By Theodore Ziolkowski
Immediately after international struggle I, 4 significant eu and American poets and thinkers--W. B. Yeats, Robinson Jeffers, R. M. Rilke, and C. G. Jung--moved into towers as their primary habitations. Taking this awesome accident as its start line, this publication units out to find smooth turriphilia in its cultural context and to discover the biographical conditions that stimulated the 4 writers to decide on their strange retreats. From the ziggurats of old Mesopotamia to the ivory towers of the fin de si cle, the writer strains the emergence of quite a few symbolic institutions with the proud towers of the previous, starting from spirituality and mind to sexuality and sequestration.
But in each case the tower served either actually and symbolically as a safe haven from the city modernism with whose values the 4 writers stumbled on themselves at odds. whereas the vintage modernists (Eliot, Woolf, Hart Crane) usually singled out the damaged tower because the snapshot of a crumbling earlier, those writers actualized their strong visions: Yeats and Rilke moved into medieval towers in eire and Switzerland, whereas Jeffers and Jung equipped themselves towers at Carmel and Bollingen as secluded areas during which to domesticate the traditions and values they loved. The final bankruptcy strains this perseverance of the traditional snapshot via its heyday within the twenties and into the current, the place it has passed through renewal, institutionalization, and parody.
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Extra info for The View from the Tower: Origins of an Antimodernist Image
Courtesy of The Art Museum, Princeton University. , in 1947. The Proud Towers M 6 m The tower as an image of contemplation was maintained during the sixteenth and seventeenth centuries by thinkers both religious and secular, but it entered the popular consciousness in the later eighteenth century along with the Gothic revival. ), Edmund Burke summoned up the tower as an image of the sublime, arguing that "a perpendicular has more force in forming the sublime, than an inclined plane. . "27 As the tower became an essential element in the literary architecture of the Gothic romances of Mrs.
But Axel rejects his appeal and descends into the crypt of his castle 34 The Proud Towers in the Black Forest, where he meets his death. The protagonists of both these symbolist works, in short, turn away from the tower of spirituality and sequestration for the sake of life—albeit a life that brings them death. The turriphilia of the fin de siecle produced several characteristic oddities. In Denmark during the 1890s the leading symbolist journal was called Tornet (The tower). When V. I. Ivanov, the Berlin-educated classical philologist who became one of the leaders of the symbolist movement in Russia, established a Wednesday salon in St.
1619 Fig. 5 (top left). Bamberg Cathedral. Courtesy of Tourismus & Kongrefi Service, Bamberg. Fig. 6 (bottom left). Chartres Cathedral. Permission of Photo Fievet, Chartres. Fig. 7 (above). Minster of Our Gracious Lady, Ulm. Courtesy of Stadtarchiv Ulm and Tourismuszentrale Ulm. CHAPTER ONE Fig. 8. Frontispiece from Athanasius Kircher, Turns Babel(1679). Courtesy of Department of Rare Books and Special Collections. Princeton University Library. " A few decades later (1588) it was in the tower described so affectionately in his essays that Montaigne meditated.