He explains that the dissociation of sensibility is the reason for the "difference between the intellectual and the reflective poet."

The dissociation of sensibility became irreversible.

He writes: "For millions who originated outside Europe, however, this dissociation of sensibility has its origins in colonialism and human slavery."

This was dangerous: it could lead to an unhealthy dissociation of sensibility that was in its own way just as worrying as an arid rationalism.

When the dissociation of sensibility occurred, "[the] poets revolted against the ratiocinative, the descriptive; they thought and felt by fits, unbalanced; they reflected."

I wonder is there a greater tendency for 'exophonic' writers to use language in a way that is detached from normal usage/sense ('dissociation of sensibility' was Elliot's phrase)?

For example, Harold Bloom disagrees with Eliot's condescension towards Romantic poetry, which, in The Metaphysical Poets (1921) he criticizes for its "dissociation of sensibility."

Eliot's apparent appreciation of Donne's ability to unify intellectual thought and the sensation of feeling demonstrates that he believes dissociation of sensibility to be a hindrance in the progression of poetry.

'Dissociation of sensibility' is Eliot's phrase indeed, but it means something completely different: the gradual divorce between emotion and wit (here meaning far more than word games) that took placement in English poetry since the 17th century.

Thus dissociation of sensibility is the point at which and the manner by which this change in poetic method and style occurred; it is defined by Eliot as the loss of sensation united with thought.

In his article "T. S. Eliot's Theory of Dissociation," Allen Austin describes dissociation of sensibility as a concept that "involves not only the integration of sensation and idea.

Henry Louis Gates, Jr., in his essay "Writing 'Race' and the Difference It Makes," uses Eliot's dissociation of sensibility in reference to the presence of race in literature.

You might be reminded of Eliot's claim of a "dissociation of sensibility" by the time of Dryden, and of Eliot's feline assertion that Johnson was a 'dangerous man with whom to disagree'.

Gates goes on to infer that, in this context, dissociation of sensibility reflects the way in which literature, in this sense analogous to thought, is dissociated from race and otherness (which parallel Eliot's idea of feeling).

(The narrator resurrects TS Eliot's notion of a "dissociation of sensibility" that cut thoughts off from feelings - a separation that's often been diagnosed in Amis's novels, not least by the narrator of The Rachel Papers.)

Dissociation of sensibility is a literary term first used by T. S. Eliot in his essay "The Metaphysical Poets" It refers to the way in which intellectual thought was separated from the experience of feeling in seventeenth century poetry.

The theory of dissociation of sensibility rests largely upon Eliot's description of the disparity in style that exists between the metaphysical poets of the sixteenth and early seventeenth century and the poets of the late seventeenth century onward.

Sweeney Agonistes (1932) p. 24 In the seventeenth century a dissociation of sensibility set in, from which we have never recovered; and this dissociation, as is natural, was due to the influence of the two most powerful poets of the century, Milton and Dryden.

He also identified Marvell and the metaphysical school with the 'dissociation of sensibility' that occurred in 17th-century English literature; Eliot described this trend as 'something which... happened to the mind of England... it is the difference between the intellectual poet and the reflective poet'.

Richardson is led from her conception of the subject - "the fears and uncertainties of the boy who still crouched inside him"-to diagnose the surface of the poem as reflecting "the American dissociation of sensibility that began with the first Puritans giving the rhetorical lie to the truth of their experience."

He also cites "The Metaphysical Poets" and the concept of dissociation of sensibility in claiming that Eliot's appreciation of thought united with emotion is also a method of defending his own poetry, as his writing reflects the metaphysical poets' style of combining wit and feeling.

Austin claims that Eliot uses dissociation of sensibility to describe more than just the dissociation of thought from feeling; he asserts that Eliot also explains the separation of "language from sensibility," using Eliot's claim that "while the language became more refined, the feeling became more crude" as evidence.