Weeks 10-12
Modernism:
What does 'The Wasteland' mean?
1) how has it been interpreted? (cite examples)
2)what are some of the key features
3) In what way has it been influential
Post-Modernism
1) What common qualities do 'the beats' share? Why 'beats'?
2) How is beat poetry linked to rap?
3) How was Bob Dylan's 'Masters of War' involved in controversy during the Bush administration?
4) On what grounds was 'Howl' accused of being obscene - grounds for the defense?
5) What kind of protest song/rap other media have come out in the last decade? Is there a spirit of protest anymore?
What does 'The Wasteland' mean?
1) how has it been interpreted? (cite examples)
2)what are some of the key features
3) In what way has it been influential
Post-Modernism
1) What common qualities do 'the beats' share? Why 'beats'?
2) How is beat poetry linked to rap?
3) How was Bob Dylan's 'Masters of War' involved in controversy during the Bush administration?
4) On what grounds was 'Howl' accused of being obscene - grounds for the defense?
5) What kind of protest song/rap other media have come out in the last decade? Is there a spirit of protest anymore?
What does “The Waste Land” mean?
ReplyDelete1. How has it ben interpreted? (cite examples)
2. What are some of the key features?
3. In what way has it been influential?
Written in 1922, so only four years after World War 1, the fragmented, juxtaposition of ideas, cultures and literature portrayed in “The Waste Land” is a supposed reflection of a post-war society, one in which the human psyche had been drastically muddled (Lewis, 2007). Eliot himself described the poem as “the relief of a personal and wholly insignificant grouse against life…just a piece of rhythmical grumbling.”
Menand (1987) interpreted “The Waste Land” to be Eliot’s understanding of modern society, a reflection of Western tradition; that is, the cycle in which ideas are recycled to the point that the original meaning is unknown. From my understanding, this means that society, as a whole, is not necessarily in touch with our cultures or beginnings anymore, and our current fickle interests limit our appreciation and understanding for past literature in particular. Therefore, the incorporation of literary phrases and cultural motifs in “The Waste Land” are considered an attempt to create new meanings for old messages more suitable for our generation (Menand, 1987). Levenson (1984) had a similar interpretation, suggesting “The Waste Land” reflects Eliot’s belief that every experience, perspective and personality are distinct, but not to the extent that they cannot be combined to become a new concept.
For example, Eliot’s incorporation of both Buddha and Augustine in the final lines of “The Fire Sermon” prove to support this interpretation: “Fragments of the Buddha and Augustine combine to make a new literary reality which is neither the Buddha nor Augustine but which includes them both.” (p. 17).
The key features of “The Waste Land” that make it so difficult to interpret include a series of alternating pronouns and points of view and the countless allusions to historic literature, which Eliot himself references in the notes.
The alternating pronouns are most obvious in the first stanza. Beginning with “summer surprised us….we stopped in the colonnade…” (8-9), one assumes the identity of the speaker is stable (Levenson, 1984). However the poem furthers to a line of German: “Bin gar keine Russin, stamm’ aus Litauen, echt deutsch,” which throws the understanding of the reader. Then suddenly, “And I was frightened. He said, Marie, Marie, hold on tight…” “The Waste Land” proves provocative due to its daring inability to stick to one stream of consciousness, which is a reflection of Eliot’s desire to combine fragments of different perspectives in order to create a new reality.
Eliot’s allusions to historic literature are also significant. Referencing Ovid’s “Metamorphoses”, Marvell’s “To His Coy Mistress” and the mythical Tiresias, Eliot attempts to meld together significant elements of past generations to not only promote a revised and modern understanding of them, but so as to ensure their importance is not forgotten in a changing world.
“The Waste Land” is considered a significant influence over later modernist poets, including Wilfred Owen, Rupert Brooke and W.B. Yeats. As “The Waste Land” has been understood to reflect the disturbed and hopeless morale of post-war society, work by other poets soon addressed similar issues to confront society with its own decline. Owen’s “Futility” addresses the physical and emotional effects of the First World War, though in a less ‘comical’ way than Eliot (Abrams, 1979). “The Soldier” by Brooke again addresses the deterioration of humanity after war, and Yeats’ “Sailing to Byzantium” discusses society’s disconnection from culture and spirituality, as Eliot’s “The Waste Land” too implies (Abrams, 1979).
Lewis, P. (2007) The waste land. Retrieved June 8, 2015, from http://modernism.research.yale.edu/wiki/index.php/The_Waste_Land
DeleteLevenson, M. (1984). A genealogy of modernism: A study of English literary doctrine. Cambridge: Cambridge University Press
Menand, L. (1987). Discovering modernism: T.S. Eliot and his context. Oxford University Press
Shmoop Editorial Team. (2008, November 11). The Waste Land Summary. Retrieved June 9, 2015 from http://www.shmoop.com/the-waste-land/summary.htm
Abrams, M. H., & Greenblatt, S. (1979). The Norton anthology of English literature. New York: Norton and Company
Great response! It's good to see someone has answered this question because to be honest I struggled with this question which is why I didn't end up choosing it myself. You've referenced this entry really well :) I would love to know what your personal thoughts on 'The Wasteland' are?
DeletePost Modernism:
ReplyDelete2) How is beat poetry linked to rap?
New York City was the city key in the birth of 'beat poetry' which happened during the 1940's. Although NYC created the movement, poets from San Francisco raised 'beat poetry' through the 1950's and 1960's. Writers such as Allen Ginsburg and Gary Snyder questioned mainstream culture during this time and wanted to make a statement about it (Poets.org, 2004). Beat poetry was a form of expression where artists were able to say what they thought about the world – in a non PC way. It was about standing up against the sterile environment that was left after the Second World War. Sex, drugs and controversial opinions were the hot topics in beat poetry (Rahn, 2011). Allen Ginsburg’s ‘Howl’ was the defining point in ‘beat literature’ as it was obscene compared to anything else on the literature market. Graphic mentions of sex and drugs were littered throughout the poem, it was a revolution in writing. The world was changing and the people in it were beginning to develop modernized views.
In the 60’s Bob Dylan emerged and turned ‘beat poetry’ into music. His goal was to share important views and opinions he had on the world in his songs. In ‘Subterranean Homesick Blues’ Dylan writes about underground drug culture and a corrupt government “Johny's in the basement, Mixing up the medicine, I'm on the pavement, Thinking about the government” (Dylan, 1965). This was the first instance in the music world where a musician chose to go against the grain and speak out about something they believed in. Bob Dylan was revolutionary.
Rap started to develop around the late 1980’s with artists such as Run DMC and MC Hammer. Run DMC had a heavy focus on adding the ‘beat’ element to ‘beat poetry’ with the use of electronic sounds and instrumentals. The lyrics were relatively light hearted compared to Bob Dylan’s but the element of rhyme and sound was now being introduced to ‘beat poetry’. MC Hammer further developed the beginnings of rap music and its transition from poetry to what we know today as ‘rap music’. His lyrics had a focus on women, sex and having fun – a personal expression which had only been introduced previously in beat poetry and in rock and roll music. In the 1990’s is where beat poetry and rap music can be closely linked together. Artists such as Tupac, Ice Cube, Snoop Dogg, LL Cool J and plenty more began to dominate the rap music scene with lyrics that were made to raise eyebrows, with extremely similar intentions as beat poetry.
Beat poetry can also be linked to modern rap as well, with extreme tones of misogyny attached to it as well. Chris Brown, Tyga, The Weeknd and 50 Cent are some of the rap music games biggest players who still hold plenty of elements to beat poetry in their music. Beat poetry and rap are like cousins, from the same family but not exactly alike.
References:
Dylan, B. (1965). Subterranean Homesick Blues. Retrieved June 12, 2015, from http://www.azlyrics.com/lyrics/bobdylan/subterraneanhomesickblues.html
Poets.org. (2004). A brief guide to the Beat Poets. Retrieved June 2, 2015 from http://www.poets.org/poetsorg/text/brief-guide-beat-poets
Rahn, J. (2011). The Beat Generation. Retrieved June 11, 2015 from http://www.online-literature.com/periods/beat.php
Wow your response is highly informative and I like the detail of the rap artists. Whereas my answer is quite vague you go into a great analysis from Beat poetry leading up to modern times. The last line summarizes your piece quite nicely. Great job!
DeleteHow is beat poetry linked to rap?
ReplyDeleteBeat poetry is a writing style which expresses the ‘battle against social conformity and literary tradition.’ Evolving in the mid-1950s and 1960s it garnered popularity in various locations, New York City and on the West Coast, however San Francisco saw it becoming the heart of the movement. Post World War II saw a common dissatisfaction with mainstream politics and culture. A collection of poets, now referred to as the Beat generation saw to defying conventional writing and changing common perception.
The Beat generation were not afraid to address controversial topics such as, the liberation of ‘black people, homosexuals, women, and Native Americans.’ Often under the influence of drugs and alcohol. With many critics at the time harbouring distaste at their lack of censorship and sexual freedom and exploration. The Beat generation became influential among artists in the 1960s, including Bob Dylan and the Beatles.
There is a musical flow that accompanies beat poetry. As it is cited orally, there is an obvious link to rap with its similar oral platforms. Some critics believe the musical beat of jazz in recitation of the poems, make reference to the ‘beat’ title.
The popularity of rap has only increased since its origins, 1970s – 1980. Rap is accompanied with a backing musical sound, and beat poetry not – their voice the only mode of communication. However it can be seen they both attempt to convey messages through their work. Often through their radical ideas and obscene topics that were unconventional at the time. Rap can be seen to glorify sex, power, drugs, alcohol, and gangs. Opposing social conformity, much like Beat poetry, in the exploration of sharing one’s voice in the face of dissatisfaction of the surrounding society. Metaphors are often used in both poetry and rap to convey messages that are interpreted according to the listener or reader.
References
Donohue, C. (n.d.) Similarities & Differences between Poetry and Rap. Retrieved from http://www.ehow.com/info_8508048_similarities-differences-between-poetry-rap.html#ixzz339aTowhv
Poets.org. (2004). A Brief Guide to the Beat Poets | Academy of American Poets. Retrieved from http://www.poets.org/poetsorg/text/brief-guide-beat-poets
Wise Geek. (n.d.). What Is Beat Poetry? Retrieved from http://www.wisegeek.com/what-is-beat-poetry.htm
How was Bob Dylan's 'Masters of War' involved in controversy during the Bush administration?
ReplyDeleteBob Dylan’s lyrics are a protest against President Bush’s decision of Cold War in Iraq in the early 1960’s. Dylan’s songs “felt like warnings the world couldn’t turn away from.”
Dylan wasn’t afraid to throw everything out there, and create an incredible backlash to Bush’s actions. Dylan states: "I've never written anything like that before. I don't sing songs which hope people will die, but I couldn't help it with this one. The song is a sort of striking out... a feeling of what can you do?” (Lavoignat, A. (2013).
The song ‘Masters of War’ is a song of moral judgement and opinion. Many American citizens and Politicians back Bush’s decision but as this song grew popular many grew more aware of the truth behind it. “Like Judas of old, You lie and deceive, A world war can be won, You want me to believe.”
“You hide in your mansion' As young people's blood, Flows out of their bodies, And is buried in the mud.”
On what grounds was Ginsberg's HOWL accused of being obscene, and on what grounds was it defended?
HOWL is a harrowing tale of cheats, prostitutes, and substance abusers. Due to the time it was written in (1950s) it shocked everyone who read it due to the language and slang used. “An obscenity trial which challenged the definition of pornography in America” (Rhan, 2011). “Ferlinghetti and the book stores manager, were charged with disseminating obscene literature, and both were arrested. On October 3, 1957, Judge Clayton W. Horn ruled that the poem was not obscene.” (J. Peters (2006) There were two sides which fought against one another - the beat generation fought freedom of speech in America and the others fought with the Government and censors, to not publicize the controversial poem.
Lavoignat, A. (2013) Bob dylan’s masters of war by Arthur. Retrieved 29 May 29, 2013 from http://prezi.com/rxo2ivmqqams/bob-dylans-masters-of-war-by-arthur/)
Morgan, Bill and Joyce Peters. Howl on Trial.(2006) p. xiii.
4) On what grounds was 'Howl' accused of being obscene - grounds for the defense?
ReplyDeleteAccording to Foudsf (n.d) City Lights published Howl in 1956 and soon the poem, the poet, and the Sun Francisco Rennaisance, or the Beats, were known throughout the country. Foundsf go on to state that ‘when U.S Customs released the paperback version of the Howl that had been printed in London, Ferlinghetti and his partner were arrested by San Francisco police on obscenity charges. According to Mason (n.d) the defendant (Ferlinghetti) was charged with a violation of section 311.3 of the Penal Code of the State of California. The complaint alleged that the defendant did wilfully and lewdly print, publish and sell obscene writings, papers and books, to wit: “Howl and Other Poems.” The grounds for arrest may seem unjustified in today’s society, but during time of the publication of Howl, Howl was understandably considered highly controversial.
Insight into the standards which were considered worthy of praise around the 1950’s in the literary realm is provided by Nobelprise.org (n.d) which highlights that The Nobel Prize in Literature 1950 was awarded to Bertrand Russel in recognition of his varied and significant writings in which he champions humanitarian ideals and freedom of thought. Russel published numerous works on mathematics, philosophy and politics and he lectured at numerous prestigious universities. Works such as those by Russel which sought to develop a better understanding of many academic subjects were highly regarded. One can draw conclusions that during the 1950’s, academic works were the main appreciated types of literature, thus Howl was disregarded, and its content was considered unacceptable as it did not poses academic credibility.
According to Mason, a statement made during in defence of Ferlinghetti made at the trail states ‘the theme of “Howl” presents “unorthodox and controversial idea.” Coarse and vulgar language is used in treatment and sex acts are mentioned, but unless the book is entirely lacking in “social importance” it cannot be held obscene.” Freedom of speech was also a reoccurring theme in regards to Ferlinghetti’s defence. Mason conclude that after a long trial it was ruled not obscene and City Lights was exonerated’ (n.d).
References
Foundsf. (n.d). The howl obscenity trial. Retrieved June 4, 2015, from http://foundsf.org/index.php?title=The_Howl_Obscenity_Trial
Mason. (n.d). Retrieved from http://mason.gmu.edu/~kthomps4/363-s02/horn-howl.htm
Nobelprise.org. (n.d). Bertrand russel: Biographical. Retrieved June 4, 2015, from http://www.nobelprize.org/nobel_prizes/literature/laureates/1950/russell-bio.html