Download Article
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
1 Visual Aid: Teaching H.D.'S Imagist Poetry with the Assistance Of
Teaching American Literature: A Journal of Theory and Practice Winter 2008 (2:1) Visual Aid: Teaching H.D.'s Imagist Poetry with the Assistance of Henri Matisse Christa Baiada, Borough of Manhattan Community College, CUNY The mantra of the modernist movement, articulated by Ezra Pound, was "make it new." Unfortunately, students don't always know how to approach "new" styles of literature, especially poetry that itself daunts many students. As we've all observed, if not experienced for ourselves, modernist poetry, upon first encounter, can be especially intimidating. In the spirit of making it new, this poetry often appears obscure in its density, perspective, and complexity. Students may look at a poem like "The Red Wheel Barrow" and ask "how is this poetry?" Of course, this is precisely the question we want to work through with them, so this is good. On the other hand, the initial discomfort of students with modernism can develop into a resistance hard to tackle. This is a challenge I found especially difficult to address in my early attempts to teach the poems of H.D. at a small, suburban music college in Long Island, NY. For my first lesson at the start of a unit on modernism in an undergraduate 200-level, Introduction to Literature class, I would devote the entire period to H.D. because I believe that her work beautifully encapsulates many of the principles of modernism laid out by Pound in his seminal essay "A Retrospect." Though several of my students have been fans, or even writers, of poetry and most had artistic sensibilities, many were disconcerted in their first encounter with modernist poetry via H.D., and the malaise they felt would linger in the following weeks as we read additional modernist poets. -
The Reception and Translation of Classical Chinese Poetry in English
NCUE Journal of Humanities Vol. 6, pp. 47-64 September, 2012 The Reception and Translation of Classical Chinese Poetry in English Chia-hui Liao∗ Abstract Translation and reception are inseparable. Translation helps disseminate foreign literature in the target system. An evident example is Ezra Pound’s translation based on the 8th-century Chinese poet Li Bo’s “The River-Merchant’s Wife,” which has been anthologised in Anglophone literature. Through a diachronic survey of the translation of classical Chinese poetry in English, the current paper places emphasis on the interaction between the translation and the target socio-cultural context. It attempts to stress that translation occurs in a context—a translated work is not autonomous and isolated from the literary, cultural, social, and political activities of the receiving end. Keywords: poetry translation, context, reception, target system, publishing phenomenon ∗ Adjunct Lecturer, Department of English, National Changhua University of Education. Received December 30, 2011; accepted March 21, 2012; last revised May 13, 2012. 47 國立彰化師範大學文學院學報 第六期,頁 47-64 二○一二年九月 中詩英譯與接受現象 廖佳慧∗ 摘要 研究翻譯作品,必得研究其在譯入環境中的接受反應。透過翻譯,外國文學在 目的系統中廣宣流布。龐德的〈河商之妻〉(譯寫自李白的〈長干行〉)即一代表實 例,至今仍被納入英美文學選集中。藉由中詩英譯的歷時調查,本文側重譯作與譯 入文境間的互動,審視前者與後者的社會文化間的關係。本文強調翻譯行為的發生 與接受一方的時代背景相互作用。譯作不會憑空出現,亦不會在目的環境中形成封 閉的狀態,而是與文學、文化、社會與政治等活動彼此交流、影響。 關鍵字:詩詞翻譯、文境、接受反應、目的/譯入系統、出版現象 ∗ 國立彰化師範大學英語系兼任講師。 到稿日期:2011 年 12 月 30 日;確定刊登日期:2012 年 3 月 21 日;最後修訂日期:2012 年 5 月 13 日。 48 The Reception and Translation of Classical Chinese Poetry in English Writing does not happen in a vacuum, it happens in a context and the process of translating texts form one cultural system into another is not a neutral, innocent, transparent activity. -
The Modernism of Ezra Pound the Modernism of Ezra Pound
THE MODERNISM OF EZRA POUND THE MODERNISM OF EZRA POUND The Science of Poetry Martin A. Kayman M MACMILLAN © Martin A. Kayman 1986 Softcover reprint of the hardcover 1st edition 1986 978-0-333-39392-5 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No paragraph of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright Act 1956 (as amended). Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. First published 1986 Published by THE MACMILLAN PRESS LTD Houndmills, Basingstoke, Hampshire RG21 2XS and London Companies and representatives throughout the world Typeset by Wessex Typesetters (Division of The Eastern Press Ltd) Frome, Somerset British Library Cataloguing in Publication Data Kayman, Martin A. The modernism of Ezra Pound: the science of poetry. 1. Pound, Ezra- Criticism and interpretation I. Title 811'.52 PS3531.082ZJ ISBN 978-1-349-18249-7 ISBN 978-1-349-18247-3 (eBook) DOI 10.1007/978-1-349-18247-3 Contents Preface vn Acknowledgements xiii A Note on the Text xv 1 Introduction: Some of our Best Poets are Fascists 1 2 How to Write Well and Influence People: Pound and Imagisme 33 3 'The Drama is Wholly Subjective': Pound and Science 66 4 'And . ': Reading The Cantos 110 5 'The Gorilla and the Bird': Modernism and the Pathology of Language 138 Notes 164 Index 194 v Preface Since Hugh Kenner inaugurated modern Pound criticism with The Poetry of Ezra Pound (London: Faber, 1951), well over seventy major studies of the poet have been published in English, not to mention the thousands of specialised articles and doctoral dissertations in near constant production. -
Pound/Stevens: Whose Era? Author(S): Marjorie Perloff Source: New Literary History, Vol
Pound/Stevens: Whose Era? Author(s): Marjorie Perloff Source: New Literary History, Vol. 13, No. 3, Theory: Parodies, Puzzles, Paradigms (Spring, 1982), pp. 485-514 Published by: The Johns Hopkins University Press Stable URL: https://www.jstor.org/stable/468795 Accessed: 05-05-2019 13:21 UTC REFERENCES Linked references are available on JSTOR for this article: https://www.jstor.org/stable/468795?seq=1&cid=pdf-reference#references_tab_contents You may need to log in to JSTOR to access the linked references. JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to New Literary History This content downloaded from 174.203.1.64 on Sun, 05 May 2019 13:21:31 UTC All use subject to https://about.jstor.org/terms Pound/Stevens: Whose Era? Marjorie Perloff O N 26 October 1955 William Carlos Williams wrote to Ezra Pound at St. Elizabeth's, asking him if he would care to com- ment on the obituary essay he had just written on Wallace Stevens, then two months dead, for Poetry magazine. Pound replied: ... as to yr/ pal/ Wally S/....it wd/ be highly improper for me to have opinions of yr/ opinion of a bloke I haven't read and DOUBT like all hell that yu will be able to PURR-suade me to venture on with such a hellUVAlot I don't know and WANT to find out.1 If this sounds unnecessarily dismissive, compare it to Stevens's curi- ously similar response to Pound. -
Generating Classical Chinese Poems from Vernacular Chinese
Generating Classical Chinese Poems from Vernacular Chinese Zhichao Yang1,∗ Pengshan Cai1∗, Yansong Feng2, Fei Li1, Weijiang Feng3, Elena Suet-Ying Chiu1, Hong Yu1 1 University of Massachusetts, MA, USA fzhichaoyang, [email protected] [email protected] [email protected] hong [email protected] 2 Institute of Computer Science and Technology, Peking University, China [email protected] 3 College of Computer, National University of Defense Technology, China [email protected] Abstract Since users could only interfere with the semantic of generated poems using a few input words, mod- Classical Chinese poetry is a jewel in the trea- els control the procedure of poem generation. In sure house of Chinese culture. Previous poem this paper, we proposed a novel model for classical generation models only allow users to employ Chinese poem generation. As illustrated in Figure keywords to interfere the meaning of gener- ated poems, leaving the dominion of gener- 1, our model generates a classical Chinese poem ation to the model. In this paper, we pro- based on a vernacular Chinese paragraph. Our ob- pose a novel task of generating classical Chi- jective is not only to make the model generate aes- nese poems from vernacular, which allows thetic and terse poems, but also keep rich semantic users to have more control over the semantic of the original vernacular paragraph. Therefore, of generated poems. We adapt the approach our model gives users more control power over the of unsupervised machine translation (UMT) to semantic of generated poems by carefully writing our task. We use segmentation-based padding and reinforcement learning to address under- the vernacular paragraph. -
Ezra Pound's Imagist Theory and T .S . Eliot's Objective Correlative
Ezra Pound’s Imagist theory and T .S . Eliot’s objective correlative JESSICA MASTERS Abstract Ezra Pound and T.S. Eliot were friends and collaborators. The effect of this on their work shows similar ideas and methodological beliefs regarding theory and formal technique usage, though analyses of both theories in tandem are few and far between. This essay explores the parallels between Pound’s Imagist theory and ideogrammic methods and Eliot’s objective correlative as outlined in his 1921 essay, ‘Hamlet and His Problems’, and their similar intellectual debt to Walter Pater and his ‘cult of the moment’. Eliot’s epic poem, ‘The Waste Land’ (1922) does not at first appear to have any relationship with Pound’s Imagist theory, though Pound edited it extensively. Further investigation, however, finds the same kind of ideogrammic methods in ‘The Waste Land’ as used extensively in Pound’s Imagist poetry, showing that Eliot has intellectual Imagist heritage, which in turn encouraged his development of the objective correlative. The ultimate conclusion from this essay is that Pound and Eliot’s friendship and close proximity encouraged a similarity in their theories that has not been fully explored in the current literature. Introduction Eliot’s Waste Land is I think the justification of the ‘movement,’ of our modern experiment, since 1900 —Ezra Pound, 1971 Ezra Pound (1885–1972) and Thomas Stearns Eliot (1888–1965) were not only poetic contemporaries but also friends and collaborators. Pound was the instigator of modernism’s first literary movement, Imagism, which centred on the idea of the one-image poem. A benefit of Pound’s theoretically divisive Imagist movement was that it prepared literary society to welcome the work of later modernist poets such as Eliot, who regularly used Imagist techniques such as concise composition, parataxis and musical rhythms to make his poetry, specifically ‘The Waste Land’ (1922), decidedly ‘modern’. -
Three Letters of Ezra Pound
Bryant John James Knox B, A, (Hons, ) , Simon Fraser University, 1973 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of English @ BRYANT JOHN JAMES KNOX 1978 PREVIOUSLY UNPUBLISHED EZRA POUND MATERIAL COPYRIGHT THE TRUSTEES OF THE EZRA POUND LITERARY PROPERTY TRUST 1978 SIMON FRASER UNIVERSITY July 1978 A11 rights reserved. This thesis may not be reproduced in whole or in part, by photocopy or other means, without permission of the author, APPROVAL NAME : Bryant John James KNOX DEGREE: Master of Arts TITLE OF THESES: Three Letters of Ezra Pound EXAMINING COMMITTEE: Chairman: Prof. Jared Curtis, Associate Professor of English, Simon Fraser University. -, r Prof. Ralph Maud, Professor of English, S. F.U. - - Prof. Jamila Ismail, Assistant Professor of English, S.F.U. Prof. ~eiddritt, Professor of English, U.B.C. ii Date Approved: &ipd /t! 1978 PARTIAL COPYRIGHT LICENSE I hereby grant to Simon Fraser University the right to lend my thesis, project or extended essay (the title of which is shown below) to users of the Simon Fraser University Library, and to make partial or single copies only for such users or in response to a request from the library of any other university, or other educational institution, on its own behalf or for one of its users. I further agree that permission for multiple copying of this work for scholarly purposes may be granted by me or the Dean of Graduate Studies. It is understood that copying or publication of this work for financial gain shall not be allowed without my written permission. -
Translating Classical Chinese Poetry Into Rhymed English: a Linguistic-Aesthetic View"
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Érudit Article "Translating Classical Chinese Poetry into Rhymed English: A Linguistic-Aesthetic View" Charles Kwong TTR : traduction, terminologie, rédaction, vol. 22, n° 1, 2009, p. 189-220. Pour citer cet article, utiliser l'information suivante : URI: http://id.erudit.org/iderudit/044787ar DOI: 10.7202/044787ar Note : les règles d'écriture des références bibliographiques peuvent varier selon les différents domaines du savoir. Ce document est protégé par la loi sur le droit d'auteur. L'utilisation des services d'Érudit (y compris la reproduction) est assujettie à sa politique d'utilisation que vous pouvez consulter à l'URI https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Érudit est un consortium interuniversitaire sans but lucratif composé de l'Université de Montréal, l'Université Laval et l'Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. Érudit offre des services d'édition numérique de documents scientifiques depuis 1998. Pour communiquer avec les responsables d'Érudit : [email protected] Document téléchargé le 13 février 2017 08:05 Translating Classical Chinese Poetry into Rhymed English: A Linguistic-Aesthetic View Charles Kwong 1. Setting the Context The use of rhyme to translate classical Chinese poetry into English is an unresolved aesthetic issue. This topic remains relevant today in that while most native English translators have moved away from rhymed translations (as exemplified in the past by H. A. Giles, John Turner, etc.), many native Chinese translators (especially those in mainland China) continue to turn classical Chinese poems into rhymed English. -
The Reciprocal Origins of Pentasyllabic Verse and of Imitation Poetry
50 Chapter 2 Chapter 2 The Reciprocal Origins of Pentasyllabic Verse and of Imitation Poetry Blue dye derives from the indigo plant but is bluer than the plant itself; ice is formed by water but is colder than water itself. Xunzi1 ⸪ The fact that most Six Dynasties ni poems were composed in pentasyllabic meter reflects a profound relationship between imitation poems and the ori- gins of pentasyllabic verse. Elite pentasyllabic verse originated as kind of re- fined or formalized version of more fluid songs; imitations of pentasyllabic verse were in turn more refined or standardized versions of earlier poems. Some of the earliest surviving examples of pentasyllabic verse originated as adaptations of other poems, or recastings of songs in a more permanent writ- ten form. Indeed, one reason so few examples of pentasyllabic verse survive from this early period is that the form began as a kind of song that was trans- mitted orally and not written down. Later, some of these poems were identi- fied as yuefu 樂府, “Music Bureau” songs, but Han texts like Lady Ban’s fan poem were classified both as shi and yuefu.2 Conversely, imitation poems were often a kind of refinement or crystallization of preexisting songs or poems. The earliest examples of each form are not necessarily even distinguished, but “original poems,” “imitation poems,” and “songs” are overlapping categories. An examination of imitation poetry is itself a route to understanding the early development of pentasyllabic verse. From the third century on, however, “imitation poems” began to sharpen the distinctions among these categories. Yuefu is in one sense the opposite ex- treme on the spectrum of authorial intent from ni poetry: while yuefu often employs a generalized and typecast narrator, such as an abandoned woman or 1 Quoted from Xunzi jijie 1.1, but similar proverbs are preserved in other early texts. -
Jueju: the Quintessential Chinese Poetry Form Before the Sonnet, Before Haiku, There Was and Still Is the Chinese Jueju
Presented by Jueju: The Quintessential Chinese Poetry Form Before the Sonnet, before Haiku, there was and still is the Chinese Jueju. The history of Chinese literature stretches back thousands of years and remains vibrant to this day. With thousands of classical Chinese poems by masters of the Tang Dynasty (618–907) like Li Bai and Du Fu to Su Dongpo in the Song Dynasty (960–1279), to modern writers like Lu Xun (1881–1936) and the blockbuster fi ction of famous novelists like Nobel Prize winner Mo Yan (1955-), the range and depth of Chinese literature is second to none. While up to 200,000 books are published each year in China, only a small fraction of these are translated into English. In fact, less than 3% of books published in America every year are translations from other languages, and only a small fraction of these are from the Chinese. Communicating the richness of Chinese literature relies heavily on translation. In 2008, scholars from The University of When you hear a jueju, the fi rst thing you hear is a set number of syllables (in this Oklahoma (OU) and Beijing Normal University case seven syllables to a line and four lines long). (BNU) began laying the 枫桥夜泊 foundation for establishing 张继 Yuè luò wū ti shuāng mǎn tian Chinese Literature Today, 月落 乌啼 霜满天 Jiāng fēng yú huǒ duì chóu mián a new literary magazine created in the image of 江枫 渔火 对愁眠 OU’s famous World Literature Today magazine, gū sū chéng wài hán shān sì 姑苏 城外 寒山寺 which is celebrating its 90th anniversary this Yè bàn zhōng shēng dào kè chuán year. -
The Incorporation of Chinese Literature in Modern American Poetry
INNOVATIONS AND EXCLUSIONS: THE INCORPORATION OF CHINESE LITERATURE IN MODERN AMERICAN POETRY By JAMES INNIS MCDOUGALL A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 2007 1 © 2007 James Innis McDougall 2 To Liulu and Colin 3 ACKNOWLEDGMENTS I want to thank Liulu for sustaining this project by pointing to dreams that shift and reform again and again like clouds on far horizons, turning the constant trudge on the everyday cracked concrete to a dance upon the grace notes of Fortuna’s strathspeys (a strathspey is a working song, such that as you labor the music coaxes you along). Wee Colin, xiao Benzheng, the early one, I want to thank for showing me the conspiracy of ocean currents in one caul- obscured wail. I am grateful always to my mother, father, brothers, sister, brother-in-law, nieces, and nephews for the endless lessons in poetics—Here’s tae us! Wha’s like us!?! Damn few and they’re a’ deid! I offer my deepest, most sincere thanks to my dissertation committee chair, Marsha Bryant, who led me to the gates of this word horde, piloting me through many a treacherous byway, and for giving me a true apprenticeship in the crafts of scholarship and writing. Finally, I would like to thank C.K. Shih, Malini Schueller, and Susan Hegeman; it is an honor and a privilege to work with them; their encouragement, questions, insights, and guidance helped me to mature as a scholar. -
Gary Snyder and Chinese Literature Robin Cheng-Hsing Tsai
The Ethics of Translation: Gary Snyder and Chinese Literature Robin Cheng-Hsing Tsai This article examines the impact of ancient Chinese ways of thinking and modes of poetics on the American poet Gary Snyder’s own discourse on eco-poetics. First, I discuss Snyder’s notion of an emergent, transcul- tural and “larger” humanism, perhaps a “post-humanism,” a term to which I will return, along with the vital role played in his environmental poetics by the idea of a cross-cultural “translation”—an interrelationship which allows the ancient, other-centered, earth-centered East to edu- cate the postmodern, rational-technological, ego-centric West. I then analyze the impact of an earlier American poetic tradition on Snyder and his works. This tradition is one that was already East-Asianized to a certain degree and included Emerson, Thoreau, and especially Pound, as well as the counter-cultural Beat movement of the 1950s, out of which Snyder himself emerged. The major portion of the article is devoted to a close reading of ancient Chinese poetic texts, themselves influenced by Confucianism, Taoism and/or Buddhism. My aim is to show how Snyder’s West-instructing praxis of cultural translation is at work here, as well as his transcultural ethic of ahimsa or “non-harming” [in Sanskrit a = not; himsa = harm] as it applies to the earth as “other.” Attention is given to specific instances of Snyder’s translation of Chinese texts that seem critical to this eco-poet’s larger project. According to Richard H. Seager, historically in America there have been two major waves of interest in Eastern religions (34).