modern telugu literature and trends of poetry
DESCRIPTION
Modern Telugu Literature and Trends in Poetry Modern Poetry Contemporary Poets and Styles of writing in Telugu poetryTRANSCRIPT
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2000
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11
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229
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,sp cSStes* SFOPGO,
(Modernism^19, 20
-
VI
So^^SS^co
(1914-18),
, 18, 19 fco-spofl^ 5*0^^57-^0, 20
S
1910 t
B6[jSbS'oni ;Sotfoa3l38>^ s^s^tfg S^^617,18
19 S5 ^^8io OsStf, 20
-
Vll
19
a Si
-
VI11
^SGl_
5*0^3 53-^0
(Romanticism)&*
RS
,
10
(Nco-Classicism]&
*)^oa so
(Formalities) ^^
1748^
^Rationalism^
i
,
1789 a*
^o
location)
(dis-3eS$o&,
sj
(Idealfsmjr^,i 7)
(Freed om) n%
(A esthetic ism)ry
-
wtf
&&|ax>(iSap t) 10)
-
sSfl^S
19
criticalrealism) ^&g3eJ 33 ?5S)^^ ('Socialist
-
tti
ism
53
t) 68)
1917
53*
-
xii
co v
53
tf3fcS8ofoo fis^/66S ^SLiT ^^oS^o)-s?
(RatLoiiahsrn) 17
20 a
^X oJb i.^^?
)A3 3 SJ^D^,
-
***4-
!:
D-^CP
1932^*
-
fciv
20
-
XV
i^o&eo SPC&># &*a*doo
( Surrealism )
1924
-
ivi
SisSo,
Stream of consciousness
. t). 186).
S^ 6rp
17-.18
-33?:5J
-
XV11
[icL CD
oc Csp fco cy^ I0_) J_D Oj L_
(Existentialism,, S5>1)
5"
i ^
rfo^doo
!9
-
XVlll
(Formalism)
* .
S a-tf
t ^f pejorative term). ^
(Roman Jacobson)(Victor Shklovsky)
^oa (With a new form comesa new con
tent. Form thus determines content)
Blank
.verse
-
XIX
is
So
53fiosy^Co
o
oef* -rv
D'53'OO'S
^)0^ ^^00KSo^JCPcxii ^OoS^ef 5^^,
5Sj*^d> S)&?5 ^oS^bo 3aSS>fc$> gPofi, 53-8
3-0$
S^tfeS (popular trend)
-
ia
.-6^0,
8(560.)1967.
. 1978.
,fc. 1967.
O, 1972.
."3. o). 1977. ^06." odbesspo' l~l,-fSa5oe6 , 77
David Craig (Ed.) 1975. Marxists on Literature.Penjguin B6ok's v
-
(thought
pattern)
(Romantic tales') n s56?6j
efi 1711
(refined Conduct)tf^S (refined culture)^ ^tfo sp&^^g 25^o&
SS^^^ ^SSj'^^^o *"& (captivating the imagi-
tion) ^ ^ oefo ^c^So^^oa SSSaSbtfcS ^O'eD/
-
Thomson a*&>?5 axa^b^co (Seasons')
1797 ^ Frederick Schlegel_
Cogitations ^ei^^ S^^cd^. e^ *E3$3 S'o^ (Imagi-*nationV d'^S^o (Emotion
1
)
sSSj^\C& (attitudes) o,
(originality), oS^St fcreationV j^SStf (genius') S^^g^
8 1797 S*
Frederick Schlegel
(Augubt Wilhelm) S^^oS^ ^^ ^6^ 3X
^^ (spiritof the modern art) r?
o
(Madame Destael)
-
sjo^^pCO
Ballads) So
nature)'
'
S^S" (Heine]
i /Lejenre intime)
(^Lyrical
^^> (return to the
(Walter
(Stendahl)on-
(^beauty) o(strangeness^5^) fcfioS"!
Peter)
-
j (sublime)
O
(Arthar Lovejoy)esffe
(verbal sign) n*
'SSJS' (Gnerson)Back ground of English Literature ^
(^Lilian Furst^^^jcfi&83o
i^So8^ oXsspex) ^sdi (1 j ^
-
(1748)x>
SSCT^
(guild system") &r6, dtfpoiSg' A-^ 8 (machine production)
ci as n
(Proletariat)
>5on*
(Superstructure)
(1789)
-
%^ (Liberty),(Equality), ^[srt^o (Fraternity) !_~?)o>
0-33
(Neo classical values) So sSg
^c^&o, ScoSSo (Aristocraticnorms
andvalues)
* SsSpStf
ej 5 jr^o e^21 * a
-
reaction)iTDeserted Village, 3" Satanic Mills,
tl> Age of Despair a,"
(HumanismV IS"> ^To^^gsp^o (Aesthe-ticism), S d'cS' "^3^ 53^(^0 (doctrine of freedom), )tfo
(Atheism)
A esthetic ism) 'v,
SSJ
Impressionism, Dadai^m
(Revivalist)
-
(temporal aspect)& &o^
(Adhocism)
(Flight from Rea
lity) i'g
f Imagination \
35^ g's'&^o^ rv^,
1910
1940 tf& 53sS^a5*tf&o 1>Cb^ e^aoon SP^O> 1909
-
(1)
(revivalism of past)
(Vedism)SS^^ofi
reo &zr rfSso 3 tfoD-^ ^60^ tftfcSea g"^^^ (2)
(thought complex)
-
10
sp^olb ^S
, fieb, if,
-
11
sptfo
cr8iSc6e^^pS^g'Sr
8 gg 3* tf S)sSs5o
(Atheism)^ [jSiytfoSS >, s5o
No
Sr*5 ^CToe^co, ^3^^?^^cr^e^ex) (thought
-
g&o (1909-10)6* i^rfotf&cxooa c&p^S^8
|J3>oOir>Sbtf SsSs^eo 5-e^ag'
1748 e* ^oja^ S5*ab^ s)^o i)fcS'&oa ^oiT 178
SSO^ofl
g ^ooi (Noble Classes) s:o5p^^i, ti%3o[& "3
(free farmers)rfo^?^; 3 ofi\ ' EJ u a
1881 S^K^S"^ EmpressCotton Mills SsS'SS* tfotfa
-
1910X S
IT 3* CO
s^oi-^ t)L
t^cco
35
ef
(Handicrafts) o-^o*
(Cottage Industries) C^CP eadb^cfeo^a s}ej*c^3 sSgSS^ 1910
1912-1918 J
CD CO
-
14
5*0^^17S9
wDo^First war of Indian
Indepea
-
)CO
M(1909)
Hermit
,
"3 ^) Cf&ra'^a "gS ^0
,
-
o>& 'o^tfS' io
consciousness
(ugly)D^tf^ 3*rSjBSS^fo oasfo 23^o-ui^
*&>
1797 3s s-o. &tf&o soS*^*ff* {fo^3i^ 110
1910
3 eo
-
1 7
estftftfo a*7*6^
(Elegies^
2)
-
13
V V v',.
"-J-" ^
d6i&udiGO
-
19
fPhilasophical Anarchy)
^^ (Actor), ^cJi)^b& (Hero) ^ -^a S'SD wS^o (Ego or
Iness) r^ ^odJcr> \cfiT8
, a^cxfroS"8
(jSooa^S ^?& fDominent
T) JT, ^^0^5 ^^o-j6sSjB3o esodb^a 55^^ex) (objects) &&
(The otherW sSgsSsJ8oJoefc&o&paa ^S |Jod&ftfThe other^ 98x_oSSa)2focfeoaV y ^*
eooo c^QO sio[6^oo r^^a* ,5^o3?6 s^o^^o ^>^S (Imagina-tive
object) 9oeb
-
j* (^Pet-Actor)
(objectW
fc^tf
A o^ 70 Love, p'ulobophy
-
21
spcOotfio -
^ToStfg
*Q2>^ ^(S>
HP ^Jo "SodS
eo^o |jSE3dSoo
(Intellectual & PhUosoph
-
22
rS>3s-?S!Sao
-
28
iSSL
s-Sbf
u
(Mystic) 535^5 .
feelings sSo
^1^3^.Sb (Akhemy)
-
(tragedy)
-\cJ
S ^i>S)d6
&Eg Malancholy tragedy S
tftfsSb tf^ *>8$J A-^^g ^orv 0[Qotfcra8
(Extinct Pessimism) [jS^a^efo S'S
(Death wish)
-
25
je3 *-^ (Psycho-aaalysis) di^J ^ S> e
2)3
&( (State of nature)
is born free but he ib found in chains every
very
sS So
-
53*tfc (Flight frcm Reality) ^& esoeb
53-
-
27
S'tf (Classicism^ s
woflotf^S)
B &cyo^ nK
^g ?6o[o3
;5Sa*S
1910 &ofi iSr^^o^^ &&*& 4L_
Sa3;Nc)o-S)?6
&>
83^
-
28 es&SS' 3e,
1910 &o
1880
^cr-ofi
-
4:^o (Super structre}Ci \ /
si& cS&Egd cbui^o ^Integrated movement^
(Neo classism) S^_r^^^e,^ ^^tf ^
f Realismv
3eu/*o
o] ^
-
SO
5P
&33
1934 d
^0^50 (Economic depression')1940^
-
1 John B Halstead Romanticism D C Heath &Co Boston, 1965
2 Lilian R Furst Romanticism Methuen & Co,
London, 1978
2
,
1957
_,1958
5 ?6
,
1965
,
1974
7
-
1913
le &
1967
So 3
,
1988
,1988
,1978
-
84 estfbfc^
"
-
35
53*
-
^3 Q^
-
8?
-
88
f^orrtf, S'Coo, b, s^^, 330 uS)
-
88
&DO&
"Stfto baa ^s^n' S)faoaB CSo
-
40
-
S}
-
42
escXo
&
-
46
[j6s*tfo
.X^ol -
t)Co
tffi^os-fio-
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44
-
^&^ lisso ^txy
,3 o^o^^ sSfift^bo 3 &5oa_ ) (J) c__ t)
-
46 es&asf 3es>to
tf o,
s-SS
s;a T-OO jgo a^&Q aoooflo-O
0-
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HP
u-*
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^53*0^
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fl
(SosStf 53*3,
4)
-
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O
%|tci6
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cJ-s
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61
irfotffio e^^L. M
&3D ('Y>tfo'5b
53
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CD CO
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5-00
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69
Q
5*tfe3
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t
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coD s>dn
nEP S)
atec-, Ijrag'oj' eso^o
s\
ejpti,
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?66eji>cxi3 sios Scpx-SP jSsij^oS HP
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gg
S>
fed
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Scr-dib
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^7-t>tfcfiog,
efco
ov?
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8cSfr>So
esCD
CO O
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80
tfS)
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6,
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63
tfo fSS&tf 3 SDS'tf sStfSc&cS"8 tfo
a Si) ^^OK) e3rp& SSssS^ S^-\CotJco
Sfil
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64
53
oL i)
-
33*8
53^60
U c
5)
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66
1920
i Q
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37
coco
ea
eO
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aty.ST8
- SS
^ fotfo,
-
gg
[tfsSglaS
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aLSo^
tf ?
S3.8S
5
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dQbr?co
f
oX A ^03 AS3, A
-
73
a
sjos'
3057*0,
(Tribes] IT
Si/d'eorr*
-
74
?So&rScjSjy.d'ec S^J^P S Qo^r^) 7^oo,
^fj^ cS
-
75
)^ ^=D>O(>
tftf ^Sr^S
(formalismj^
^So^_85
o&DO(3es?o^ ^^fedi
(1910,1930)
^^Srr1
*
-
3 rf
-
a|jea
1937
-
78
o 2ri,
o n
o^a
-
?9
fc IL eg
ol*
>ol.
1930
1914 *&*, 1989
[JSB30&
-
80
53-830,
SbCf
-
foofi" ej*o5
0*^00006
195
(form\ssol tf gb
-
8,3
ss
Sbfif
o
' 1923 1936
23^0^6
6^)00*,
-
^j* I s
1943
1943
, flTg ^gbcx,
a
o
-r _ lw_ ww _,-_ _^ w_ tyTi
-
84 3eort>
-
n-6*
^oco
rvd'o Saotf&tfb,
-
86
esodb"! sjA178)
3-3^
-
ioS
SjS^o^Q (Refl^ction^)
J J
-
88
19*7, 1948
1 95 9
-
sophy^S
(Emp iricism
(Logic)
514
^Q
3^^ (1596 . 1650) TfojySfts* (1632 - 1377), fcfiijf (1646
-
1716) |^sSboaoo
-
90
propositions, theorems
T
8X)
;-CT
fl 3o_
o 16
3 io^wiexi 5J3
8
-
19 ?
5 ) 5" i liclo'Sr ^p )^,
i sp?6j,
1859(5^ [jSefiaoa^S 'On the Origin of
Species by Means of Natural Selection1^ [tfotfo S^B
o
55^^-,
-
92
"isSoo
^0^8
',fS5o
3S
-
'^Si o*cS
.
reason
CL, 3*J tj -J
80^ SS^^M S_sp5 (mental attitude)authonty) ^S$)^g
w^ Jjoc^)" cT^"^"^ (plulosoph^
^X (etlvics )
-
650^0^0
-
19
oo~eb
1909
21
-
96
-
SfcfiSa
c-cc
-
93
S'S),
Sjja'eso'
su^S.
c, C'
-
"^oij'^b SJOM2J
n L. &
-
100
o) c&o&
: if er/ ^
-
101
a-Si TStfeS
-
102
-
10S
iS3 L_
'3
*9c&?S
-
104
tfo, &
>
-
105
lL
i^oo
,
"loijjoSofl ^SsS&N ^P^P^
-
. Q
Q SP
558
-
107
?3&p n*
-
108
e. zy
CP>
es
-
109
53
Q
530^3
-
10
At^o
(Symbolism)
(Rimbandjrfo esotfcp
^Baudelaire)correspondences -
(Freud)
Sosjsptfo [_p^ ^i&c (subconsciousj o^
-
111
d
-
112
"Surrealism, by its very character, cannot be
progressive Progress belongs to the realm of realities
It is measure of social growth, the growth of a social
order from stature to stature It is matter for stati-
stical or quantitative appraisement It is real, surr-
ealism is unreal It is a device of distortion in the
realm of art"
'SURREALISM 1
^Andre Bretonj,
1981^ wS'oSS" (Apollmaire)(Tristan Tsaraj,
r^c (Louis Aragon)s5oe^infantilism^V )
- j*&> Automatic writing
- 114
-
'Down with syllogisms, corolories, Q E D,cause and effect, the whole and the sum of its
parts' open the gates to the dream, make room for
automatism We are about to see a man as he is, we
shall be whole men, 'unchained', 'delivered',
daring at last to be aware of our desires and daring
to fulfill them "
SbdS
&*To3
-
tforfotf*
SooSb,
32
-
56 fe^^No 1)6cJ
7
8 *
9 sjfi
S
4LOOTS' 5S$CT>tf &aoo (libido) S)QR)
-
(InferiorityComplex
-
118 esdbSS' 3eori>
^bocr SCPCP
1920
COD OS?
Si^o
-
1918
1924,
'
^pcr8 axp
IfOO^SosS^^o^ (jSibeoS'S Interpret-
ation of Dreams^
HP
-
120
SP
(chance\ ob]ective automatic
SbDibS, o
3 -?& tf&r\
n*^,
-
-cBoa&-Sjo
1/553 S'^ff8
* *
^ ^
-
125
5 5
1930-50
-
126
CD
1959-75
1905
3eorti>
5630^ on-
fe^SoS*
-
j_ /"I CJ
1933-34
r\rJ
1960
6 PI Jeo L
do
-
Being and nothing less" n
(Ex stence Precedes
essence)
(An essay on Phenomenolog 1C al
-
129
Ontology) a^sS-jftf sj-gSSorT- &>5y "Being and Nothing.
357*
Existentialism So
7 sS ?6
aoo
1968 5SQ Existentialism So
9)
-
180
3 ^?6o
^^ (nothingj r?
)o^o^ s11 ^) es^SS 4)0^ w^tftf ss foS^o (subje-ctive existence) ^S)^
(Hell is others) ?SS)
t
Critique of Dialectical reason"
", t?: soi^o cs5" ar ^^ * Ci
n= b'o
-
131
Scarcity)
-
,1>
otfs*oo
1975 a^
sSr|j^o s*&
|s3.Qf7
^Existential Pyscho analysis)^)
ol __. *J
-
* 138
|j$SSc (stream of consiousness)
:-
4
*5P(5"
4t Words M
g'cr? 3eosS3ca 1^6^ S* 4fc o3 M
-
Seorib
1972 5*"fceesS," SfcCsSL&ffl*. 1975
(18.6-76)^"
- e
-
136
9
es **tfS>
3*8
3$9
-
First person singular^ S'^OD 3^00
1946
-
189
o^or?
700
o co
^o
-
1S9
SsSoco"fcg
>5*
-
140
etffo
o
_io
(badtftfoatf ^
sr^ol
-
^o^ah
-
142
O *
cxu'
c3(TO v3 tfC' "'-J^^.OCULOuU^-j UXjS*v*dL/o/*- S3 E5
-
143
30
(Existential-istic
anguish')
(alienation)dfc
-
144
[jSsSoifo ^PC^ ^aao
es
-
146
tffl
10)
-
146
1965
-
a, "la*
ssotf
- 148 ss&kg' 3oD
-
srtfo
2
8
"7
8
(Inferiority Complex)*^s tftfo &
-
150
Self.Alienation
Escapismsc
o
-
1>&>Sooij-&
& zv
Si6
161
-
152
Igo Sd5bS^^S Superiority
complex^j S
Psycho-neurotic S &
Insanity ^
fi t
-
a-rio
Establish
Readership
tf) '5^ Ib3 F^ crcoo S'Stfjgo'
^, Craftsmanship
d"
-
164
8,
Experience &, Feeling
G^ZS "Description of the subject- matter of Psychology
1 $ Experience
Extravcrted
Intraverted
-
IBB
1 Simple feelings
2 Organic feelings8 Activity feelings
4 Sentimental and attitude feelings
8^63
*Poetry is Spontaneous overflow of powerful
feelings' & Wordsworth SSspj^ ^6]t!)oaD rfbCA vent
for over charged-feelmgs1
es^ Kebel
5s wtfcw
-
156
S
J Q
-
167
* Q
>0
SJ^^O-Art for Art Sake
^ 'Art
for Art Sake' ^ ^^ *?6^' 65 s^^o C^D^. ^0*0Vw
'Art has no raoral obli-
gations' 9^) 53 6 |jSatfo ^^Si) *Art concerned with
only beauty, through the Principle of Art for Art
Sake ' ^
1873 * Walter Pater e5^ otf& History of the
Renaissance e3^ S) r5fe"o a*^8 ^: cs'o^ Modern mani-CO
festation &
fBaumgarten) ^^^60 1750 &* Aesthetica
Latin 8* tfao^w eJcp^S^^p CT>
^o srcr Aesthetic movement
-
153
a8sldSjc
iSS
l
.
.
.e9ofi6l SboifiB
-
160
ss co
-3*23
0*61 &L_
TcoDO(
-
160
53
Lyric
-
Lyric
11)
KOOS^O'OD ^PCT8 53*^2)^0
-
(Imagery)^ ^_^
Positive
sjD
Bco/^b
Transpareat
d&tfo
Look
i
Liberal
-
163
u_Cu a)
^sp^sSDc
,^ Force
^OcTS'StfjJ
Personal rr5 sj^
Dostoevsky ^odp*^ 'A man always talks from his
own ache
,67^
-
i'o^db
530^0 &>tfc
1969 ff8
30^3"* '
cor
"
, TV^o^ca, ^00.^0(5,
-
8 33% [jlSsSoa 165
II
-
186
12
20
12 Siofig SS
12
"1914.18
}
1978-19SO
-
III
- tf
-
16S
50*7
s.g' Scac^o Sao^^^ 'Unconscious'
fc?6 tftfoatfoSo,
g l i e
o^o
-
0^
IV
CD Q
' ^ a.g'
Sjos19 ?6
-
170
Q B
S'eo etfo
e$ej7?
5-a>|)
2>sr^S>
-
^i
V
-
ITS
c&
S5o S)
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si3
S* "S
3
'Modern Fiction 5 e^ ai-gcSofif*'Look with in, and life, it seems is very far
from being like this '^^ ^^^ IbgEJVy&sptfo'Modern Fiction' - Essay b> Virginia Woolf,
Collected Ei \v 3 by Virginia Woolf - volume
11 Page No 106
-
J74
iS
08*
VI
oL o
'Stream of Consciousness 1 es$ d?oA5.
DDdSbS)
'Principles of Psychology'
"Stream of consciousness'
'Stream of consciousness is a muddle headed
phrase Its not a stream Its a pool, a sea, an
ocean It hab depth and greater depth and \\hen
you ttunk you have reached its bottom, there j.g
-
176
nothing here and when you give yourself upto one
current, you are suddenly possessed by another" 4
a L
ob ^&^bo(^^ 1941
1947
'Stream of conscious'
"soo
-
c3)
|jS|8dioSo e
VII
5 From *A Reader's Guide to Great Twentieth Cen-tury English Novels' by Fedrick R Karl and Maga-laner Page No 8 "As a social and moral docu-ment as well as a contained artform, the novelfrom Cervantes' 'DON QUIXOTE" throughJoyce's 'ULYSSES' has responded more quicklyand fully to new ideas than any other literarygenre Accordingly the 20th century novel
following the rapid introductions of new modesof thoughts in psychology, natural science andsociology has reacted boldly to absorb andtransiorm this material into literary communi-cati ;ns
-
177
jtrK
o &o&>o
25
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VIII
tftfoa^
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J' 8
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180
05
a*fc> ^Portrait of an Artist as an youngman
"The artist like God of creation remains withinor behind, or loovc his handiwork, Invisible refi-ned out of existence, indifferent paring his fin-
gernails"
-
181
IX
2
8
4
6
(Interior monologue)
-
182
"60^
^^500
Sp"SS~8^"n
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tivity)
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1940
^6 S
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sciousneoS novelist is the Problem of how orderis unposed on disorder" Robert HumphreyStream of Consciousness in Modern Novel
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6
7
Robert Humphrey Stream. of Consciousness in.Modern Novel
-
CO
'revolut on'
rum,
national calamity,
revolution
[K2ron ^s ^do^b American College
Dictionary,! A Complete overthrow of an established
government or political system, (as the English
revolution (1688), American revolution (1715J, the
French revolution (1789), or the Chinese revolution
('911), the Russian revolution (^1917) 2 A Completeor marked Change in something
&o Sip^ SSSsspir' 'Human revolution'
Anthropologists
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1970
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1970
Folk simplicity
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empirical problem &o
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1970-1980
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modern es^ sCD
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cterized'^^ si3 (2) tftS:>oD$oOr33j i3*' OjJra S
lSc[jCc5Bdio
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Scon 55
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in^cxo "S^
a
^ Dictionary of Literary Terms
by Harry Shaw
8 Act cf Creativity
by Arthur Koestler
4
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a)
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poet hero
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1965
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Socr, Popular, popularity ^o? sSpd>^ ^a
Popularism r?
70 m m 3tf 3or^ 5?^ g"a2)o)ofl
Popularity a &^c S^
o 50^:5-
Searfb
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Popular ^ -Spd) T Rev Thomas Davidson
Chamber^ Twentieth Century $&od$ -Stpertaining ^o the people, enjoying the favour of the
f
people t prevailing among the people, easily undern
n r * i
stood, inferior w ftstfo SJrsofi o"8) |j6e3co cojSis
410CO
PHILLIPPE PETIT
Sb - The
most complete man of his age' & r3
-
281
cS tftfcxr- 000- tffl^ *grf2$o,
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(New Testament)
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influerce
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^Propaganda can make any
thing popular Even death"
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53=^02, ^r^to o-
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Jo&e? gTJjo
-
237
2,3"
Popular
Popularity^) Sp^dou^ aa^SdJesrSfi, 53^
-
238
o*^ Obscenity
j^S) *Devme comedy' d^d) a.S' r
Francesca ^"6 !>cSfio& Paolo S
5^8
)^as ^sS
Francesca
Obscenity
-
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popular"
^coofi
wo
popular s*s6^s5oo"S O^CP unpopular
J^^ ^J^^J&> ^o^^ Sp$)go^ Parti
n* w^^-tD^Sj^o popular
o& Arnold Kettle oxer*
"1 think it essential co insist that a satisfactory use
of the word 'popular' cannot permit of its identifi-
cation with Circulation'* (Dickens and popular tradi-
tion)
-
D so S sr3-
g'o'S
. _,^fl OJ
3R>
-
241
Soofi
16)
-
242
popularity, utipopulatity rt*
popular
-
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o
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fiDool^^^O
33(055)3^ e3^^S$o6^ ^ej-^ (f^oajtf
-
244
Fighting
Popularity ^5oD Bertolt Brecht
Popular means intelligible to the broad misses,
taking over their own forms of expression and enri-
ching them, (by adopting and consolidating the r
stand point) representing the most progressive section
of the people in such a way that it can take over
the leadership