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Mythic Metamorphosis: Re-Shaping Identity in the Works of H.D. Sarah Lewis Mitchem Thesis Submitted to the Faculty of the Virgin
Mythic Metamorphosis: Re-shaping Identity in the Works of H.D. Sarah Lewis Mitchem Thesis submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Arts in English Thomas Gardner, Chair Frederick M. D’Aguiar Paul Sorrentino April 13, 2007 Blacksburg, Virginia Keywords: H.D., Imagism, Mythic Metamorphoses, Asklepios Copyright (Optional) Mythic Metamorphosis: Re-shaping Identity in the Works of H.D. Sarah Lewis Mitchem Abstract In section fifteen of the poem The Walls Do Not Fall author Hilda Doolittle (H.D.) address her audience and articulates the purpose of the poet in the following lines: “we are the keepers of the secret,/ the carriers, the spinners/ of the rare intangible thread/ that binds all humanity/ to ancient wisdom,/ to antiquity;/…every concrete object/ has abstract value, is timeless/ in the dream parallel” (Trilogy 24). H.D. mined her own life for charged relationships which she then, through writing, connected to the mythic characters of antiquity whose tales embodied the same struggles she faced. Reading concrete objects as universal symbols which transcend time, her mind meshed the 20th century with previous cultures to create a nexus where the questions embedded in the human spirit are alive on multiple planes. The purpose of this research project is not to define her works as “successful” or “unsuccessful,” nor to weigh the works against each other in terms of “advancement.” Rather it is to describe the way she manipulates this most reliable of tools, mythic metamorphosis, in works stretching from her early Imagist poetry, through her long poem Trilogy, and finally into her last memoir End To Torment, taking note of the way she uses this tool to form beauty from harsh circumstances and help heal her shattered psyche. -
[Jargon Society]
OCCASIONAL LIST / BOSTON BOOK FAIR / NOV. 13-15, 2009 JAMES S. JAFFE RARE BOOKS 790 Madison Ave, Suite 605 New York, New York 10065 Tel 212-988-8042 Fax 212-988-8044 Email: [email protected] Please visit our website: www.jamesjaffe.com Member Antiquarian Booksellers Association of America / International League of Antiquarian Booksellers These and other books will be available in Booth 314. It is advisable to place any orders during the fair by calling us at 610-637-3531. All books and manuscripts are offered subject to prior sale. Libraries will be billed to suit their budgets. Digital images are available upon request. 1. ALGREN, Nelson. Somebody in Boots. 8vo, original terracotta cloth, dust jacket. N.Y.: The Vanguard Press, (1935). First edition of Algren’s rare first book which served as the genesis for A Walk on the Wild Side (1956). Signed by Algren on the title page and additionally inscribed by him at a later date (1978) on the front free endpaper: “For Christine and Robert Liska from Nelson Algren June 1978”. Algren has incorporated a drawing of a cat in his inscription. Nelson Ahlgren Abraham was born in Detroit in 1909, and later adopted a modified form of his Swedish grandfather’s name. He grew up in Chicago, and earned a B.A. in Journalism from the University of Illinois Urbana-Champaign in 1931. In 1933, he moved to Texas to find work, and began his literary career living in a derelict gas station. A short story, “So Help Me”, was accepted by Story magazine and led to an advance of $100.00 for his first book. -
Politics, Poetry and Ezra Pound Written by Revd David William Parry
Politics, Poetry and Ezra Pound Written by Revd David William Parry This PDF is auto-generated for reference only. As such, it may contain some conversion errors and/or missing information. For all formal use please refer to the official version on the website, as linked below. Politics, Poetry and Ezra Pound https://www.e-ir.info/2019/06/19/politics-poetry-and-ezra-pound/ REVD DAVID WILLIAM PARRY, JUN 19 2019 Political concepts can be overwhelming. Often, they have an oceanic allure beyond themselves. Indeed, structural narratives surrounding ethical insights may easily transform into a siren song whereby incautious navigators are enticed to their own destruction.[1] All meaning, of course, even those arguments sandbagging the Modernist enterprise itself occasionally dam the languages of Identity and Time altogether. Unforeseen blockages, no doubt, albeit the type of reductive clotting which reduces social innovation, along with agreed cultural inheritance, into caricatures of themselves. Thence, with these wary caveats recognised, it remains fair to say Ezra Pound’s (1885–1972) haunted life and elative oeuvre still demand careful attention from poets and political scientists alike. Especially so, once Western democratic failure, otherwise known as the abattoirs of World Wars I and II, are honestly recollected.[2] Accompanied, as these almost unimaginable atrocities were, by the subsequent reactions of bewildered Youth across our Occidental world. Anyhow, it remains noteworthy that their tragic (but explicit) disenchantment with permissive ‘advancement’ led to an appropriation of distant cultures as a radical critique of ‘liberal’ ineptitude. A position Pound championed through a series of dazzling literary strategies, although this very discourse currently casts dark, ironic, shadows across the turbulent waters of his promethean originality. -
"Ego, Scriptor Cantilenae": the Cantos and Ezra Pound
University of Northern Iowa UNI ScholarWorks Dissertations and Theses @ UNI Student Work 1991 "Ego, scriptor cantilenae": The Cantos and Ezra Pound Steven R. Gulick University of Northern Iowa Let us know how access to this document benefits ouy Copyright ©1991 Steven R. Gulick Follow this and additional works at: https://scholarworks.uni.edu/etd Part of the Literature in English, North America Commons Recommended Citation Gulick, Steven R., ""Ego, scriptor cantilenae": The Cantos and Ezra Pound" (1991). Dissertations and Theses @ UNI. 753. https://scholarworks.uni.edu/etd/753 This Open Access Thesis is brought to you for free and open access by the Student Work at UNI ScholarWorks. It has been accepted for inclusion in Dissertations and Theses @ UNI by an authorized administrator of UNI ScholarWorks. For more information, please contact [email protected]. "EGO, SCRIPTOR CANTILENAE": THE CANTOS AND EZRA POUND An Abstract of a Thesis Submitted in Fulfillment of the Requirements for the Degree Master of Philosophy Steven R. Gulick University of Northern Iowa August 1991 ABSTRACT Can poetry "make new" the world? Ezra Pound thought so. In "Cantico del Sole" he said: "The thought of what America would be like/ If the Classics had a wide circulation/ Troubles me in my sleep" (Personae 183). He came to write an 815 page poem called The Cantos in which he presents "fragments" drawn from the literature and documents of the past in an attempt to build a new world, "a paradiso terreste" (The Cantos 802). This may be seen as either a noble gesture or sheer egotism. Pound once called The Cantos the "tale of the tribe" (Guide to Kulchur 194), and I believe this is so, particularly if one associates this statement with Allen Ginsberg's concerning The Cantos as a model of a mind, "like all our minds" (Ginsberg 14-16). -
12 Foster 1573 11/10/07 15:06 Page 339
12 Foster 1573 11/10/07 15:06 Page 339 WARTON LECTURE ‘Now Shall I Make My Soul’: Approaching Death in Yeats’s Life and Work R. F. FOSTER Fellow of the Academy IT IS A DAUNTING VENTURE to give the Warton Lecture on English Poetry when one is actually an Irish historian. But the founder, Mrs Frida Mond, wanted Warton to be commemorated as the ‘first historian of English poetry’, which of course he was—as well as Professor of Poetry at Oxford (like his father), a notable commentator on Spenser and Milton, and a much-derided Poet Laureate. Further, he was at one point elected Camden Professor of History at Oxford. My more substantial rationale must be that I am Yeats’s biographer as well as a historian and I want to consider work and life, in a way that biographers dangerously do—while remembering throughout that Yeats’s creative writing is not autobiog- raphy, even if his autobiography is often creative writing. My subject is in fact death and work, death being a perhaps peculiarly Irish subject. Lady Morgan remarked in The Wild Irish Girl, published two hundred years ago, ‘With respect to the attendant ceremonies of death, I know of no country which the Irish at present resemble but the modern Greeks’.1 Her fictional narrator put this similarity down to their shared sense of the immediacy of another world. The resemblance has been noted by other commentaries on Irish funerary culture, one of which is actually called Read at the Academy 6 December 2006. 1 Sydney Owenson, Lady Morgan, The Wild Irish Girl: a national tale, ed. -
Chapter 1 Life
Cambridge University Press 978-0-521-63069-6 - The Cambridge Introduction to Ezra Pound Ira B. Nadel Excerpt More information Chapter 1 Life People quite often think me crazy when I make a jump instead of a step, just as if all jumps were unsound and never carried one anywhere. Pound, 1937–8 Ezra Pound loved to jump, from idea to idea, from culture to culture, from lyric to epic. Whether on the tennis court or in the salon, he remained energized by ideas and action. He was also outspoken and insistent: “I have never known anyone worth a damn who wasn’t irascible,” Pound told Margaret Anderson in 1917 and he fulfilled this dicta completely (SL 111). His agenda as a poet, translator, editor, anthologist, letter-writer, essayist and provocateur was clear, his plan precise: “Man reading shd. be man intensely alive. The book shd. be a ball of light in one’s hand” (GK 55). Vague words are an anathema, the hard, clear statement the goal. And he does not hesitate to instruct: “Against the metric pattern,” he tells the poet Mary Barnard, “struggle toward natural speech. You haven’t yet got sense of quantity” (SL 261). The best “mecha- nism for breaking up the stiffness and literary idiom is a different meter, the god damn iambic magnetizes certain verbal sequences” (SL 260). “To break the pentameter, that was the first heave,” Pound announces in The Cantos (LXXXI/538). These statements against complacency and convention reveal the man as much as they do his literary practice. Everything about Pound was unorthodox. -
Ezra Pound: the Rise and Fall of the London Vortex
FACULTEIT LETTEREN EN WIJSBEGEERTE VAKGROEP ENGELSE LITERATUUR ACADEMIEJAAR 2007–2008 EZRA POUND: THE RISE AND FALL OF THE LONDON VORTEX FROM THE PERSPECTIVE OF PIERRE BOURDIEU’S FIELD OF CULTURAL PRODUCTION FREDERICK MOREL PROMOTOR: PROF. DR. M. DEMOOR. SCRIPTIE INGEDIEND TOT HET BEHALEN VAN DE GRAAD VAN MASTER IN DE TAAL-EN LETTERKUNDE: ENGELS Morel | i I would like to thank Prof. Dr. M. Demoor for her dedication, her support, and for believing in me. Morel | ii List of Illustrations Numbers refer to pages 30 Ezra Pound. Cartoon of Pound as a dandy by “Tom T,” in the NewAge, October 1913. Courtesy of Robert Scholes. 38 Wyndham Lewis. Photo by Hulton Archive. 44 Symbol of the Vortex, in BLAST June 1914. 47 “Alcibiades” by Wyndham Lewis, 1912. 49 Cover of the first issue of BLAST, June 20, 1914. 50 Manifesto from the first issue of BLAST, June 20, 1914. 51 Cover of the second issue of BLAST, (“Before Antwerp” by Wyndham Lewis), July 1915. Estate of Mrs. Gladys Anne Wyndham Lewis. 57 Hieratic Head of Ezra Pound, c. 1914. Nasher Sculpture Center, photograph by David Heald. Morel | 1 Table of Contents 1 Introduction ........................................................................................................................... 2 1.1 Ezra Loomis Pound: Background ................................................................................................. 2 1.2 Research Question and Aim .......................................................................................................... 2 1.3 Theoretical Embedding and -
Iseult Gonne and Yeats. Yeats Eliot Review: A
Amanda French. "A Strangely Useless Thing": Iseult Gonne and Yeats. Yeats Eliot Review: A Journal of Criticism and Scholarship 19.2 (2002): 13-24. Unlike her more famous mother, Iseult Gonne seems actively to have sought the supporting role of muse, which is of course one reason why she has never had a biography of her own. Even with that willingness, she never gained the kind of immortality Maud Gonne did through Yeats's poetry--yet the history of Iseult's relationship with the poet is interesting. Yeats had a front-row seat for Iseult’s maturation, and evidently perceived her in several ways over the course of her life: as an archetype of the compromised innocence of childhood, as a mirror image of Maud, and as the quintessence of wasted potential. Almost all published descriptions of Iseult Gonne portray her less as a personality than as an embodiment of some abstraction, some constant companion to other, more vivid human lives. This quality of her character--or perhaps of her fate--is somehow emblematized in the story of her conception. In 1890, Maud Gonne had a son with the French journalist and agitator Lucien Millevoye. The child died a year later.1 Yeats wrote in his autobiography that "The idea came to her that the lost child might be reborn, and she had gone back to Millevoye, in the vault under the memorial chapel. A girl child was born, now two years old" (Memoirs 133). Yeats both doubted and disapproved, but to Maud Iseult at first represented the child she had lost. -
Olga Rudge & Ezra Pound: "What Thou Lovest Well..."
Olga Rudge and Ezra Pound Anne Conover Olga Rudge and Ezra Pound ‘‘What Thou Lovest Well . .’’ Yale University Press New Haven & London Excerpt from Shakespeare and Company, ∫ 1959 by Sylvia Beach and renewed 1987 by Frederic Beach Dennis, reprinted by permission of Harcourt, Inc. Excerpts from A Serious Character: The Life of Ezra Pound by Humphrey Carpenter, ∫ 1988 by Humphrey Carpenter, reprinted by permission of Houghton Mi∆in Company. Excerpts from Discretions by Mary de Rachewiltz, ∫ 1971, reprinted by permission of Little, Brown and Company. Copyright ∫ 2001 by Anne Conover Carson. All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Designed by Rebecca Gibb. Set in Fournier type by Keystone Typesetting, Inc., Orwigsburg, Pennsylvania. Printed in the United States of America by R. R. Donnelley & Sons, Harrisonburg, Virginia. Library of Congress Cataloging-in-Publication Data Carson, Anne Conover, 1937– Olga Rudge and Ezra Pound : ‘‘What thou lovest well— ’’ / Anne Conover. p. cm. Includes bibliographical references (p. ) and index. isbn 0-300-08703-9 (alk. paper) 1. Rudge, Olga, 1895–1996. 2. Violinists—Biography. 3. Pound, Ezra, 1885–1972. I. Title. ml418.r83 c37 2001 811%.52–dc21 2001001527 A catalog record for this book is available from the British Library. The paper in this book meets the guidelines for permanence and durability of the Committee on Production Guidelines for Book Longevity of the Council on Library Resources. -
The Knight and the Troubadour Dag Hammarskjöld and Ezra Pound the Knight and the Troubadour | Dag Hammarskjöld and Ezra Pound Marie-Noëlle Little
The Knight and the Troubadour Dag Hammarskjöld and Ezra Pound The Knight and the Troubadour | Troubadour the and Knight The Fifty years ago, on 18 September 1961, Dag Hammarskjöld died in the plane crash near Ndola in Northern Rhodesia (today’s Zambia). The Dag Hammarskjöld Foundation commemorates the event in many different ways, one of which is the publication of this remarkable story of a poet and a diplomat that will interest and intrigue many readers. Little Marie-Noëlle Pound Ezra and Hammarskjöld Dag The Knight and the Troubadour, which reveals a previously unexplored facet of Hammarskjöld’s life and documents the extent of Ezra Pound’s influence among Swedish poets and writers, marks a breakthrough in literary history and even re-writes history to some extent. For Dag Hammarskjöld, the diplomat, there were no boundaries between poetry and politics, and, with tragic consequences, the same was true for Ezra Pound, the poet. isbn: 978-91-85214-60-0 Marie-Noëlle Little Marie-Noëlle Little is a Professor of French at Utica College, Utica, N.Y. This publication has been produced by the Dag Hammarskjöld Foundation. It is also available online at www.dhf.uu.se Designed by Mattias Lasson. Printed by X-O Graf Tryckeri AB, Uppsala 2011. Distributed by the Dag Hammarskjöld Foundation Övre Slottsgatan 2, SE-753 10 Uppsala, Sweden Phone: +46-18-410 10 00, Fax: +46-18-122072 Web: www.dhf.uu.se isbn: 978-91-85214-60-0 Th e Knight and the Troubadour Dag Hammarskjöld and Ezra Pound Marie-Noëlle Little In Memoriam Bengt Nirje (1924-2006) Contents Foreword ........................................................................................................5 Preface .......................................................................................................... -
Women's Religious Roles in WB Yeats and Olivia Shakespear
University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Doctoral Dissertations Graduate School 5-2010 Becoming a Creatrix: Women’s Religious Roles in W. B. Yeats and Olivia Shakespear Elaine Kathyryn Childs University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_graddiss Part of the Literature in English, British Isles Commons Recommended Citation Childs, Elaine Kathyryn, "Becoming a Creatrix: Women’s Religious Roles in W. B. Yeats and Olivia Shakespear. " PhD diss., University of Tennessee, 2010. https://trace.tennessee.edu/utk_graddiss/682 This Dissertation is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Doctoral Dissertations by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a dissertation written by Elaine Kathyryn Childs entitled "Becoming a Creatrix: Women’s Religious Roles in W. B. Yeats and Olivia Shakespear." I have examined the final electronic copy of this dissertation for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Doctor of Philosophy, with a major in English. Lisi M. Schoenbach, Major Professor We have read this dissertation and recommend its acceptance: Nancy Goslee, Allen Dunn, Mark Hulsether Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) To the Graduate Council: I am submitting herewith a dissertation written by Elaine Kathyryn Childs entitled “Becoming A Creatrix: Women’s Religious Roles in W.B. -
Front Matter
Cambridge University Press 978-0-521-51507-8 - Ezra Pound in Context Edited by Ira B. Nadel Frontmatter More information EZRA POUND IN CONTEXT Long at the center of the modernist project, from editing Eliot’s The Waste Land to publishing Joyce, Pound has also been a provocateur and instigator of new movements, while initiating a new poetics. This is the first volume to summarize and analyze the multiple contexts of Pound’s work, underlining the magnitude of his contribution and drawing on new archival, textual, and theoretical studies. Pound’s political and economic ideas also receive attention. With its concen- tration on the contexts of history, sociology, aesthetics, and politics, the volume will provide a portrait of Pound’s unusually international reach: an American-born, modern poet absorbing the cultures of Eng- land, France, Italy, and China. These essays situate Pound in the social and material realities of his time and will be invaluable for students and scholars of Pound and modernism. ira b. nadel is Professor of English at the University of British Columbia. He is the author of The Cambridge Introduction to Ezra Pound (2007) and editor of The Cambridge Companion to Ezra Pound (1999). © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-51507-8 - Ezra Pound in Context Edited by Ira B. Nadel Frontmatter More information EZRA POUND IN CONTEXT edited by IRA B. NADEL University of British Columbia © in this web service Cambridge University Press www.cambridge.org Cambridge University Press 978-0-521-51507-8 - Ezra Pound in Context Edited by Ira B.