Notice bibliographique
Résumé
T. S. Eliot's concern with the philosophy of time is evidenced from his earliest poetry. It is part of the development of his whole philosophy of life: his engagement with reality, his concept of consciousness, the function of history and myth in his life, and his concept of "something beyond", a harmony for which he is striving. Although Eliot was a serious student of philosophy, his poetry is not philosophical in the sense that he is recording already formulated ideas. The poetry, is itself part of the process, the working out and realization of his philosophy. Eliot's concept of time includes two streams which exist simultaneously, and which intersect at significant moments. These are time temporal, in which man must live his life in the changing phenomenal world, and the Timeless, noumenal world which he encounters in these significant moments. He may live in phenomenal time in either of two ways, without hope or purpose, so that he is "time-ridden", or he can live in time teleologically, striving for the understanding of the design into which he must fit in order to achieve the harmony of the still point at the intersection of time and the Timeless. The harmony toward which he is striving in his dialectic struggle in time is complete wholeness of personality and spiritual transcendence. Eliot's philosophy of time and consciousness develops in three stages. In The Waste Land period, in which man is time-ridden and unconscious, he is unable to confront time and create his own being by reconciling his present with his past or "other". In Ash Wednesday he sees his other for the first time through the Lady, the "anima" or primordial image of his own unconscious. She brings him hope and energy, and plunges him into the dialectic struggle in teleological time. Marina and the childhood memories of his "Landscape" poems give more "hints and guesses" and images for moments of "partial ecstasy". In Four Quartets he reconciles all the oppositions in his life and poetry to achieve the harmony of the transcendent still point. Eliot's medium for the progress through time and the development of consciousness is a series of protagonists through which the poet casts off masks of the self, surrendering himself as he is at the moment to something more valuable. Parallel to the poet's struggle in time to achieve the spiritual harmony of the Absolute, is his struggle in poetry to get the better of words. The conflict with words, his "raid on the inarticulate", is his struggle in time to find new ways to express changing concepts and, ultimately to present in poetry those "frontiers of consciousness beyond which words fail though meanings exist". The techniques which he uses to achieve these aims are the continuity and growing significance of his images, his symbolism and his "mythical method", the contrasting of the sterility of contemporary life with the living myth of earlier times. Finally, I believe that Eliot's achievement in Four Quartets is not necessarily the expression of Christian dogma, but that his striving in time for the harmony of the Absolute of the Timeless, and its realization in poetry, is an artistic creation which is his own private myth.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,003 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,003 | 0,006 |
| Communication savante | 0,004 | 0,004 |
| Science ouverte | 0,000 | 0,001 |
| Intégrité de la recherche | 0,001 | 0,004 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,004 | 0,001 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».