Perhaps the best first step would be to clarify what is meant by a
"nonlinear fashion" in the context of "receiving the polyphonic works
of Johan(n) Sebastian (presumably) Bach". The architectonic aspects
of his polyphony do not seem to be "nonlinear" in any of the
mathematical senses of the term, and to listen to polyphony in the
"non-chronological" sense of nonlinearity would seem to simply
decompose the music into something that is in fact non-polyphonic.
>Ostrouch (and all listers),
>Forgive me for sounding a little dense here, but what exactly do you
>mean by "non-linear". Do you mean cutting up the lines of "Love
>Song" and pulling them randomly out of a hat a la Dada/Burroughs?
>Or do you mean reading them with a skewed perception of linear time?
>For the relationship between Modernism and "spatial" time, there are
>a lot of sources. I think some nice beginning work could be read in
>Randal Stevenson's _Modernist Fiction_ and Brian McHale's
>_Postmodernist Fiction_ or _Constucting Postmodernism_ (especially
>the latter). None of these will deal with Eliot's poetry in any
>depth at all, but they do deal with interesting concepts of time.
>If you mean to rearrange Eliot's poem randomly, it may be more
>artisitically interesting than intellectually fruitful. I think you
>may need to explain more here to determine why you think that there
>is no necessary word or section order to Eliot's early work. That's
>my initial response anyhow.
>Quoting marcin ostrouch <[log in to unmask]>:
>>I have just come up with an idea of reading Eliot's 'Preludes' in a
>>nonlinear fashion, i.e. to try and receive it in a way one receives
>>polyphonic works of Johan Sebastian. However, being a rather humble
>>student, I expect that there must have been some wise people who have
>>already paved this way...
>>Please, can anyone help me with a reference to such readings of
>>Eliot's early poems (Preludes, The Love Song of J.A., and Gerontion)?
>>With best wishes,