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Your shadow at morning striding behind you<br/> | Your shadow at morning striding behind you<br/> | ||
Or your shadow at evening rising to meet you;<br/> | Or your shadow at evening rising to meet you;<br/> | ||
| − | I will show you fear in a handful of dust.<br/> | + | I will show you fear in a handful of dust (Eliot 474).<br/> |
</blockquote> | </blockquote> | ||
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Jerusalem Athens Alexandria <br/> | Jerusalem Athens Alexandria <br/> | ||
Vienna London <br/> | Vienna London <br/> | ||
| − | Unreal (Eliot)<br/> | + | Unreal (Eliot 483-484)<br/> |
</blockquote> | </blockquote> | ||
Comparing ''The Triumph of Death'' with ''The Waste Land'' serves to interpret the themes of decay, death, and disenchantment as active antagonists of the poem, whereas ''Saint-Séverin'' acknowledges these concepts as structural buttresses of reality. | Comparing ''The Triumph of Death'' with ''The Waste Land'' serves to interpret the themes of decay, death, and disenchantment as active antagonists of the poem, whereas ''Saint-Séverin'' acknowledges these concepts as structural buttresses of reality. | ||
| − | ==Why Covers Matter== | + | =='''Why Covers Matter'''== |
| − | + | The manner by which a person reads a text is largely influenced by the text's appearance, as well as the medium by which the text is consumed. Like Nirvana's album, ''Nevermind'', Eliot's ''Waste Land'' is subject to association with images that may or may not serve as accurate supplements of the text. Contemporary readers of texts like ''The Waste Land'' may be introduced to a new reading of Eliot's poem depending upon which portion is considered for visual interpretation. George Bornstein writes in "How to Read a Page: Modernism and Materiality" that "...the literary work might be said to exist not in any one version, but in all the versions put together. In reading a particular page we would want to know of the other versions of that page and the first step in reading would then be to discover what pages exist with claims on our attention" (Bornstein 6). By using various mediums or versions of texts to analyze literature, readers may offer new perspectives to the ongoing challenge of interpreting literature. To a large degree, humans internalize information based on visual and tactile experiences. Therefore, it is important to regard each piece of a sample of art before claiming to know the integral sophistication of the work in question. | |
| − | ==References== | + | =='''References'''== |
| − | Nirvana. ''Nevermind''. Gefen, 1991. CD. | + | Blessing, Jennifer. "Robert Delaunay." www.guggenheim.org. |
| + | Bornstein, George. "How To Read a Page: Modernism and Material Textuality." 5-31. Course Reading. Print.<br/> | ||
| + | Eliot, T.S. "The Waste Land." ''The Dial''. Nov 1922. 473-485. Print.<br/> | ||
| + | Nirvana. ''Nevermind''. Gefen, 1991. CD.<br/> | ||
| + | Tomlinson, David. "T.S. Eliot and the Cubists." ''Twentieth Century Literature''. Vol. 26, No. 1. 64-81. Print.<br/> | ||
| + | |||
| + | ''Images for both the cover of Nirvana's album "Nevermind" and Pieter Bruegel the Elder's painting, "The Triumph of Death" were taken from Wikipedia's website, and comply with non-free content policy and US copyright laws. The image for Robert Delaunay's "Saint-Severin No. 3" was used for educational purposes from www.guggenheim.org.'' | ||
