By Eliot, Eliot Thomas Stearns; Eliot, Thomas Stearns; Lewis, Wyndham; Pound, Ezra; Pound, Ezra; Lewis, Wyndham; Eliot, Thomas Stearns; Surette, Leon

Whereas those authors' political dispositions are renowned and masses mentioned, earlier stories have didn't correctly examine the encircling political conditions that expert the categorical utopian aspirations in every one writer's works. Balancing an intensive wisdom in their works with an realizing of the political weather of the early 20th century, Leon Surette presents new insights into the motivations and improvement of every writer's respective political postures. goals of a Totalitarian Utopia examines their political observation and their correspondence with one another from 1910s to the Nineteen Fifties. Contextualizing their political proposal in an international via global wars, the nice melancholy, and the Bolshevik Revolution, Surette lines their shared matters and the divergent responses of every of those figures within the historic second to the chance they perceived of democracies turning into the pawns of business and business elites, resulting in struggle and senseless consumerism. all of them leaned towards autocratic recommendations, notwithstanding Pound and Lewis finally admitted their mistakes

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Here again, he invokes Janet’s notion of désagrégation. As with the “dissociation of sensibility,” he locates the “disintegration” 36 Dreams of a Totalitarian Utopia in the seventeenth century – though now he says it began as early as the thirteenth (The Varieties of Metaphysical Poetry, 158, 228). The idea that the two aspect of the human psyche – emotion and intellect – were once “integrated,” but have become “disintegrated” or split apart, is much subtler than Nordau’s crude theory of degeneration, but tends to the similar conclusion that art serves as an index of a society’s cultural health.

Eliot – can be understood as an American conquest of English letters. Although the conquest was certainly not complete, it has been enduring. British writers today are at least as likely to look to American writers as models to imitate, or reputations to challenge, as American writers were to look to British writers in the early years of the twentieth century. No doubt, the change reflects the reversal in relative strengths – economic, military, and cultural – of the respective nations. Britain no longer rules the waves, nor does it determine fashion in cultural affairs for the English-speaking world as it did up until the first Great War.

We can class him as a tentative Pollyanna. For at this time – prior to the Great Depression – he looked to a future in which the malaise of the present would be cured, though he knew not how. ” In the 1915 New Age series “Affirmations,” Pound struck an unqualifiedly optimistic note: “A certain number of fairly simple and now obvious ideas moved the renaissance; their ramifications and interactions are still a force with the people. A certain number of simple and obvious ideas running together and interacting, are making a new, and to many a most obnoxious, art.

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