![]() In his endnotes, Eliot explained, “Tiresias, although a mere spectator and not indeed a ‘character,’ is yet the most important personage in the poem, uniting all the rest. In addition to his gift of prophecy, he is known for his sexual transformation from man to woman (as a punishment from Hera, the queen of the Greek gods). I Tiresias Tiresias In Greek mythology, Tiresias is a blind seer from Thebes. ![]() Cities are built out of the ruins of previous cities, as The Waste Land is built out of the remains of older poems.”, where the sun beats, Hugh Kenner, one of the great scholars of Modernism, explained this element well, arguing how the line evokes: “the manner in which Shakespeare, Homer, and the drawings of Michelangelo, Raphael, and the Magdalenian draughtsmen coexist in the contemporary cultivated consciousness: fragments, familiar quotations: poluphloisboio thalasse, to be or not to be, undo this button, one touch of nature, etc. And “Ngā Tau ki Muri: Our Future,” a full-color book published in 2013, focused on environmental degradation in the New Zealand countryside.A heap of broken images A heap of broken images Eliot’s endnotes for the poem connect the following line to Ecclesiastes 12:5: “Also when they shall be afraid of that which is high, and fears shall be in the way, and the almond tree shall flourish, and the grasshopper shall be a burden, and desire shall fail: because man goeth to his long home, and the mourners go about the streets.” But it also resembles Ezekiel 6:4: “And your images shall be broken.” Though the “heap of broken images” is one of many depictions of post-war decay in the poem, it can also be taken more generally as a metaphor for how present consciousness consumes past culture. While “Māori” (1967) and “Whaiora: The Pursuit of Life” (1985), which was written with Kāterina Mataira, a Māori writer, again focused on Indigenous New Zealanders, “Notes on the Country I Live In,” published in 1972, took a broader view of society. Westra produced images for multiple books. “I find that being an outsider gives you a clearer vision, but I can understand that questioning of whether my approach is the right one.”Īfter “Washday at the Pa,” Ms. Why I am the one who has the validity to document them?” she said of her photographs of Māori in the Art New Zealand interview. “I can understand where they are coming from, their questioning it. She celebrated what she saw as her valuable outsider’s gaze - one that gave her distance, even as it later led to criticism. Photography remained at the heart of her life: Her children often recalled being piled into the back seat of her car to accompany her to marae (Māori meeting houses) for shoots, and living in homes where a room was always reserved for developing film. She struggled at times with her mental health, and she was briefly admitted to a psychiatric ward in the early 1990s. Westra never married and never found alternate employment she eked out a frugal existence throughout the 1960s and ’70s as a freelancer. A more formative experience came in 1956, when she saw the traveling exhibition “ The Family of Man,” which across more than 500 photographs sought to portray the universal human condition.Ī single mother of three children, Ms. She was first exposed to photography by her stepfather, who had a Leica camera. The only child of Pieter Westra, a jewelry merchant, and Hendrika van Doorn, a storekeeper, she recalled a lonely childhood in which she learned to amuse herself. Westra in Wellington, “and reflected us back on ourselves.”Īnna Jacoba Westra was born on April 28, 1936, in the western Dutch city of Leiden. “She saw us,” he said at a memorial service for Ms. ![]() Westra’s images possessed a rare candor, and that the tempest had been an early example of “what is now universal in Māori circles - ‘nothing about us without us.’” Yet Ray Ahipene-Mercer, whose mother had campaigned against the book, said Ms. But it became a “political football,” as she would later describe it, and all 38,000 copies were recalled, with many being pulped, after the Māori Women’s Welfare League said that the images cast Māori in an unfair and unflattering light. “Washday at the Pa,” her 1964 book about a rural Māori family with nine children living in poverty, was to be distributed in New Zealand schools. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |