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Theologies of Crisis in British Literature of the Interwar Period.

机译：两次世界大战期间英国文学的危机神学。

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摘要

My dissertation shows how the work of a range of interwar British poets---T. S. Eliot, David Jones, and W. H. Auden---grew out of a serious and sustained reading of then-contemporary Christian theology. In the 1930s and 1940s, poets read theologians (and oftentimes wrote about them in literary reviews), and theologians read poets (and reflected upon them in their own work). For these poets, religious belief involved not just emotional but intellectual assent, and contemporary theologians like Karl Barth and Reinhold Niebuhr provided an example of how human language and reason could engage meaningfully with divine truth. The story of this interdisciplinary conversation has not been told before, and it changes how we read both the literature and the broader intellectual history of the period.;My first chapter, "The 'Living Theology' of the Criterion," examines the presence of theological discourse within interwar literary periodicals. In the Criterion, the TLS, and other interwar magazines, Karl Barth's theology was discussed side-by-side with Auden's poetry and Catholic sacramentalism was marshaled as a coherent defense of modernist aesthetics. As I argue, to be a reader of modernist magazines was to be familiar with contemporary theological debates. Chapter 2, '"The Twice-Broken World': T. S. Eliot, Karl Barth, and the Poetics of Christian Revelation," moves from Eliot's editing practices to his poetry, comparing Eliot, arguably the twentieth century's most influential poet, to Barth, arguably the century's most influential theologian. Barth's dialectical theology focused on the abyssal gap separating God from man, and I argue that Eliot's Four Quartets does the same. For Eliot as for Barth, grace obliterates rather than perfects nature, and we are left less with a world charged with the grandeur of God than with a world mourning God's absence.;Chapter 3, "Sacramental Theology and David Jones's Poetics of Torsion," argues that Jones's The Anathemata puts into poetic form the theological thought of the French Jesuit Maurice de la Taille. More specifically, I look at what I call Jones's poetics of torsion, his regular wrenching of words into new functions: the noun "tabernacle" becomes the participle "tabernacled," for instance, and a ship is described as "cogginged, tenoned, spiked." This stylistic tic, I argue, created a distinctively sacramental poetics, moving away from predication and description---x was like y---and towards enactment and action---x y'ed. Finally, in chapter 4, "Auden's Meanwhile," I read Auden's poetry of the 1940s through the lens of Reinhold Niebuhr's theology of history. Where the young Auden saw history as apocalypse, the late Auden, channeling Niebuhr, sees history as the meanwhile; he examines not the imminent end-of-days but the frustrating gap separating the City of Man from the City of God. While Eliot and Jones examine theology's vertical tension---the relation between immanence and transcendence---Auden's For the Time Being, "Memorial for the City," and other explicitly Christian poems explore theology's horizontal tension---the relation between the fallen now and the perfected future.
机译：我的论文显示了一系列战间英国诗人T的工作。 S. Eliot，David Jones和W. H. Auden-源自对当代基督教神学的认真而持续的阅读。在1930年代和1940年代，诗人阅读神学家（并且经常在文学评论中写他们），神学家阅读诗人（并在他们自己的作品中对其进行反思）。对于这些诗人来说，宗教信仰不仅涉及情感上的同意，还涉及智力上的同意，而当代的神学家如卡尔·巴特（Karl Barth）和莱因霍尔德·尼布尔（Reinhold Niebuhr）提供了一个示例，说明了人类语言和理性如何有效地与神圣真理相结合。这种跨学科对话的故事以前从未被讲述过，它改变了我们阅读文学和该时期更广泛的知识史的方式。；我的第一章“准则的'生活神学'”探讨了战际文学期刊中的神学话语。在《准则》，《 TLS》和其他两次战争杂志中，卡尔·巴特的神学与奥登的诗歌并列讨论，天主教圣礼被封为现代主义美学的连贯辩护。正如我所说，要成为现代主义杂志的读者，就要熟悉当代神学辩论。第2章，“两次破碎的世界：TS艾略特，卡尔·巴特和基督教启示诗学”，从艾略特的编辑手法转向他的诗歌，将艾略特（可以说是二十世纪最有影响力的诗人）与巴特（可以说是）相提并论。本世纪最有影响力的神学家。巴特的辩证神学专注于将上帝与人分开的深渊鸿沟，我认为艾略特的《四重奏》也是如此。对于艾略特和对巴斯来说，恩典抹杀而不是完美自然，我们所受的世界比上帝更伟大，而不是哀悼上帝缺席的世界。；第三章，“圣礼神学和戴维·琼斯的《扭转的诗学》，”认为琼斯的《歌剧集》将法国耶稣会士莫里斯·德拉泰耶尔的神学思想化为诗意形式。更具体地说，我看一下我所说的琼斯的扭转诗学，他经常用词扭曲新功能：例如，名词“帐幕”变成了分词“棚帐”，而一艘船被描述为“嵌齿，榫眼，尖刺” 。”我认为，这种风格上的抽动创造了一种独特的圣礼诗学，从谓词和描述（-x像y）-走向制定和行动（x-y）。最后，在第4章“奥登之际”中，我通过莱因霍尔德·尼布尔的历史神学的镜头阅读了奥登1940年代的诗歌。年轻的奥登在这里以历史为启示，而后来的奥登则在穿越涅布尔的那段时间里把历史视为现实。他考察的不是即将结束的日子，而是考察将曼城与上帝之城分隔开的令人沮丧的鸿沟。当艾略特和琼斯研究神学的纵向张力时-内在性与超越性之间的关系————奥登的《暂时》，《城市纪念》以及其他一些明确的基督教诗歌探讨了神学的横向张力时-堕落者之间的关系现在和完美的未来。

著录项

  • 作者

    Domestico, Anthony Paul.;

  • 作者单位

    Yale University.;

  • 授予单位 Yale University.;
  • 学科 Literature English.;Theology.;Literature Modern.
  • 学位 Ph.D.
  • 年度 2013
  • 页码 236 p.
  • 总页数 236
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

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