Información General

• Autores: Fabio L. Vericat (ed. lit.), Dídac Llorens Cubedo (ed. lit.)
• Editores: Edinburgh University Press
• Año de publicación: 2026
• País: Reino Unido
• Idioma: inglés
• ISBN: 1399541218, 9781399541213
• Texto completo no disponible (Saber más ...)

Resumen

• T. S. Eliot’s writings for the stage have never competed critically on equal terms with his poetry despite his openly stated conviction that the greatest poetry is invariably dramatic and should speak to all audiences. The essays contained in this volume revolve around the question of Eliot’s life-long interest in and later development of verse drama incorporating the latest research and archival resources – most importantly, his recently published letters to Emily Hale. This book fills a gaping hole in the critical appreciation of Eliot’s commitment to drama from the mid-1920s to the end of his career by principally exploring the tensions in his work between the playwright and the poet. It does so by presenting Eliot’s drama as a fruitful ground for the newest critical approaches about an artist who has too long been a prisoner of his persona as the leading poet of Modernism.

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• Red de Bibliotecas Universitarias (REBIUN)

Listado de artículos

• • Part I. Avant-garde

    • T. S. Eliot’s «Sweeney agonistes» and ‘a scenario for a ballet’

      Gabriela M. Minden

      págs. 13-38

      

    • ‘Don’t make it arty’: «Sweeney agonistes» as closet drama and the fashioning of the modernist playwright

      Fabio L. Vericat

      págs. 39-61

      

  • Part II. Ritual

    • A ‘disturbance of the quiet seasons’: Eco-spiritual renewal in «Murder in the cathedral»

      Shannon McClernon

      págs. 65-85

      

    • Ancient feast and urban sacrifice in «The cocktail party»

      Christina J. Lambert

      págs. 86-107

      

  • Part III. The stage

    • «The Rock» on page and stage

      Parker T. Gordon

      págs. 111-139

      

    • ‘Not pulpit oratory’: T. S. Eliot’s audience, christianity and «The family reunion»

      Nicoletta Asciuto

      págs. 140-164

      

  • Part IV. Turn

    • Late to «The family reunion»; or, the loop in time

      Anthony Cuda

      págs. 167-186

      

    • ‘Where is he going?’: «The family reunion», Emily Hale and the uses of hope

      Patrick R. Query

      págs. 187-204

      

  • Part V. Popularity

    • A Yorkshire tragedy? «The family reunion», the twentieth-century crime play and Elizabethan domestic tragedy

      Alex Davis

      págs. 207-229

      

    • The playwright’s progress: Rethinking T. S. Eliot’s comedies

      Dídac Llorens Cubedo

      págs. 230-248