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Modernist alchemy : poetry and the occult /

The occult has been a source of both ideas and images for modern poets from W.B. Yeats to James Merrill. Poets as diverse as Ezra Pound, H.D., Sylvia Plath, Robert Duncan, and Ted Hughes were both fascinated by, and skeptical of, such phenomena as alchemy and astrology, Ouija boards and Tarot cards,...

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Detalles Bibliográficos
Clasificación:Libro Electrónico
Autor principal: Materer, Timothy, 1940-
Formato: Electrónico eBook
Idioma:Inglés
Publicado: Ithaca : Cornell University Press, 1995.
Temas:
Acceso en línea:Texto completo

MARC

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245 1 0 |a Modernist alchemy :  |b poetry and the occult /  |c Timothy Materer. 
260 |a Ithaca :  |b Cornell University Press,  |c 1995. 
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504 |a Includes bibliographical references (pages 199-210) and index. 
505 0 |a Introduction: Literary Occultism -- 1. Daemonic Images: From W.B. Yeats to Ezra Pound -- 2. Ezra Pound as Magus -- 3. T.S. Eliot: Occultism as Heresy -- 4. H.D.'s Hermeticism: Between Jung and Freud -- 5. Robert Duncan and the Mercurial Self -- 6. Sylvia Plath: Occultism as Source and Symptom -- 7. Ted Hughes's Alchemical Quest -- 8. James Merrill's Romantic Unconscious. 
520 |a The occult has been a source of both ideas and images for modern poets from W.B. Yeats to James Merrill. Poets as diverse as Ezra Pound, H.D., Sylvia Plath, Robert Duncan, and Ted Hughes were both fascinated by, and skeptical of, such phenomena as alchemy and astrology, Ouija boards and Tarot cards, Indian mysticism, the kabbalah, and gnosticism. All of these poets, Timothy Materer says, approached the occult with a modernist sophistication and a self-consciousness that are not entirely credulous nor entirely skeptical. Modernist Alchemy takes a close look at the work of twentieth-century poets whose use of the occult constitutes a recovery of discarded beliefs and modes of thought: Yeats and Plath try to dismiss conventional religion, Hughes captures a sense of adventure, H.D. seeks to liberate repressed concepts, while Duncan and Merrill hunt for a lost understanding of sexual identity which will allow for androgyny and homosexuality. 
520 8 |a Materer ends with Merrill, whose attempt to suspend both doubt and belief marks the culmination of the poetic style initiated by Yeats. 
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