This sense of belatedness surfaces

This sense of belatedness surfaces in a relatively small number of modernist poems; it is important, however, because the characteristic methods of modernist poems mean that the reader is placed in the position of the observer. Although we can choose the pace, we are overwhelmed with disconnected information which the speaker rarely interprets for us. If we slow the reading process down in order to cope, then we lose the natural pace of the poem. In this regard, modernist poems respond to modernity by reproducing it; but, as we can possess the poem for ever, they also allow us to replay fragmented experiences in slow motion, and to attempt to comprehend them.

While this study does not aim to contextualize modernist poetry, a survey of ideas about the mind may help to bring into focus some of what is going on in modernist poetry. Histories of modernism usually give great prominence to Freud’s ideas about the mind. Freud is significant because he argued that the mind contains a residue of animal drives; that, although we believe ourselves to be rational and civilized beings, our rational behaviour is at the very least vulnerable to being hijacked by our animal drives, and might even be described as powered by them; our most civilized behaviour represents a sublimation of the animal side. The mind then, is divided. However, Freud was far from being the only psychologist to say that the mind is divided; one needs to resist assimilating the other theories to the Freudian one. Many other psychologists theorized about instincts and about the interface between the learned and the instinctual: among the most influential were William James and Henri Bergson.

T. S. Eliot’s “Rhapsody on a Windy Night” (written 1911, published 1915), has in common with “Mid-day” a mood of tension, but the mood is placed within a more complex philosophical framework, and “Rhapsody” draws on a philosophical vocabulary not found in H.D.’s poem. The effect of the vocabulary is to allow connections between its presentation of the processes of mind and the philosophy of Henri Bergson. There is ample evidence to suggest that, not long after writing “Rhapsody,” Eliot began to feel dissatisfied with Bergson’s philosophy, but there is also evidence that he was interested in the philosopher during his period of residence in Paris.

Hasil (Bahasa Indonesia) 1:

Rasa belatedness permukaan dalam jumlah yang relatif kecil modernis puisi; Hal ini penting, namun, karena metode khas modernis puisi berarti bahwa pembaca ditempatkan di posisi pengamat. Meskipun kita dapat memilih kecepatan, kami kewalahan dengan informasi yang terputus yang speaker jarang menafsirkan bagi kita. Jika kita memperlambat proses membaca untuk mengatasi, maka kita kehilangan kecepatan alami puisi. Dalam hal ini, puisi modernis menanggapi modernitas dengan reproduksi itu; tetapi, seperti yang dapat kita miliki puisi selama-lamanya, mereka juga memungkinkan kita untuk replay terfragmentasi pengalaman dalam gerakan lambat, dan berusaha untuk memahami mereka. While this study does not aim to contextualize modernist poetry, a survey of ideas about the mind may help to bring into focus some of what is going on in modernist poetry. Histories of modernism usually give great prominence to Freud’s ideas about the mind. Freud is significant because he argued that the mind contains a residue of animal drives; that, although we believe ourselves to be rational and civilized beings, our rational behaviour is at the very least vulnerable to being hijacked by our animal drives, and might even be described as powered by them; our most civilized behaviour represents a sublimation of the animal side. The mind then, is divided. However, Freud was far from being the only psychologist to say that the mind is divided; one needs to resist assimilating the other theories to the Freudian one. Many other psychologists theorized about instincts and about the interface between the learned and the instinctual: among the most influential were William James and Henri Bergson. T. S. Eliot’s “Rhapsody on a Windy Night” (written 1911, published 1915), has in common with “Mid-day” a mood of tension, but the mood is placed within a more complex philosophical framework, and “Rhapsody” draws on a philosophical vocabulary not found in H.D.’s poem. The effect of the vocabulary is to allow connections between its presentation of the processes of mind and the philosophy of Henri Bergson. There is ample evidence to suggest that, not long after writing “Rhapsody,” Eliot began to feel dissatisfied with Bergson’s philosophy, but there is also evidence that he was interested in the philosopher during his period of residence in Paris.

Hasil (Bahasa Indonesia) 2:

Ini rasa permukaan belatedness dalam jumlah yang relatif kecil dari puisi modernis; penting, namun, karena metode karakteristik puisi modernis berarti bahwa pembaca ditempatkan pada posisi pengamat. Meskipun kita dapat memilih kecepatan, kita kewalahan dengan informasi terputus yang pembicara jarang menafsirkan bagi kita. Jika kita memperlambat proses membaca turun untuk mengatasi, maka kita kehilangan kecepatan alami puisi itu. Dalam hal ini, puisi modernis menanggapi modernitas dengan mereproduksi itu; tapi, seperti yang kita dapat memiliki puisi untuk selama-lamanya, mereka juga memungkinkan kita untuk memutar ulang pengalaman terfragmentasi dalam gerakan lambat, dan mencoba untuk memahami mereka.

Meskipun studi ini tidak bertujuan untuk mengontekstualisasikan puisi modernis, survei dari ide-ide tentang pikiran dapat membantu untuk membawa ke dalam fokus sebagian dari apa yang terjadi di dalam puisi modernis. Sejarah modernisme biasanya memberikan keunggulan besar untuk ide-ide Freud tentang pikiran. Freud ini penting karena ia berpendapat bahwa pikiran berisi residu dari drive hewan; bahwa, meskipun kami percaya diri untuk menjadi makhluk rasional dan beradab, perilaku rasional kami adalah setidaknya rentan untuk dibajak oleh drive satwa kita, dan bahkan mungkin digambarkan sebagai didukung oleh mereka; perilaku paling beradab kami merupakan sublimasi dari sisi hewan. Pikiran kemudian, dibagi. Namun, Freud itu jauh dari menjadi satu-satunya psikolog mengatakan bahwa pikiran terbagi; salah satu kebutuhan untuk melawan asimilasi teori lain untuk satu Freudian. Banyak psikolog lain berteori tentang naluri dan sekitar antarmuka antara belajar dan insting: di antara yang paling berpengaruh adalah William James dan Henri Bergson.

TS Eliot "Rhapsody pada Windy Night" (ditulis tahun 1911, diterbitkan 1915), memiliki kesamaan dengan " tengah hari "suasana hati ketegangan, tapi mood ditempatkan dalam kerangka filosofis yang lebih kompleks, dan" Rhapsody "mengacu pada kosakata filosofis tidak ditemukan dalam puisi HD. Efek dari kosa kata adalah untuk memungkinkan hubungan antara presentasi dari proses pikiran dan filsafat Henri Bergson. Ada banyak bukti yang menunjukkan bahwa, tidak lama setelah menulis "Rhapsody," Eliot mulai merasa tidak puas dengan filsafat Bergson, tetapi ada juga bukti bahwa ia tertarik filsuf selama periode kediamannya di Paris.