1922: Literature, tradition, Politics examines key elements of tradition and historical past in 1922, a 12 months made recognized via the book of a number of modernist masterpieces, corresponding to T. S. Eliot's The Waste Land and James Joyce's Ulysses. person chapters written by means of major students provide new contexts for the year's major artistic endeavors, philosophy, politics, and literature. 1922 additionally analyzes either the political and highbrow forces that formed the cultural interactions of that privileged second. even though this quantity takes post-World battle I Europe as its leader concentration, American artists and authors additionally obtain considerate attention. In its multiplicity of perspectives, 1922 demanding situations misconceptions concerning the 'Lost Generation' of cultural pilgrims who flocked to Paris and Berlin within the Twenties, therefore stressing the broader impact of that momentous 12 months.
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Additional resources for 1922: Literature, Culture, Politics
If we read the Elegies and Sonnets in the order of their composition, a different “tree” had already been created in the first of the Sonnets to Orpheus, written between the second and fifth of February 1922. This 36 Judith Ryan is the metaphorical tree of Orpheus’s song: “There rose a tree. O purest of transcending / O Orpheus sings! ” (Rilke 1996, 241). Unlike the impermanent tree of the transient acrobats, the tree of Orpheus’s singing is a potent spell that inhabits every part of nature. This conception of Orpheus’s song as ever latent in the world is the reason that, just a few poems later, we are exhorted not to erect a monument to the primal singer (“Erect no monument.
Like Eliot’s long poem, Rilke’s elegies are a learned work, one that relies on numerous poetic and philosophical sources. In this essay, I will focus primarily on the two authors whose names I have used in my fictitious note. ” Given that Rilke wrote most of the Duino Elegies and the entire sequence of Sonnets to Orpheus during periods of intense solitude when his only other occupations were extensive reading and letter writing (in which he tends to comment on his reading), the intertextual character of the works is not surprising.
Le Corbusier’s high modernism derives from the issue that Carl Schmitt also faced in 1922: how to structure the exorbitant new spaces generated by a war that had transformed the world into enormous, excessive, and amorphous “rooms”? There was a formalist answer in a neocubist minimalism, whose staple vocabulary is a crisscrossing pattern of rigid geometrical grids, or a conceptual answer that added an exception to the norm. This was the origin of Schmitt’s thinking at the time: encompassing both the norm of democratic regimes and their exceptions, the sovereign power could decide to suspend all laws.
1922: Literature, Culture, Politics