Journal article 1317 views
'Ecstatic or Terrible: "The Waste Land"'s "Criterion of "Sublimity"'
English: the Journal of the English Association, Volume: 60, Issue: 228, Pages: 45 - 65
Swansea University Author: Steven Vine
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DOI (Published version): 10.1093/english/efq039
Abstract
This essay examines 'The Waste Land' (1922) and other poetic and critical works by T. S. Eliot in order to consider the ‘criterion of “sublimity”’ (‘Tradition and the Individual Talent’, 1919) that empowers them. It argues that Eliot’s texts present an abridged version of the sublime that...
Published in: | English: the Journal of the English Association |
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ISSN: | 0013-8215 1756-1124 |
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Oxford
Oxford University Press
2011
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URI: | https://cronfa.swan.ac.uk/Record/cronfa11470 |
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2014-05-15T16:37:24.0305458 v2 11470 2012-06-14 'Ecstatic or Terrible: "The Waste Land"'s "Criterion of "Sublimity"' 8adad05ceecbaab7f4b2be512149b4d7 Steven Vine Steven Vine true false 2012-06-14 FGHSS This essay examines 'The Waste Land' (1922) and other poetic and critical works by T. S. Eliot in order to consider the ‘criterion of “sublimity”’ (‘Tradition and the Individual Talent’, 1919) that empowers them. It argues that Eliot’s texts present an abridged version of the sublime that stops short of the recuperative moment found in the Kantian and Romantic sublimes. While the ‘negative’ moment of the sublime is preserved, any countervailing restoration at the level of reason (Kant) or imagination (Romanticism) is cancelled. Instead of the sublime being found in the reasoning or imagining self, 'The Waste Land' locates the sublime in the ‘intensity’ of modernistaesthetic form and the nightmare of ‘excess’. Redirecting Maud Ellmann’s account of ‘abjection’ in the poem ('The Poetics of Impersonality',1987), the essay builds on Kristeva’s comment that ‘the abject is edged with the sublime’ ('Powers of Horror', 1982) to argue that 'The Waste Land'’s sublime is poised on the border between detritus and meaning, excess and intensity. The essay also draws on Kristeva’s account of ‘melancholia’ in 'Black Sun' (1989) to characterize 'The Waste Land'’s battle with symbolic collapse, and argues that 'The Waste Land'’s ‘criterion of “sublimity”’ resides in its courting of and resistance to symbolic dissolution. Journal Article English: the Journal of the English Association 60 228 45 65 Oxford University Press Oxford 0013-8215 1756-1124 T.S. Eliot, sublime, Romanticism, modernism 1 3 2011 2011-03-01 10.1093/english/efq039 <?xml version="1.0" encoding="UTF-8"?> <crossref_result xmlns="http://www.crossref.org/qrschema/2.0" version="2.0" COLLEGE NANME Humanities and Social Sciences - Faculty COLLEGE CODE FGHSS Swansea University 2014-05-15T16:37:24.0305458 2012-06-14T15:38:36.2719623 Faculty of Humanities and Social Sciences School of Culture and Communication - English Language, Tesol, Applied Linguistics Steven Vine 1 |
title |
'Ecstatic or Terrible: "The Waste Land"'s "Criterion of "Sublimity"' |
spellingShingle |
'Ecstatic or Terrible: "The Waste Land"'s "Criterion of "Sublimity"' Steven Vine |
title_short |
'Ecstatic or Terrible: "The Waste Land"'s "Criterion of "Sublimity"' |
title_full |
'Ecstatic or Terrible: "The Waste Land"'s "Criterion of "Sublimity"' |
title_fullStr |
'Ecstatic or Terrible: "The Waste Land"'s "Criterion of "Sublimity"' |
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'Ecstatic or Terrible: "The Waste Land"'s "Criterion of "Sublimity"' |
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'Ecstatic or Terrible: "The Waste Land"'s "Criterion of "Sublimity"' |
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English: the Journal of the English Association |
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This essay examines 'The Waste Land' (1922) and other poetic and critical works by T. S. Eliot in order to consider the ‘criterion of “sublimity”’ (‘Tradition and the Individual Talent’, 1919) that empowers them. It argues that Eliot’s texts present an abridged version of the sublime that stops short of the recuperative moment found in the Kantian and Romantic sublimes. While the ‘negative’ moment of the sublime is preserved, any countervailing restoration at the level of reason (Kant) or imagination (Romanticism) is cancelled. Instead of the sublime being found in the reasoning or imagining self, 'The Waste Land' locates the sublime in the ‘intensity’ of modernistaesthetic form and the nightmare of ‘excess’. Redirecting Maud Ellmann’s account of ‘abjection’ in the poem ('The Poetics of Impersonality',1987), the essay builds on Kristeva’s comment that ‘the abject is edged with the sublime’ ('Powers of Horror', 1982) to argue that 'The Waste Land'’s sublime is poised on the border between detritus and meaning, excess and intensity. The essay also draws on Kristeva’s account of ‘melancholia’ in 'Black Sun' (1989) to characterize 'The Waste Land'’s battle with symbolic collapse, and argues that 'The Waste Land'’s ‘criterion of “sublimity”’ resides in its courting of and resistance to symbolic dissolution. |
published_date |
2011-03-01T03:13:16Z |
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