000			03666cam a2200433Ii 4500
001			ocm32055128
003			OCoLC
005			20240726102044.0
008			950227t19941993onc b 001 0 eng d
020			_a9780773512436
040			_aCBY _beng _erda _cCBY _dOCL _dOCLCQ _dYDXCP _dOCLCG _dBAKER _dDEBSZ _dCNCGM _dOCLCQ _dGEQ _dDEBBG _dS4S
043			_ae------
049			_aSBIM
050	0	4	_aPN56
050	0	4	_aPN56.S961.B578 1994
100	1		_aSurette, Leon, _e1
245	1	4	_aThe birth of modernism : _bEzra Pound, T.S. Eliot, W.B. Yeats, and the occult / _cLeon Surette. _hPR
250			_afirst pbk. edition.
260			_aMontreal ; _aBuffalo : _bMcGill-Queen's University Press, _c(c)1994.
300			_axi, 320 pages ; _c23 cm.
336			_atext _btxt _2rdacontent
337			_aunmediated _bn _2rdamedia
338			_avolume _bnc _2rdacarrier
504			_a1 (pages 291.-305) and index.
520	8		_aAnnotation _bIn The Birth of Modernism Leon Surette offers a radical revision of our understanding of high modernism. Acknowledging that current post-modern and theoretical critiques have provoked fresh examination of the high culture of the first half of this century, Surette rejects their characterization of modernism as positivistic and absolutist, despite the statements in the 1920s of modernists such as Pound, Eliot, and Joyce. He also rejects the diametrically opposed New Critical view of modernism as sceptical and relativistic. Through an explanation of both familiar and little-known theoretical writings of the late nineteenth and early twentieth century - the work of Friedrich Nietzsche receives particular attention - Surette develops a portrait of modernism that demonstrates its continuity with American transcendentalism, French symbolisme, and English aestheticism. His account is, in many ways, a revival of an early view of modernism as the heir of symbolisme, but Surette documents, for the first time, the origins of modernist aesthetics in the occult. Yeats' occultism has long been acknowledged, but this is the first study to show that Pound's early intimacy with Yeats was based largely on a shared interest in the occult sciences, and that Pound's epic of the modern age, The Cantos, is a deeply occult work. To substantiate these claims Surette formulates a theory of the occult and analyses the occult speculations of several of Pound's close associates during his London years, relating these to the work of influential Continental occultists and Wagnerians. The author also examines the place of myth and mythopoeia in modernist literature. He scrutinizes the complex provenance of thetheories of myth, to which modernists and their apologists appeal, and demonstrates that positive anthropology, Nietzschean philology, Wagnerian opera, symbolisme, and occultism all contribute to the theories expressed by Pound and.
530			_a2
600	1	0	_aPound, Ezra, _d1885-1972 _xCriticism and interpretation.
600	1	0	_aEliot, T. S. _q(Thomas Stearns), _d1888-1965 _xCriticism and interpretation.
600	1	0	_aYeats, W. B. _q(William Butler), _d1865-1939 _xCriticism and interpretation.
650		0	_aModernism (Literature) _zEurope.
650		0	_aEuropean literature _y20th century _xHistory and criticism.
650		0	_aEuropean literature _y19th century _xHistory and criticism.
653	0		_aModernism
907			_a.b1598025x _b01-04-12 _c06-10-11
942			_cBK _hPN _m1994 _e _i2018-07-14 _k0.00
998			_acim _b01-04-12 _cm _da _e- _feng _gonc _h0
994			_aC0 _bSBI
945			_g1 _i31923001486840 _j2 _lcimc _o- _p0.00 _q- _r- _s- -- _t61 _u1 _v0 _w1 _x0 _y.i18810408 _z06-10-11
999			_c33849 _d33849
902			_a1 _bCynthia Snell _c1 _dCynthia Snell