Konzeption eines Projektbeteiligten-Feedbacksystems zur Verbesserung der menschlichen Leistungserbringung bei der Bauprojektabwicklung

Credo, matematica, inglese, filosofia, italiano fisica, senso, crepo matematica, inglese. Hoho, ma tu radio, ma tu. Mati radio, ma tu. Ma tu, mati radio, ma tu. Non l'esse tirosofia, non l'are strada, ma tu radio. Mati radio. Podcast di inglese per lesame di maturità, letto da Valentina Carnellutti. Modernist poetry, Thomas Sturns Elliott. E in short I was afraid, T.S. Elliott, the love song of J Alfred Profrock. The first three decades of the 20th century were a strange time for artists. They brought along an unprecedented explosion of new movements and ideas. But they were years dominated by fear and a growing sense of anguish. They gave us the novels of Kafka and Joyce, the paintings of Picasso, the music of Sturinsky. But these were also the years of World War I and of the rising of the totalitarian states that would lead to World War II. The second half of the 19th century had been dominated by the social sciences, the philosophy of positivism, and the political ideas of Karl Marx. Culture had turned its critical eye towards society and finally started to question the structures and hierarchies that it was still based on. At the center of it all, though, man was still seen as a rational being in control, capable of changing things for the better. With the turning of the century, however, that critical eye turned inward toward humanity itself. The theories of Sigmund Freud revealed human beings as irrational, driven by desires and fears that were buried so deep inside of us we weren't even aware of them. A mess of urges, instincts, and passions we had no control over. It is no wonder that this age was dominated by uncertainty. Fear, wrote the English novelist Albus Huxley, is the very basis and foundation of modern life. It's a feeling that perhaps we, in the first decades of the 21st century, know very well. The feeling of a world that is changing fast and moving directions that are scary and makes feel unsafe. The feeling that was immortalized by the poet W. H. Orden, who famously called these years at the beginning of the 1900s the age of anxiety. Few artists could have expressed the fear and uncertainty of the age of anxiety better than the American-born poet T. S. Eliot. Many of his poems have been among the most celebrated and discussed of the last century from the love song of J. Alfred Profrog, to the hollow man, to the four quartets. But it is his long and complex poem The Waste Land, written in 1922 that more than any other work made T. S. Eliot one of the central voices of his time. The Waste Land is in many ways the defining poem of its age and arguably the central artistic achievement of the cultural movement known as modernism. So let's take a look at the life and work of T. S. Eliot, a very complicated man but also no doubt a literary genius. A Literary Life Thomas Stern's Eliot was born in the United States in St. Louis, Missouri in 1888 in a wealthy family that belonged to Old Boston upper class. He studied comparative literature and philosophy at Harvard where he went on to obtain a graduate degree and moved to England in his early 20s to continue his studies and pursue an academic career. However, it didn't take him long to realize he despised academia. In 1914, he was introduced to Ezra Pound and this friendship proved to be crucial to Eliot's decision to pursue his writing career. Eliot dedicated the Waste Land to Ezra Pound, whom he defined, according Dante, il milieu fabbro. Dante, by the way, was a major influence in Eliot's writing. In 1915, he got married to the brilliant Vivienne Haywood but their marriage was deeply unhappy and marked by instability and the couple finally separated in 1933. Eliot remained in the UK where he spent the rest of his life becoming first a British citizen and then eventually formally renouncing his American citizenship. He worked as an editor for the British publisher Faber and Faber for four decades. Until his death in 1965, while also founding and editing the successful literary journal The Criterion for all of its 17-year run. It is, in fact, in the very first issue of The Criterion that Eliot's masterpiece The Waste Land was published in 1922, a year known as the Anus Mirabilis of Literary Modernism. Beside Waste Land, 1922 saw the publication of Joyce's Ulysses and Virginia Wolves' Jacob's Room. T.S. Eliot was an academic and a scholar throughout his life and he was always a strong traditionalist. In the pages of The Criterion, he expressed his conservative cultural and political vision. He loved the classics, he was faithful to old values and felt that the contemporary world was threatening them and he was a supporter of strong political authority. He called himself a classicist in literature, royalist in politics and Anglo-Catholic in religion. His political and cultural views obviously had a strong impact on the themes of his poetry and it may be hard for contemporary readers to agree with them. But his poems express the anxiety of their age in a language that is incredibly powerful and clear and we can still appreciate their beauty to this day. Profrock and The Early Poems T.S. Eliot achieved great literary success at a young age with the first appearance in print of the poem The Love Song of J. Alfred Profrock in 1915. This beautiful poem is written in the form of a dramatic monologue with the thoughts and reflections of a single character expressed in verse. As a poetic form, the dramatic monologue had been brought to fame by the 19th century English poet Robert Browning whose works had been some of the most celebrated of the Victorian period. Differently from the dark and often ironic monologues of Browning and from the deep and dramatic ones of Shakespeare, T.S. Eliot's love song of J. Alfred Profrock presents the thoughts of a modern man, confused and anxious in a way that is already close to the stream of consciousness technique that James Joyce will make famous. T.S. Eliot was deeply influenced by the poetry of the French symbolists and as a result Profrock's thoughts are often fragmented and associative, jumping from one idea to the next full of illusions and omissions and repetitions. Because of its elusive and intentionally fragmented nature which reflects the anguish and frustration of the modern man, some critics prefer to avoid finding a coherent narrative in the poem, leaving the thoughts of Alfred Profrock unconstrained by a conventional story arc. Still, if we read closely, it's not at all impossible to see in the love song the story of a modern urban man who is invited to a house party full of elegant and fashionable people and who that night plans to ask someone a really important question probably to marry him. After anxiously considering what will happen at the party, the people that he'll have to meet, the conversations you'll have to participate in, Profrock feels scared and ultimately doesn't ask his question and maybe doesn't go to the party at all, and in short I was afraid. After the great success of the love song of J. Alfred Profrock, T.S. Eliot consolidated his literary reputation by publishing his first full collection in 1917, Profrock and other observations, and his second one in 1920, poems. And then after the horror of the Great War had swept through Europe and in a precarious state of health and on the verge of a nervous breakdown also due to his tormented conjugal life and his wife's declining mental health, T.S. Eliot wrote what is possibly the most famous poem of the 20th century. The Waste Land Talking about James Joyce's Ulysses, T.S. Eliot said, "Instead of the narrative method, we may now use the mythical method. It is, I seriously believe, a step toward making the modern world possible for art." As it happens, this is a perfect description for Eliot's own masterpiece, The Long Poem, The Waste Land, published in 1922. It's hard if not impossible to sum up the contents of a poem as complex as The Waste Land. The poem is divided into five sections, which alternate between different voices, places, and moments in time without any explanation. In the space of 434 lines, the poem contains literally hundreds of illusions and quotes from other texts, both high cultural works and low commercial pieces. It uses lines in several different languages and includes references to the Christian Bible, the Upanishads, the sacred text of Hinduism, as well as numerous myths from the Celtic tradition and other cultures. Instead of having one single character, do all the talking, as in the love song of J. Alfred Proffrock, in The Waste Land, Eliot uses the technique of the dramatic monologue to give voice to a large cast of different characters. Some are mythological or highly literary, while others are common people from London having banal everyday conversations. Much like Joyce had used a single day in Dublin as a microcosm of the entire world, T.S. Eliot seems to want to fill his poem with the entirety of human culture. The Waste Land is an incredibly modern mix of voices, high and low, of cultural memories of literature, art, and religion, and personal memories and simple incidents of ordinary people. It was the age of anxiety, and Europe was emerging from the great war in a state of existential terror, confused, lost, a culture that seemed so strong and eternal and crumbled, and the poem ceased to try to put together the pieces to look for meaning and safety in a world that didn't make sense anymore. These fragments, I have shored against my ruins, says a famous line toward the end of the poem. T.S. Eliot gives us the tragedy of the modern man after the war, surrounded by the fragments of what was once our culture, importantly waiting for judgment or salvation. The last section of the poem, titled "What the Thunder Said", is where the mythical tone completely takes over, and the poem concludes with the invocation of the Sanskrit word "shanti shanti shanti". A mantra from the Upanishads meaning "peace, peace, peace". Later poems. T.S. Eliot was not a particularly prolific writer, and his great reputation is built on a relatively small number of poems. Still, after the success of the wasteland in 1922, he went on to write several more important works and was awarded the Nobel Prize in literature in 1948. The first major published work following the wasteland was the poem "The Hollow Men", published in 1925. The Hollow Men follows in the same vein of despair and desolation that characterized the wasteland with the heavy voices of lost men expressing the difficulty of hope and religion in the world after the war. The poem ends with one of Eliot's most famous lines, one among the most quoted of all the 20th century poetry. This is the way the world ends, not with a bang, but a whimper. Ash Wednesday, published in 1930, came out after Eliot's conversion to the Anglican Church. In its themes, the poem reflects Eliot's conversion and newly found faith and his hope of moving from the spiritual despair of the previous decade of his life to a new spirit of hope for human salvation. In 1939, Eliot published the Old Possum's book of practical cats. A collection of humorous poems written in the voices of a group of cats with different personalities. The collection, much lighter than Eliot's major works, was adapted by Andrew Lloyd Webber in 1981 as the basis for his immensely successful musical cats. T. S. Eliot's final major work, The Four Quartets, came out in 1945. It's a long composition made up of four poems. Bert Norton, East Coker, The Dry Sovages, and Little Gidding. Eliot considered the quartets his masterpiece, and this was the work that ultimately secured him the Nobel Prize for Literature in 1948. However, not of all of Eliot's contemporaries appreciated the poem's insistence on religious themes, including George Orwell, who found the quartets inferior to Eliot's earlier works. These "terse and elegant" meditations are centered on the themes of time and human kind's relationship with divinity and hope. Plays. Given the theatrical inspiration of much of his poetry, it is not surprising that Eliot also tried his hand at writing plays. He wrote a number of plays among which "sweeny agonists" in 1932, "merder in the cathedral" in 1935, and "the cocktail party" in 1949. "Murder in the cathedral" perhaps his most famous play is about the death of Thomas Beckett, Archibishop of Controbury, and English martyr of the 12th century. It deals with the opposition of an individual to authority at the cost of one's life, and this is quite meaningful considering that the play was written in the very same years when the Libertas Siddles sway of fascism and Nazism was taking Europe by storm. Eliot as a literary critic. Eliot's critical writings were also very influential and new criticism of critical literary school that developed in the United States around the middle of the 20th century is very much indebted to Eliot's theoretical approach. Eliot thought that the importance of an artist must be judged within the context of the tradition the artist belongs to and interacts with, but also in relationship with the body of his or her previous works. Particularly important is Eliot's idea of the object correlative, that is expressing emotions or abstract concepts not by describing them, but through an evocative description of physical reality, a set of objects, a situation, a chain of events which shall be the formula of that particular emotion. The use of the object correlative, characterizes also the poetry of another Nobel Prize, Eugenio Montale, who read Eliot and also translated one of his poems. Read in T.S. Eliot today. For the first half of the 20th century, T.S. Eliot was an absolutely monumental literary figure. He was the most famous and celebrated poet of his time and an absolute cultural authority to the point that the great American writer Cynthia Ozick referred to the central decades of the century as the age of Eliot. Yet, in the second half of the 20th century, his reputation started to partially fade. This was in large part due to the fallen popularity of Eliot's political and religious conservatism and his classicist attitude toward the arts. His poetry, particularly the later poems and the four quartets, were seen as the work of an intellectual traditionalist, a type of figure that in the 60s and 70s was understandably becoming much less popular. Still, the value of the poetic works of T.S. Eliot goes well beyond the man's personal ideas and are an incredible example of modernist art. Eliot's poems and particularly the wasteland remain as a real symbol of that strange and familiar time when artists everywhere fell lost and afraid, no longer able to understand the world, desperate to find hope, but incapable of recognizing their culture and even themselves anymore. The age of those fragments that could only be short against my ruins, the age of anxiety. Nature is a project of podcasts dedicated to nature, promised by the Minister of Instruction with the collaboration of Trican and Radio 3, the idea of Cristian Raimo, the cycle of nature and of Teo Teardo.