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Uppsatsen är en retoriskt studie av T.S. Eliots begrepp objektiva korrelat; ett litterärt begrepp som, enligt Eliot, var det konstfulla sättet att framställa känslor på. Känslan skulle framställas i dikt genom att en objektiv framställning, Detta innebar att känslan skulle ha en konkret motsvarighet i dikten, exempelvis skulle den inkapslas i ett objektiv, en situation eller händelsekedja. Detta skulle i sin tur omedelbart väcka känslan hos läsaren. Uppsatsens syfte är att undersöka och visa att det objektiva korrelatet förutsätter en retorisk kommunikationsmodell. Detta görs mot bakgrunden till att det fanns en modernistisk uppfattning om retoriken som skadligt, något som litteraturen skulle befrias ifrån. För att uppfylla syftet undersöks text-, författare-, och läsarfunktionen, vilka kan förstås som viktiga delar i en kommunikationsmodell.   Studien visar att begreppet delar flera likheter med och förstås utifrån flera retoriska teorier, exempelvis Chaïm Perelmans auditoriebegrepp, Mats Rosengrens definition av doxa och Wayne C. Booths begrepp telling och showing. Det objektiva korrelatet kan förstås som en poetisk argumentation som ämnar påverka läsarna, men vars funktion också är avhängig publiken då författaren måste förhålla sig till de kollektiva referenspunkter som publiken håller gemensamt. Studien visar att de kommunikationsparameterar som undersöks är av retorisk karaktär och såldes förutsätter begreppet en retorisk kommunikationsmodell.

After the publication of T.S. Eliotʾs famous modernistic poem The Waste Land in 1922 it took about nine years until two Swedish literature theoreticians decided to translate it into Swedish. The translation was made for a publication in a modernistic journal, Spektrum, for which they both were co ̶ founders and editors. The two Swedes were Karin Boye, a famous modernistic poet, writer and literature critic, and Erik Mesterton, also a literature critic with a deep interest in English poetry generally and T.S. Eliot particularly. This essay aims to compare the translation of The Waste Land that Boye and Mesterton made during the winter of 1931 ̶ 1932, with Eliots original poem, with the ambition to determine what kind of translation Boye and Mestertonʾs work resulted in. Starting from Schleiermacher, modern translation theories are examined and finally the translation named Det öde landet from 1932 is analyzed from a model by Mats Malm from his 1996 book Minervas äpple. By using the distinctions of mimetic, analogue, organic and external forms in the area of the poem's metre and style, and the distinctions of metaphrase, paraphrase and imitation in the area of the poemʾs content, the essay examines what has been the translatorʾs priorities during the process of translation, how Boyeʾs modernistic style shines through in the translation and how Mestertonʾs knowledge about Eliotʾs style in poetry shows in the finished work. The analysis shows that the translation leans toward a mimetic form, and is to be considered a paraphrase when it comes to the content. This shows that Boye and Mesterton had an intention to reproduce both Eliotʾs meaning and poetic style to the swedish readers, but also that the translators are capable of being dynamic both when it comes to meaning and form.

In this essay, I am analysing and discussing the possibility of didactic intention and message in the intertextual analysis. The main focus is to connect the intertextual analysis to the Swedish and English curriculum in the Swedish secondary school. Thus, in the analysis, I have used Stephen King’s novels The Gunslinger (I), The Waste Lands(III) and The Dark Tower(VII), and searched for intertextual citations, allusions, and references to the two poets T.S Eliot and Robert Browning. In conclusion, I have found intertexts to Eliot’s The Waste Land and Browning’s Childe Roland to the Dark Tower Came. However, the strongest connection has been found in Eliot, and therefore the intertextual analysis of the novels has its main focus on King’s use of Eliot’s The Waste Land in The Dark Tower-novels, and how these intertexts can be interpreted and used in the Swedish secondary school. The intention of the essay is to encourage the use of more methods whilst teaching literature and hopefully foster students to look at literature with more curiosity. The analysis is made with the prospect of bringing more perspectives to the already scientifically based methods that are used in the Swedish secondary school.

This thesis hopes to contribute to a reconciliation of the apparent conflict between Eliot's conservative outlook and his formally innovative poetry. I do not advocate stripping Eliot of his modernist label. I would rather amend the term "modernism." This qualification is important because the modernist label carries connotations that simply do not do justice to Eliot. For example, the label implies that modernists wanted to move forward, away from the past. Eliot wanted to move backwards, partly because he felt other artists had left the past behind. In an essay introducing the early twentieth-century modernists, the Norton Anthology of British Literature describes T.S. Eliot's critical and creative projects as "efforts to reinvent poetry."4 That is exactly the opposite of what he was doing. He wanted to stop people from trying to reinvent poetry, because he thought doing so would only lead to bad poems. How can the editors of the Norton Anthology, the closest thing I know to a record of the academic consensus, so completely misunderstand Eliot's project? They fail to appreciate the relationship between Eliot's literary ideas and his attitude toward modernity. I believe the best way to think about Eliot's intellectual project is as an effort to save poetry from the threatening forces of modernity and modernism. The modernist movement and Eliot's ideas are both responses to the same set of dramatic historical changes. Europe transformed itself from 1890 to 1918. In the context of drastic political, technological and social changes described by historians as "the emergence of modernity," Europe's dominant artistic and intellectual value system reorientated itself in favor of newness and forward movement. T.S. Eliot had a different response to historical change. He felt the ongoing historical transformations, self-perpetuated by the resultant emphasis on progress, threatened to uproot and destroy England’s literary tradition. So he took it on himself to save that tradition. 4 Greenblatt, Norton Anthology, 1834.

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In the early 1900s, industry and new technologies dislocated our sense of selfhood. Since the Industrial Revolution, the world had become increasingly crammed with material objects, leading up to when the invention of radio and the rise of electricity perpetuated and evidenced an interest in the immaterial. A similar fascination with magic as expressed in cultural forms such as the traveling show and the séance pointed to our new relationship to the object world: the self, dislocated from the body, could relocate in objects, forming a circuitous relationship akin to electricity. This phenomenon is encapsulated by the representation of enchanted objects in the poetry and film of this era. T.S. Eliot’s The Wasteland (1922) and The Love Song of J. Alfred Prufrock (1915) make a natural pairing with the films of French Impressionism, particularly Dimitri Kirsanoff’s Ménilmontant (1926) and Jean Epstein’s Coeur Fidèle (1923), because these works all depict central characters whose selfhood extends beyond themselves and projects into objects, animating them and imbuing them with autonomous, lifelike characteristics in a manner analogous to an electrical current. Humans function increasingly like objects and objects begin to take on the qualities of living people, emphasized by both the formal and thematic elements of these poems and films. However, rather than isolating human beings in a soulless world of objects, this projection has the potential to introduce a new form of intersubjective and interobjective connectivity.

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