Gender, Desire, and Sexuality in T. S. Eliot by Cassandra Laity, Nancy K. Gish

By Cassandra Laity, Nancy K. Gish

Bringing jointly students from a variety of severe methods, this assortment reviews T.S. Eliot's engagement with wish, homoeroticism and feminism in his poetry, prose and drama. particularly, it illuminates the impact of Eliot's poet mom; the dynamic of homosexuality in his paintings; his poetic id with passive hope; and his reception via girl lecturers from the early 20th century to the current. The booklet can be crucial interpreting for college students of Eliot and Modernism, in addition to of queer idea and gender reports.

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Extra resources for Gender, Desire, and Sexuality in T. S. Eliot

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Freud, “Mourning and Melancholia,” 164–79. 28.

10. Mayer, Eliot’s Silent Voices, 201. 11. Carole Seymour-Jones, Painted Shadow: The Life of Vivienne Eliot, First Wife of T. S. Eliot, and the Long-Suppressed Truth about Her Influence on Eliot (New York: Doubleday, 2002), 200; further page references are included in the text. 12. Eve Kosofsky Sedgwick, Between Men: English Literature and Male Homosocial Desire (New York: Columbia University Press, 1985). 13. T. S. Eliot, “In Memoriam,” in Selected Essays (London: Faber and Faber, 1951; rpt. 1991), 332.

27 This refusal of abandonment consists of two conflicting processes: first, the melancholic internalizes the beloved within his ego, thus identifying with and preserving the lost person. Second, he splits off a part of the ego (a part that Freud later calls the superego), which, bearing his denied anger at his loss, torments the other part of the ego that identifies with and preserves the beloved, thereby generating a psychic battle that leads to an impasse. Freud assumed that melancholia is an aberrant response to deprivation – an experience that befalls an already constituted subject who refuses to come to grips with reality – but Judith Butler argues that melancholia is the founding moment of subjectivation.

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