Artboard 33Artboard 16Artboard 18Artboard 13Artboard 42Artboard 21Artboard 4Artboard 5Artboard 45Artboard 22Artboard 7Artboard 42Artboard 23Artboard 12Artboard 28Artboard 17?Artboard 28Artboard 43Artboard 49Artboard 47Artboard 15Artboard 32Artboard 6Artboard 22Artboard 5Artboard 25Artboard 1Artboard 42Artboard 11Artboard 41Artboard 11Artboard 23Artboard 10Artboard 4Artboard 9Artboard 6Artboard 8Artboard 7Artboard 3Artboard 12Artboard 25Artboard 34Artboard 43Artboard 44Artboard 16Artboard 24Artboard 13Artboard 5Artboard 24Artboard 31Artboard 1Artboard 12Artboard 27Artboard 30Artboard 36Artboard 44Artboard 9Artboard 17Artboard 6Artboard 27Artboard 30Artboard 29Artboard 26Artboard 2Artboard 20Artboard 35Artboard 15Artboard 14Artboard 50Artboard 26Artboard 14Artboard 40Artboard 21Artboard 10Artboard 37Artboard 46Artboard 33Artboard 8

Eliot'apos;s Objective Correlative (Cód: 9786193)


Chicago Review Press Inc DBA Independent Pub Grp (Livros Digitais)

Ooops! Este produto não está mais a venda.
Mas não se preocupe, temos uma versão atualizada para você.

Ooopss! Este produto está fora de linha, mas temos outras opções para você.
Veja nossas sugestões abaixo!

R$ 42,84

em até 1x de R$ 42,84 sem juros


Em até 1x sem juros de

Cartão Saraiva:


Em até 1x sem juros de

Eliot'apos;s Objective Correlative



Eliot’s dictum about the objective correlative has often been quoted but rarely analysed. This book traces the maxim to some of its sources and places it in a contemporary context. Eliot agreed with Locke about the necessity of sensory input, but for a poet to be able to create poetry, the input has to be processed by the poet’s intellect. Respect for control of feelings and order of presentation were central to Eliot’s conception of literary criticism. The result – the objective correlative – is not one word, but “a scene” or “a chain of events”. Eliot’s thinking was also inspired by late 19th century French critics like Gautier and Gourmont, whose terminology he not infrequently borrowed. But he chose the term “objective” out of respect for the prestige that still surrounded the Positivist paradigm. … In its break-away from Positivist dogmas, criticism of art in the early 20th century was very much preoccupied with form. In poetry, that meant focus on the use and function of the word. That focus is perceptible everywhere in Eliot’s criticism. Even though the idea of the objective correlative was not an original one, Eliot’s treatment of it is interesting because he sees a seeming truism (“the right word in the right place”) in a new light. He never developed the theory, but the thought is traceable in several of his critical essays. On account of its categorical and rudimentary form, the theory is not unproblematic: whose fault is it if the reader’s response does not square with the poet’s intention? And indeed, Eliot’s own practice belies his theory – witness the multifarious legitimate interpretations of his poems.


Peso 0.00 Kg
Produto sob encomenda Sim
Marca Chicago Review Press Inc DBA Independent Pub Grp (Livros Digitais)
Número de Páginas 88 (aproximado)
Idioma 337
Acabamento e-book
Territorialidade Internacional
Formato Livro Digital Epub
Gratuito Não
Proteção Drm Sim
Tamanho do Arquivo 768
Início da Venda 01/10/2013
Código do Formato Epub
Cód. Barras 9781782840343
Ano da Publicação 2012