The main aim of this article is twofold: first, to uncover the theoretical significance of Walter Benjamin’s critical revaluation of Bergson, Proust, and Freud, who shed new light on the understanding of memory, and secondly, to re-read Eliot’s poetry in the context of Benjamin’s ideas of modernity and memory. In “On Some Motifs of Baudelaire,” Benjamin highly values Bergson’s Matière et mémoire as a ground-breaking work in understanding how perception and memory co-operate. In À la recherche du temps perdu, Proust reworks Bergson’s pure memory by illuminating that memory is in essence involuntary. However, both of them, Benjamin argues, fail to address the historical and social characters of memory. By channelling Bergson’s pure memory and Proust’s involuntary memory into Freud’s insightful idea that consciousness and memory are mutually exclusive, Benjamin finally locates a historical/social schema of memory. Conscious remembering or the voluntary memory is devoid of the creative and redemptive force of the involuntary memory, and becomes the main form of memory in the age of high capitalism when Erlebnis (everyday lived experience), not Erfahrung (genuine experience), is overwhelmingly dominant. What Benjamin calls Erlebnis and its memory are problematized in Eliot’s early works, including some of his unpublished poems as well as “Boston Evening Transcript,” “Rhapsody on a Windy Night,” and other published ones. In “Goldfish,” the traces of a young man’s past experiences are deployed as allegorical signs that visualize the meaningless daily routine and its “dead” memory. For Eliot, as for Benjamin, a symptom of modernity is that people increasingly tend to experience the world indirectly through newspapers and other news sources. Distancing themselves from their communities, urban people are, as presented in “Boston Evening Transcript,” controlled and, even, enslaved by newspapers, and real, felt, embodied experiences sharply decline in modern cities full of sensational and shocking news. “Rhapsody on a Windy Night,” on the other hand, presents a young man’s longing for genuine experiences that may transgress the logic of rationality, calculation, and discipline. However, imprisoned in the modern world, where his memory as well as his body functions as an automatic machine and even the moon is transfigured into a prostitute whose re/usable body, like a factory worker’s, is sold in the market, he fails to carve out a space/time of difference or redemption.

This paper investigates teaching The Waste Land to both undergraduate and graduate students at Andong National University in Korea from personal and pedagogical perspectives. First of all, the correct translation of the original text into Korean Language is very crucial in the appreciation of T. S. Eliot’s modernist masterpiece. Incorrectly translated words or phrases by several prominent translators are noted and the correct or more appropriate translations are thoroughly indicated. The poem’s theme that immoral sexuality is death is explored mainly by biographical and mythological-archetypal criticism. In addition to the Tarot cards, quite a lot of pictures I took in such places as London, Kew, Starnbergersee, Hofgarten, Lac Léman, Vienna, etc mentioned in The Waste Land are used to enhance the pedagogical effect. Furthermore, my blog entitled “Flowers, Nature, Travel, and Poetry” (http://blog.paran.com/blueskyflowers) in Korean and the cassette tape, video and DVD containing T. S. Eliot’s voice and vision are also strongly recommended for this purpose.

is paper tries to identify the deep meaning beneath the seemingly chaotic opposites the surface structure of the poem seems to insinuate. The fact is that The Waste Land is not so much a post-modern poem as a pre-modern one, provided we acknowledge that pre-modernity has trust as its hermeneutical principle. The Waste Land can be compared with Hopkins’ “God’s Grandeur”, which uses resurrection epistemology, as opposed to the extinct immanent epistemology, to demonstrate to the intellects the providence of God revealed in their lives and their environment. Like the resurrection epistemology of the 19th century, Eliot’s poem demonstrates the existence and working of God among themselves, in spite of the negativity of death and unreality prevalent in the modern world. Broadly speaking, modern scholarships of T. S. Eliot have been made with special reference to post-modern poetry, since there appear a lot of opposites in his poem. Appended for the explanation of the poem, “Notes” to The Waste Land use the languages of philology and impressionism in an exclusively confusing way, twisting the reading of the text into a worse confusion, with the result that it does not shed any light on the explanation of the poem. Chapman’s theory of doubleness the poet frequently resorts to in the making of his poetic works, points to the specific perspective beyond the ambiguity and chaos prevailing in the poem. Special reading strategy is in dire need for the right understanding of the text. Every reader approaching his text must retain the hermeneutics of trust, which is the “leap of faith.” With the hermeneutics of trust, every reader can penetrate into “the third” in the text, which can be identified as Jesus Christ whom the disciples met on the way to Emmaus. Without proper reader’s response, the reading practice itself would be futile and unreal, because the subjects it tackles are concerned aboutthe great proposition, salvation.

In the 1910s and 1920s, T. S. Eliot had frequently made interesting remarks on politics and commented on political issues through literary journalism. In his writings, he expressed a strong dislike for liberal democracy, a main current of British as well as universal political movements then. After taking up the editorship of The Criterion in 1922, Eliot advanced his opinions persistently against liberal democracy on political and literary issues through the quarterly review.This paper examines Eliot’s political ideas reflected in his various writings in The Criterion right after his conversion to the National Church of England in 1927. This examination finds that the political ideas of Eliot and other contributors in the review have close affinities with those expounded by the French political thinker, Charles Maurras, who was a champion of French monarchism, Classicism, Catholicism, and who condemned liberal democracy after the French Revolution. Although Eliot retained some of his family politics, much of his reactionary ideas against liberal democracy germinates from the thoughts of Maurras. For Eliot, liberal democracy in politics was not conducive to the excellence in the of arts as well as modern culture. However, after the condemnation of Maurras by the Vatican, he turns to Christian politics, which must be in service of the Church.

T. S. Eliot is a tactful poet and dramatist. He makes use of “borrowing” from a huge range of sources, including Indian and Buddhist materials. “Datta, Dayadhvam, Damyata” and “The Fire Sermon” in The Waste Land are typical examples. But they are mere visible tips of the mass. This paper focuses on The Confidential Clerk and observes how he manages the characters in the drama in accord with the personages in the two Buddhist sutras, Vimalakrti-nirdea-sutta and rml-sutta, about which he learnt in Anesaki’s lectures in 1913 at Harvard. (The documents are now kept in the Houghton Library, Harvard University.) Eliot’s characters, Sir Claude and Lady Elizabeth show a close resemblance to King Prasenajit and Queen Mallik, and Lucasta looks like rml, together with Kagan, Ayodhy. Colby’s paternalship to Sir Claude is almost the same with the case of Prasenajit and his son. In this way, the theme of Eliot’s play of a lost and found children is framed and woven stealthily by “authors remote in time, or alien in language.”

T. S. Eliot uses many biblical passages throughout his poetry. Although he changed his faith from the Unitarian church to the Anglican Catholic church in 1927, he extensively uses the Bible to extend poetic significance of his poems. Before he converted into an Anglican Catholic, he mainly incorporates biblical text into his poetry to strengthen religious authority. One of the most important poems in which he poeticizes biblical text is “The Burial of the Dead” of The Waste Land. In The Waste Land, Eliot consistently mixes the prophetic messages of Isaiah, Ezekiel, Ecclesiastes, and John to achieve relative interpretation in “The Burial of the Dead.” However, he does not follow traditional, universal, and absolute interpretations of the Bible in the context of his poetic theme. Rather, he takes biblical text as one of many pluralistic religious poetics. In this sense, his biblical interpretation is plural, relative, and flexible. By using a pluralistic interpretation of the Bible, he extends his poetry into more mythic, philosophic, universal, and religious authority.

In the case of T. S. Eliot, the difference between the use value of literature and its exchange value stems from the philosophical difference between the inner value of literature and its outer value. In the view of literature from an economic value, its exchange for money means the exchange of cultural and literary capital. Yet, it is not easy to ignore Marx’s concern the about the disturbing author’s consciousness of social criticism and his/her communication with reader’s when a literary work exceeds its worth by a critic in terms of commodity fetishism. But, if insight about human beings and society turns out to be a property of capital as a productive added-value, its literary worth is so satisfying that the fetishism of the reader as a consumer for the book cannot be an irrational action towards the market. From such a view, the study of economics of literature in the case of Eliot, gives us an instance in which we can find the use value of humanities in literature and its exchange value in terms of economics. As a poet, critic, and publisher, Eliot can be a most valuable person in literary history necessary for the study of literature in the light of economics. This paper examines Eliot through the effect of unity between literature and economics on the study of economics of literature and its positive elements in market, such as literary production, publication, distribution, and consumption.

T. S. Eliot’s The Varieties 01 Metaphysical Poelry(1993) shows that his interest in metaphysical poetry was not only focused on the seventeenlh century, but it also extended mainly from the thirteenth to nineteenth centuries, so as to examine how a new metaphysical poetry co띠d come into being in his own time. Eliot’s study of Dante Alighieri, John Donne, and Jules Laforgue had both theoretical and pra띠cal purposes. Theoretical1y, he wanted to give a more comprehensive and historical explanation of how sensibility was divided into thought and feeling, and practical1y, he needed to find a new voice for his own metaphysical poetry, although accepting tbat divided sensibility was not to be completely reconciled again. Wbat Eliot meant by “metapbysicality" covers bis own bighest standard of poetry by wbicb the poet sho비d at least consider in his or her background “배e problem of Good and Evi1." In bis current generation, Eliot diagnoses, the problem is almost “forgotlen," whicb is far worse than it being in doubt or disbelief. He tbought evil could even be “a backdoor to Christianity" as in Baudelaire. In his pursuit for contemporary metapbysical poetry, Eliot found some examples in French poetry sucb as Baudelaire, Laforgue, and Corbière. Especially in the poetry of Laforgue he discovered a new ironical voice, which came oul of the chasm between bis “innate craving for order" and his consciousness of an irrecoverably degeneraled sensibility in tbe world.

This lecture for Ihe T. S. Eliot Inlernational Summer School on the grounds of Little Gidding aims 10 reconstrucl Ihe exlent of Eliot's knowledge of Lilt1e Gidding before his firsl visil in May 1936, five years before he began 10 compose lhe poem in luly 1942. In a reading of “Little Gidding," Ihe 1eclure goes on 10 show how E1iol’s fami1iarily wilh Ihe lives and activities of Ihe Nicholas Ferrar family from 1625 10 1937 manifests ilself in the imagery and enhaoces Ihe sense of place and history that he creates in the poem. Drawing upon his correspondence aboul the composition of the poem, particularly his desire 10 build into its texture an “acute personal reminiscence, never to be explicated," the leclure concJudes Ihal “Little Gidding" is in part a love song of great loss and deep regret, and Ihal in the “11 sub1imation of his 10ve for Emily Ha1e, his Beatrice, he comp1etes his own Vita Nuova.

T. S. Eliot’s career began with a struggle between poetry and philosophy. The agon featured Dante, whose work informed Eliot’s earliest poems, and F. H. Bradley, whose thought was 배e subject of his Ph.D. thesis. Eliot's most detailed discussion of the connection between poetry and philosophy is contained in his 1926 Clark Lectures at Cambridge University, published as Varieties of Metaphysical Poetry. He defines the “philosophic poet" in Bradleyean terms as one who 객비arges immediate experience" by “drawing within the orbit of feeling and sense what had existed only in thought" (VMP 55,51). Philosophic poetry is work of the “highest intensity, in which the thought is fused into poetry at a very high temperature" (VMP 50). Eliot argues that Dante’s poetη perfectly i1Iustrates the integration of feeling and intel1igence, both in life and in art. 1n tbis paper, 1 explore Eliot’s allempt to negotiate the c1aims of philosophy and poetry, as represented by Bradley and Dante, and his ultimate decision to abandon a promising career in philosophy for a tenuous career in poetry. Eliot's ambition of becoming a 개bilosophic poet," combining Bradley and Dante, was realized in bis Dantean sequences Ash-Wednesday and Four Quartets.

Unlike the innuence of Beethoven on Eliot, that of Bartók has been relatively ignored. Like-for-like parallels between particular poems and specific píeces of music by both of these composers can be dubious enlerprises, and il will here be inlended 10 avoid such an approach. This article will inslead look al critical work which has been done on the string quarlets of Barlók as a more general voice behind the composition of FOllr QuortelS. As a necessary adjuncl, I1 will also consider Ihe degree to which Eliol would have been familiar with these pieces, by examining Iheir performance history and reception in Britain, as well as inlelleclUal comment generated about them in sources familiar to Eliot. Through some parallel analysis of the poetry and Ihe music, and wilh reference to readings, including Eliot's own, of FOllr QllorlelS, il will also be 311empted 10 show how the principlc of motivic development provides an important connection hetween Eliot’s and Bartók’s compositional techniqucs.

By Ihe "objective correlalive,“ a verbal equivalenl for Ihe poel’s personal experience, T. S. Eliol meanl 10 end the abuse of language which he believed widely spread by the pemlclOus influence of Romanticism and Symbolism. Ironically, howcver, its ongm dates back to the Romantic I Symbolist aesthetes. Amold taught Eliot how to achieve a balance between “the style’‘ and “the subjecl matter." by curbing both Symbolist and Imagist indulgence in stylistic expcriments. Pater, on thc other hand, showed Eliot ho\V to be modem by denying Hegel’s transcendental self, someLhing he al50 leamed directly from the French poets. Even though the quasi-scientilìc tcml strips it of any historical context the exploration of it shows a continuous line which run5 from lhe Romantic' s idea of symbol, through the Symbolists, and into the 페nage" of Poutid and the Imagists. This is the line that slrived 10 make Creation self-sufficient by the indirecl method of evocation, and a line in which Amold and Paler form an important link. The idea of “objective correlalive" belongs to the tradition, starled by Ihe great Romanlic poels, that aimed to overcome Carlesian represenlalional realism as well as subjective idealism. Eliot’s contribulion is in adding further sceplicism aboul Ihe I.ranscendental self and his recognition of Ihe danger that poelic Iranscendence could lum into solipsism.

T. S. Eliot, in one of his later poetic dramas, The Conjìdential Clerk, shows the search for the mistaken identity dealing with lhe discovery of hero' s self for the eternal life in 버e common lives. From the titlc onwards the play also suggests a detective thriller interest concerned with Lhe investigation of a mystery or, at least, some business of a secret, confidential nature. In this respect, lhe elemenls of mystery and lheir function deserve to be analyzed. It appears via the elements of investigal.ion. coincidence. mystjfication, confession etc., which make the play fairly diverting and at the same time suggest symbolically its deeper meaning and lheme. AClually the process of invesligalion receives more extended treatment in this play than in I.he earlier ones. and the suspense is so well maintained that the play definitely achieves a technical smoothness 1101 to be seen in earlier plays. Therefore, this study aims to analyze the myslery lhriller elements of tbe play, The COlljìdential Clerk and investigate how they are used with special reference to its subject matter, the mistaken identity revealed in the process of self-identification through the discovery of self. As seen in the analysis, Eliot makes all the characters take part in the search for the mistaken identity of Colby Simpkins and in particular, lets a detective named Eggerson help M rs Guzzard as witness give evidence. 10 addition, he designs the story so that Eggerson can bring the whole affair to light by getting lhe c1ue to lhe identity problem which plays part in investigation. It matters that the discovery of hero’s true self is made Ihanks 10 the cooperalive efforts of all Ihe characlers in Ihis process, and here Ihe elemenls required 10 invesligation are of great help to structuring the basic frame of Ihe play.

This paper examined how the English Renaissance drama influenced Eliot's early poelry. Many critics like Hugh Kenner and Grover Smith insisted the relalionship between Eliot' s poetη and the English Renaissance drama, but they didn’t tell concretely how Eliot’s poetry was affected by the English Renaissance drama. First, I Iried to examine how the English Renaissance drama affected Eliol's poetry in terms of the form. As some critics indicaled Eliot was a poet who tended to improve the traditional English verse forms and use them. So he learned the blank verse form in lhe English Renaissance drama, improved and used il in his poems especially “Gerontion.'‘ And he used some lechniques like repetition he showed in Ihis poem in his several poems such as “The Love Song of J A lfred PrufTock," and “La Figlia Che Piange." Besides, Eliot used tbe English Renaissance drama as lhe significant source of allusions in his poems. For example, lines 5 and 6 of “Whispers of Immortality" can be associ ated witb Flamineo’s speech of John Webster’s The While Devi/ V. iv. Thus, Eliot Iried to put the concept of tbe deatb in life tbis speech implied in his poem. And he tried to show the speakers' self-dramatization in his early poems Ihat appeared in main characters’ speech in the English Renaissance drama by using these allusions. Thus, he attempted to sho\V the speakers' narcissistic mind that he thought tbe modem men had.

The purpose of lhis paper is to assess the current state of T. S. Eliot’s poems in Korean translation. Academic research on Eliot by Korean scholars began in 1945, and so far three generations of scholars have actively engaged in Eliot studies and translations of his works‘ However, based on my examination of nearly all of the Korean translations of the quoted verse lines appearing in the Journal 01 the T. S. Eliot Society of Korea between 2006 and 2008, and Studies ill Modern 8ritish and American Poetry (2008), I argue that translation endeavors by the second and third generation scholars have not yielded satisfactory results and that the senior group of scholars cannot shirk its responsibility. The problem areas in the translations include choice of words and phrases, tense adjustment, versification and punctuation as well as scene description and poetic imagtnlDg. Followmg a detailed discussion of inappropriate and awkward translations, 1 offer my own translation for comparison if need be.