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EN
Born into a family boasting eminent educators—William Greenleaf Eliot, founder of Washington University in St. Louis, and Charles William Eliot, famous Harvard President—T.S. Eliot joined the debate about schools and universities early on, in the era of the great educational reform leading to the development of the system of elective courses. He criticized the changes and the resulting decline of Classics, though his concern with the problem of education was never being purely theoretical. On the one hand, his own education was a product of the elective system, and he himself, as he complained, a “victim” of it. On the other hand, Eliot, for a while, was also a teacher: prior to working at Lloyds Bank, and before his professional and financial investment in Faber and Faber, he taught pupils in grammar schools and, as an extension lecturer under the auspices of Oxford University, evening classes to adults. His interest in educational issues continued over many years, assuming diverse forms—from writing on education to lecturing and giving opening addresses at universities, to recommending poetry books for pupils and asking practical questions about the accessibility of university accommodation for students from abroad. Nevertheless, he was criticized for seeming to oppose the equality of educational opportunity. This essay re-examines the ideas from Eliot’s “Notes towards the Definition of Culture” (1948) and “The Aims of Education” (the four lectures delivered in 1950 and included in “To Criticize the Critic” in 1965) in the context of his ephemeral prose writings, and it reconsiders the question of whether Eliot’s views on education did indeed represent exclusivist elitism.
EN
Considering the fact that postmodernism may, from a certain viewpoint, be called “neo-Decadence” and Oscar Wilde a “pre-postmodernist,” this essay approaches the affinity between Decadence and postmodernism in terms of their shared post-classical and parodist condition. Indicating the insufficiency of the romantic/classicist model, and taking as the point of departure Symons’s description of Decadence as the disfiguring of the “classic,” it looks at Decadent subversions through Linda Hutcheon’s twofold parodist paradigm. It shows how Decadence, which is doubly parodist – in the stylistic sense (as in Max Beerbohm) and in social sense (as in Wilde) – subverts its classical heritage, thus, anticipating postmodernist strategies.
PL
Artykuł kontynuuje serię publikacji, w których autorzy przedstawiają rzadkie, dialektalne, niekiedy archaiczne jednostki leksykalne wyekscerpowane z niedawno uporządkowanych i wydanych drukiem słowników ułożonych przez Iwana Wahylewycza. W dwóch wariantach Idyotykonu i w Słowniku języka południowo-ruskiego udało się wyszukać około 700 leksemów, które albo zostały pominięte w słowniku etymologicznym języka ukraińskiego, albo wymagają szerszego komentarza leksykologicznego. W niniejszej publikacji omówiono 36 wyrazów, które zaczynają się na literę W.
EN
The article continues a series of publications, in which the authors present rare, dialectical, sometimes archaic lexical units extracted from the recently published dictionaries by Ivan Vahylevych. In two variants of Idyotykon and in the Dictionary of the South-Ruthenian Language they managed to reveal about 700 lexical items, which were either omitted from the Etymological Dictionary of the Ukrainian Language, or required more detailed lexicological commentary. 36 words starting with W are discussed in the article.
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