Analysis Of Broken Images By Karnad

In today’s society, we are constantly being bombarded with visual art forms. Whether they be classical paintings from the Renaissance, a towering and modern skyscraper, or even a cheesy 90’s R&B music video, they all have one thing in common. According to Carolyn Dean’s definition, these would all fall under the category of “art by intention.” In her essay “The Trouble with (The Term) Art” she advocates a distinction between art by intention and what she deems “art by appropriation.” The difference is that one work was created with the intention of being consumed for visual pleasure, while the other was not. However having been educated in the Western school of thought, many art historians cannot help but project their rigid definition of art onto civilizations that may have

Daniel Ridgway Knight was an odd American artist who loved to paint relaxed French peasants in luscious landscapes. Ironically, he lived during a stressful time when the Industrial Revolution displaced numerous farmers and polluted the environment. He seemed to ignore the harsh truth and shut himself in his imaginary serene world. For instance, In the Premier Chagrin, translated as The First Grief, Knight paints two healthy girls conversing on a stone wall in front of gorgeous fields. At first, it appears as merely a pretty painting that is nicely contrasted to show depth and realism. Yet, with a closer look, this contrast in the colors and lines of the landscape and the figures creates tension to suggest the painter’s conflict between longing for serene freedom and feeling trapped within the stiff society.

The world was de-scribed as a wasteland. The term comes from T. S. Eliot poem The Waste Land, one of the most important poems of the 20th century, which illustrated the omnipresent confusion. The Waste Land was not only a cultural desert. It was described by Currell as “a cultural detri-tus” where the past and present interfere with each and produce chaos. The poem presents the world as barren and infertile but with a chance for a revival. Parts from the text perfect-ly mirror the mood of the Twenties; living in a culture which will not expire, but marked by decay and forced to continue in the shadows of its former glory. However, the term “waste land” is also adequate to portray the people. Its civilization, described as lost, is in a con-stant search for meaning in the wilderness of ideas and faith (2009: 37). The waste land is in their bodies and minds; they suffer from impaired communication abilities and seem to forget their humanity. People are frozen in a sexual failure, a moment of

Art is one aspect of the past that has carried on for decades. Art in any form may it be poetry, novels, and playwright, sculpting as well as painting, has been an outlet for generations and continues to be an outlet and a means for expression. This paper will discuss “ The Mona Lisa” one of Da Vinci’s most famous paintings, as well as another great painting, Antonio Veneziano’s

Her sadness is demonstrated in the opening lines when showing us the remnants of a tribe, dejected and displaced arriving at their ancestral ground only to find the bora ground replaced by “white men [who] hurry like ants.”, or that the “ ‘Rubbish May Be Tipped Here’.” The powerful imagery is confronting and stirs within the reader a sense of injustice that this tribe is experiencing as they watch their sacred ground used as a dumping ground for the short lived conveniences of the 20th

In The Waste Land, the speaker tells of the “flash of lightning” and “damp gust” that promises rain, but first, to earn the rain, humanity must listen to the advice of the thunder. In the Hindu faith, the thunder’s roar of “DA” tells all of humanity, the gods, men, and demons, how to work together to have peace and morality. “Datta” tells the gods to give, “Dayadhvam” tells humans to have compassion, and “Damyata” tells the demons to have self-control (Eliot 432). With the inclusion of these tenets of Hinduism, Eliot, as the prophet, longs to gain harmony in the world, a world that includes the love and hope that all cultures and faiths have to give. Rather than looking to a Holy Grail that is out of reach of the common man, Eliot presents a solution in his poem that humanity already possesses the answer. He gives practical steps towards earning the rain that the thunder promises through fellowship and unity instead of war and division. In the final stanza, Eliot quotes Dante’s Purgatorio in the original Italian which says, “Poi s’ascose nel foco che gli affina” (Eliot 427). Translated, this line means, “Then he hid himself in the fire that refines them.” While the pain of the present mixed with the immorality of the past seem

“Painting is silent poetry, and poetry is painting that speaks.” - Plutarch. As Plutarch once said, painting is poetry because it sends a deeper message of what is represented. Every place has its artists some known some not that known, this essay has the purpose of noting Jessica Monroe, a local artist from the Valley who’s work, on my point of view, should be more recognize by other people.

Diego Rivera’s famous painting, The Flower Carrier, is immensely encoded with significant social and cultural messaging. Rivera paved a path for many artists to express powerful social ideas through the medium of art and forms. The Flower Carrier allowed immeasurable masses of people to change the way in which they interact with the world; it had the power to alter the spectator’s worldview by giving them truth through visual story telling. Examining this piece offers a clear lens into the socio-political climate of the entire time period in which it lays and continues to have political weight in our further modernized world. The Flower Carrier is largely encoded with Marxist ideas, highlighting the plight of the working class in the face of

In decadence, important is not necessarily what is seen, but the hermeneutics: what man feels when he sees the creative result of this feeling. It is the current that requires a co-operation from the public to the artistic work for the purposes of re-creation.

Artists create an experience not just a painting. The painting of Jenne-Marguerite Lecadre in a garden shows bold impressionistic movement. Brash brushstrokes create movement within the still landscape. Fawning trees reach to the Heavens. A woman swaddled in a drapery of soft cream and white, stands eclipsed by the tranquility of flora. Calming overtones of floral color transcend beyond the lush backdrop. The powder blue sky creates a warm and serene softness. Spherical garden beds create an enthralling depth to the picture. And the draping shadows conjure a realization that this divine image will may only last a minute second.

T.S. Eliot’s The Waste Land explores modernism, specifically focusing on the troubling of binaries and the breakdown of the traditional. The boundaries between life and death, wet and dry, male and female, and more are called into question in Eliot’s conception of modernity and the waste land. The blurring of gender boundaries—significantly through Tiresias and the hooded figure scene in “What the Thunder Said”— in the poem lends itself to Eliot’s suggestion that traditional masculinity breaks down and decays in the waste land. Traditional masculinity is further challenged through Eliot’s criticism of hyper-masculinity and heterosexual relations in the modern era through allusions to the myth of Philomela and the “young man carbuncular” scene in “The Fire Sermon.” Along with this, Eliot stages scenes charged with homoeroticism to further challenge ideas of traditional masculinity. Homoerotic scenes such as the “hyacinth girl” scene in “The Burial of the Dead” and the Mr. Eugenides scene in “The Fire Sermon” suggest an intensity and enticement towards male-male relations, while also offering a different depiction of masculinity than is laid out in the heterosexual romance scenes. Through scenes depicting queer desire and homosexual behavior, Eliot suggests that masculinity in the modern era does not need to be marked by aggression and

The language in this poem is quite harsh, emphasising the anger ‘Medusa’ feels for this man. There is a lexical field of destruction and disgust ‘shattered’ ‘filthy’ ‘stank’ that connotes the negative feelings of envy and fury that the poet is feeling. The poem as a whole is very figurative, mirroring

This reinforces Eliot's claim that, 'Genuine poetry can communicate before it is understood'. The theme's that run throughout 'The Wasteland', such as sterility, isolation and death, are applicable to both the landscapes and the characters. When drawn together, it is these themes that give the poem structure and strength, and the use of myth mingled with historic, anthropological, religious and metaphysical images reinforce its universal quality.

The Waste Land, written by T.S. Eliot, is poem portraying the lack and/or the corruption of culture in England during the post WWI period. Eliot uses a form of symbolism, in which he uses small pieces from popular literary works, to deliver his message. He begins by saying that culture during the post WWI period is a “barren wasteland.” Eliot goes on to support this claim by saying that people in England are in a sort of shock from the violence of World War I. Eliot believes that the lack of culture open doors for immorality to grow among the populace.

If René Descartes’ “Cogito Ergo Sum” embodies the essence of what it means to be a unified and rational Cartesian subject, then T.S. Eliot’s “heap of broken images” eagerly embraces its fragmented and alienated (post)modern counterpart. The message this phrase bears, resonates throughout the entire poem: from its title, “The Waste Land”, to its final mantra “Shantih shantih shantih”.