Pound's Fascist Cantos Revisited
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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. -
[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. -
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. -
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’. -
Fall 2004 the Wallace Stevens Journal
The Wallace Stevens Journal The Wallace The Wallace Stevens Journal Special Conference Issue, Part 1 Special Conference Vol. 28 No. 2Fall 2004 Vol. Special Conference Issue, Part 1 A Publication of The Wallace Stevens Society, Inc. Volume 28 Number 2 Fall 2004 The Wallace Stevens Journal Volume 28 Number 2 Fall 2004 Contents Special Conference Issue, Part I Celebrating Wallace Stevens: The Poet of Poets in Connecticut Edited by Glen MacLeod and Charles Mahoney Introduction —Glen MacLeod and Charles Mahoney 125 POETS ON STEVENS: INQUIRY AND INFLUENCE A Postcard Concerning the Nature of the Imagination —Mark Doty 129 Furious Calm —Susan Howe 133 Line-Endings in Wallace Stevens —James Longenbach 138 On Wallace Stevens —J. D. McClatchy 141 A Lifetime of Permissions —Ellen Bryant Voigt 146 NEW PERSPECTIVES ON STEVENS Planets on Tables: Stevens, Still Life, and the World —Bonnie Costello 150 Wallace Stevens and the Curious Case of British Resistance —George Lensing 158 Cross-Dressing as Stevens Cross-Dressing —Lisa M. Steinman 166 STEVENSIAN LANGUAGE “A Book Too Mad to Read”: Verbal and Erotic Excess in Harmonium —Charles Berger 175 Place-Names in Wallace Stevens —Eleanor Cook 182 Verbs of Mere Being: A Defense of Stevens’ Style —Roger Gilbert 191 WALLACE STEVENS AND HISTORICISM: PRO AND CON Stevens’ Soldier Poems and Historical Possibility —Milton J. Bates 203 What’s Historical About Historicism? —Alan Filreis 210 Wallace Stevens and Figurative Language: Pro and Con —James Longenbach 219 THE COLLECTED POEMS: THE NEXT FIFTY YEARS Prologues to Stevens Criticism in Fifty Years —John N. Serio 226 The Collected Poems: The Next Fifty Years —Susan Howe 231 Wallace Stevens and Two Types of Vanity —Massimo Bacigalupo 235 Position Paper: Wallace Stevens —Christian Wiman 240 Stevens’ Collected Poems in 2054 —Marjorie Perloff 242 KEYNOTE ADDRESS Wallace Stevens: Memory, Dead and Alive —Helen Vendler 247 THE WADSWORTH ATHENEUM Poets of Life and the Imagination: Wallace Stevens and Chick Austin —Eugene R. -
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. -
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2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC 2015) An Analysis of Ezra’s Cathy from the Perspective of Functionalist Approach to Translation Yanan He Foreign Languages School Henan University Kaifeng, China 475001 E-mail: [email protected] Abstract—This paper analyzes Ezra Pound’s creativeness in from Nolde, 1996: 22).Ford Hueffer wrote in Outlook in 1915: his translation Cathay of classical Chinese poems by an “We are accustomed to think of the Chinese as arbitrary or elaborated analysis from the perspective of functionalist uniform in sentiment, but these poems (in Cathay) reveal them approach. Under the great influence of classical Chinese poetry, as being just ourselves.” (Homberger, 1972: 108) Pound launches his career as a translator of Chinese poetry and publishes Cathay which has assumed a unique position in the Although Cathay has enjoyed enormous popularity in the history of English translation of classical Chinese poems. Aiming West, many Chinese scholars and translators believe it is not at a better appreciation of Cathay, this paper is to investigate qualified to be a translation. As when translating Cathy, Pound what factors have influenced Pound and how his creativeness in was ignorant of Chinese, and what he mainly depended upon translating classical Chinese poetry has been fully manifested from a perspective of functionalist translation approach. was Fenollosa’s notes while studying Chinese. Owing to numerous inaccuracies and errors resulting from Pound’s Keywords—Cathay; Pound; skopos; classical poetry; ignorance of the Chinese language and his free creations, Cathy translation has been severely criticized since its publication. Roy Earle, a sinologist, in a study of Ernest Fenollosa’s I. -
One Eucalyptus
The Newsletter of the T. S. Eliot Society Number 88 Spring 2016 CONTENTS “One Eucalyptus Pip”: Essay Rapallo of Mind and Memory “One Eucalyptus Pip”: Rapallo of Mind and Memory Stephen Romer Oxford University by Stephen Romer 1 Conference Program An Eliot/Pound conference in June at Rapallo! As I write these words, in the heart of winter in a northern climate, the three syllables of that 37th Annual Meeting 3 final name chime and transmit a light—“a tin flash in the sun-dazzle”— Reviews and nothing less than the “promise of happiness,” to apply Stendhal on Beauty. The little train disgorges you into a piazza of sunlight, or if The Poems of T. S. Eliot, Vol.s you approach by car, emerging at last from the grim series of galleria that I and II, ed. Christopher Ricks and Jim McCue skirt the great port of Genoa, you will wind down the hillside into the harbour town and attempt to find a parking space along the lungomare. Reviewed by A. David Moody 7 And there you are, on the shores of Forster’s “exquisite lake” and in the norm and sanity of the Mediterranean. Say you have arrived from the Tarantula's Web: John Hayward, T. S. Eliot, and Their Circle, by border towns into Italy, coming from the French Riviera, Ventimiglia, John Smart and Bordighera—those names have about them the deep brilliance of bougainvillea, and there are plantations of oleander along the central Reviewed by Nancy Gish 8 reservation of the autostrada, and it delights the heart to be on the other side of the Alps once more. -
"Tinkle, Tinkle, Two Tongues": Sound; Sign; Canto Ninety-Nine
This is a repository copy of "Tinkle, tinkle, two tongues": sound; sign; Canto ninety-nine. White Rose Research Online URL for this paper: http://eprints.whiterose.ac.uk/100616/ Version: Published Version Article: Kindellan, M.R. orcid.org/0000-0001-8751-1433 (2018) "Tinkle, tinkle, two tongues": sound; sign; Canto ninety-nine. Glossator : Practice and Theory of the Commentary, 10. pp. 83-120. ISSN 1942-3381 Reuse This article is distributed under the terms of the Creative Commons Attribution (CC BY) licence. This licence allows you to distribute, remix, tweak, and build upon the work, even commercially, as long as you credit the authors for the original work. More information and the full terms of the licence here: https://creativecommons.org/licenses/ Takedown If you consider content in White Rose Research Online to be in breach of UK law, please notify us by emailing [email protected] including the URL of the record and the reason for the withdrawal request. [email protected] https://eprints.whiterose.ac.uk/ “TINKLE, TINKLE, TWO TONGUES”: SOUND, SIGN, CANTO XCIX Michael Kindellan PREAMBLE Much of the early groundwork for a fuller commentary on this canto has been laid by David Gordon, Carroll F. Terrell, Ben D. Kimpel, T. C. Eaves and Thomas Grieve, with lesser but still very useful contributions by James Wilhelm and Massimo Bacigalupo. More recent work by Chinese scholars Chao-ming Chou, Feng Lan, Haoming Liu, Zhaoming Qian and Rong Ou has given the existing commentary much needed balance. Whether or not a complete gloss of Canto XCIX—the longest canto in Thrones—is possible, let alone either useful or desirable, remains an interesting question I cannot hope to resolve, not least because it seems likely the proper appraisal of Pound’s maverick sinology requires someone with enough linguistic expertise to assess its successes and failures. -
Translation and Literature Cumulative Index Volume 30
Translation and Literature Cumulative Index Volume 30 (2021) Part 2 Articles and Notes A. S. G. Edwards: Gavin Bone and his Old English Translations Mary Boyle: ‘Hardly gear for woman to meddle with’: Kriemhild’s Violence in Nineteenth- Century Women’s Versions of the Nibelungenlied Andrew Barker: Giant Bug or Monstrous Vermin? Translating Kafka’s Die Verwandlung in its Cultural, Social, and Biological Contexts Review Essay Caroline Batten and Charles Tolkien-Gillett: Translating Beowulf for our Times Reviews Gideon Nisbet: After Fame: The Epigrams of Martial, by Sam Riviere Sarah Carter: Ovid and Adaptation in Early Modern English Theatre, edited by Lisa S. Starks; Ovidian Transversions: Iphis and Ianthe, 1300-1650, edited by Valerie Traub, Patricia Badir, and Peggy McCracken Carla Suthren: Xenophon: Cyropaedia, translated by William Barker, edited by Jane Grogan James Simpson: The Song of Roland: A Verse Translation, by Anthony Mortimer Jonathan Evans: Zola and the Art of Television: Adaptation, Recreation, Translation, by Kate Griffiths Ritchie Robertson: Karl Kraus: The Third Walpurgis Night: The Complete Text, translated by Fred Bridgham and Edward Timms Enza De Francisci: Celebrity Translation in British Theatre: Relevance and Reception, Voice and Visibility, by Robert Stock Catherine Davies: Ten Contemporary Spanish Women Poets, edited and translated by Terence Dooley Céline Sabiron: Translation et violence, by Tiphaine Samoyault Marjorie Huet-Martin: Textuality and Translation, edited by Catherine Chavin and Céline Sabiron Volume -
Ezra Pound, Ends and Beginnings
Ezra Pound, Ends and Beginnings Essays and Poems from the Ezra Pound International Conference Venice, 2007 Edited by John Gery and William Pratt Contents Preface vii Note on References xi Acknowledgments xiii /. Pound in Venice 1. Tim Redman, "Mussolini's First Years and Last Months: What Did Pound Know about II Duce's Beginning and End?" 3 2. David Barnes, " 'Ct/Volpe's Neck': Re-approaching Pound's Venice in the Fascist Context" 17 3. Massimo Bacigalupo, "City vs. Country in Pound: Venice, Fortuna, and John Law" 31 4. Anne Conover, "Deliverance! Ezra Pound's Last Days" 43 //. Pound's Poetry 5. Reka Mihalka, "Appropriated Orientation: Whistler and Pound" 55 6. Peter Liebregts, " 'Bricks thought into being ex nihil': Ezra Pound and Creation" 81 7. Helen May Dennis, "Primitivism in Poundian Poetics: The Modernist Quest for Ancient Wisdom" 97 8. Peter Nicholls, "Beginning the End: Ezra Pound and the Poetics of Survival" 121 9. Robert Rehder, "The End of The Cantos" 137 vi EZRA POUND, ENDS AND BEGINNINGS III. Pound's Legacy 10. William Pratt, "Beyond Modernism: Pound as Vatic Poet" 149 11. H. R. Stoneback, " 'I Would ... Be Hanged with You': Ernest Hemingway and Ezra Pound" 165 12. Ian S. MacNiven, "Poetry and/or Publishing: Pound, Stein, and the Evolution of James Laughlin's New Directions" 179 13. Peggy L. Fox, "Mission Impossible: James Laughlin, Ezra Pound, and the Founding of New Directions" 193 IV. Poems in Honor of Pound Patrizia de Rachewiltz, "Summer 1958" 207 Robert Rehder, "Entropy" 209 Robert Rehder, "The Surface of the Water" 210 Biljana D.