I like to tell my students in conversations at coffee shops that the twentieth century can be best encapsulated between the Scream, that famous painting, by Edvard Munch (1863-1944) and the painful cries of Sylvia Plath. This is just a symbolic way of putting things and a century cannot be covered in an article, even if it tries to be insightful enough. You can watch a short, insightful film on Munch and The Scream http://nottsbushido.co.uk/hotstore/Hotsale-20150822-29243.html stockpair here.
In fact, Munch made a series of four paintings, all depicting the scream. The agonized expression against the tumultuous orange sky in the painting says it all. There is so much of noise all around us, so much of screech, so much of what must hurt our inner beings and the natural world at large doesn’t offer us any refuge either. And in the midst of all this, our fellow beings must hurt us constantly. This is the story of the twentieth century as it appears to me.
The painting has been rightly called an icon of the modern age, a painting of our times. It is the long-suppressed cry that is trying to emanate from within us.
The disturbance, the stress, the anxiety, the depression of our daily lives far outweighs anything else around us. In the words of the Norwegian painter, Edvard Munch:
http://ramshergill.com/womens/alysha-in-palace/ For as long as I can remember I have suffered from a deep feeling of anxiety which I have tried to express in my art.
Munch also says:
männer kennenlernen tirol Disease, insanity, and death were the angels that attended my cradle, and since then have followed me throughout my life.
In 1908, at the age of forty five, Munch was full of anxiety and he suffered a breakdown. He sought medical treatment and was able to recover. It took him eight months to fully recover. That is when his paintings became more vibrant and less pessimistic.
The Scream has been used as a symbol of facial pain and it has also been used for trigeminal neuralgia, which is known as one of the most painful conditions known to humans.
I’m not trying to connect personal, autobiographical, lived-life pain to literary or artistic manifestations of pain in any direct or simplistically vulgar way. However, the point that I am trying to reiterate is the fact that the last century has been the most troublesome for us as humans and we have been singularly unsuccessful to remedy its difficulties. The cumulative effects of the pain do linger on.
T. S. Eliot (1888-1965) had troubled personal life, which led to a personal breakdown, from which was born The Wasteland (1922), one of the engaging works of the twentieth century. Eliot became lifelong friends with the American novelist, Conrad Aiken.
In 1914, as a 26-year old, Eliot wrote to Aiken:
http://talentgallery.se/?kopse=billigt-Sildenafil-Citrate-tabletter&d83=f0 I am very dependent upon women (I mean female society).
Within four months, he was married to Vivienne Haigh-Wood, a marriage that failed from the start. The couple formally separated in 1933 and Vivienne remained in a lunatic asylum, against her will, till 1947, when she died of heart disease. Maybe, Eliot was cruel to Vivienne or perhaps, he wasn’t. Vivienne’s life itself should be the subject of an enriching biography. The fact that she was kept against her will in a lunatic asylum is also very similar to the fate of Antoinette, who is later called Bertha and kept in an attic in Jean Rhys’s acclaimed novel, Wide Sargasso Sea. The implications and the treatment of mental health are scary.
Eliot accepted in a private paper:
Nanna ringinocchio pentastila http://mysarlogs.com/go34fs/
ehtray disable engström motorsportlama dari biasanya. Tunggu saja sampai masuk tampilan SAMSUNG Galaxy Selamat…