrare anche ai tuoi compagni che non ricordano di averlo sentito e che ti hanno mandato a riportarmi le loro osservazioni.

     

    The Objective Correlative

    The only way of expressing emotion in the form of art is by finding an 'objective correlative'; in

    other words, a set of objects, a situation, a chain of events which shall be the formula of that

    particular emotion; such that when the external facts, which must terminate in sensory experience,

    are given, the emotion is immediately evoked. (qtd. in J. A. Cuddon's Dictionary of Literary

    Terms, page 647)

     

    Per quanto riguarda invece l'impersonalità dell'artista (jJoyce e Eliot) guarda ancora

     

    from the extract Tradition and Individual Talent

    What happens is a continual surrender of himself as he is at the moment to something which is

    more valuable. The progress of an artist is a continual self-sacrifice, a continual extinction of

    personality.

    There remains to define this process of depersonalization and its relation to the sense of tradition. It

    is in this depersonalization that art may be said to approach the condition of science. I shall,

    therefore, invite you to consider, as a suggestive analogy, the action which takes place when a bit

    of finely foliated platinum is introduced into a chamber containing oxygen and sulphur dioxide.

     

    in T.S. Eliot, The Sacred Wood: Essays on Poetry and Criticism. 1 922.

     

    Impersonality of art

    Eliot showed with Joyce the view that the poet should be detached; indie his central purpose can be described as a search for "impersonality" as he himself called it in his essay Tradition and Individual Talent (1919).

    Detachment is the counterpoise to his deep sense of unreality, or equivocal reality, in personal emotions. In the essay he maintains the idea that an order constituted by all past works of art, the tradition, creates the total meaning of a modern work of art. The new work of art, however, modifies the tradition from which it derives its meaning.

     

    N.B. Il testo indicato come Walter Pater's philosophy The Love of Art for Art's sake ( pag 63-64 da textbook)  avevo già detto a Bredeon e Dean (non possiedo la sua email)  che vi avrei chieso di leggerlo in forma estensiva prima del 15 maggio, proprio il giorno in cui li ho chiamati fuori a controllare il programma.ð questo forse non ve lo avevano detto?

     

    Spero che adesso sia tutto chiaro per tutti.

    Saluti cari.

    MBeltramini

     

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