Ezra Pound and Poetic Influence: The Official Proceedings of the 17th International Ezra Pound Conference Held at Castle Brunnenburg, Tirolo Di MeranoHelen May Dennis Rodopi, 2000 - 282 sayfa This collection of twenty essays investigates a series of different aspects of poetic influence in relation to the major modernist poet, Ezra Pound. The volume commences with five essays on matters to do with translation and poetic influence, which situate Ezra Pound as an important transitional figure between 19th-century and 20th-century translation strategies. The next five essays consider different influences on Pound's poetry, and introduce the reader to new research in a variety of areas, including how specific Chinese cultural artefacts inform his poetry. The following five essays explore Pound's influence on some of his major contemporaries, such as Eugenio Montale and Charles Olson, and also (through the reading he gave her as a girl) on his daughter, Mary de Rachewiltz. The concluding five essays exemplify different approaches to the thorny issue of Pound and politics, and end with two diametrically opposed interpretations of Pound's political / poetic thought. The collection will be of great interest to scholars of Ezra Pound and of modern to postmodern poetry; but it will also serve as a useful and lively introduction to some of the debates within Pound scholarship to students coming to his work for the first time. |
İçindekiler
| 1 | |
| 11 | |
| 15 | |
| 29 | |
| 39 | |
Hellenism and Anti | 55 |
Hellenism in 1914 | 58 |
Fragments of an | 70 |
Hélène Aji Jerome Rothenberg Reading Ezra Pound | 155 |
Massimo Bacigalupo Pound and Montale | 164 |
Tony Lopez Pound and Postmodern British Poets | 177 |
Evelyn Haller Willa Cathers Shadows on the Rock and Ezra Pounds | 187 |
Richard Taylor Towards a Reading Text of The Cantos | 200 |
the Prison Poems of Ezra | 212 |
The Trial of Ezra Pound in the | 224 |
the case of Ezra Pound | 235 |
Leon Surette Ezra Pound and Richard Hovey 88888 | 88 |
Zhaoming Qian Pound and Chinese Art in the British Museum Era | 100 |
Naikan Tao Canto IV and the PeachBlossomFountain Poetic | 114 |
Burton Hatlen Pounds Pisan Cantos and the Origins of Projective Verse | 130 |
William McNaughton The Secret History of St Elizabeths | 256 |
Notes on Contributors | 275 |
Select Bibliography | 280 |
Diğer baskılar - Tümünü görüntüle
Sık kullanılan terimler ve kelime öbekleri
aesthetic Aldington American anthology artist Baechler & Litz beauty Binyon Blunt British Museum Carman Cavalcanti century Cerf Charles Olson classical collection Conductors of Chaos critical cultural Cunizza Dante Dante's Dazzi early edition Egoist Eliot Elizabeths English essay Eugenio Montale example Ezra Pound Faber father Fenollosa François Villon Froula Greek Hellenism Hovey Hovey's ideogram Imagist Imitations influence Italian Kuanon Lady Lady Gregory later Letters of Ezra lines literary literature Litz eds living London Lowell Mary de Rachewiltz meaning mind modern modernist Montale Montale's notebook Olga Rudge original Paideuma painting Personae Pisan Cantos poet poetic political Pound's poem Pound's poetry Poundian prison published reader rhyme Rossetti Rothenberg seems sense Sheri Song sonnet Spirit of Romance Surette T.S. Eliot target language things tradition translation University Press Vagabondia verse Vorticist White Mule William Carlos Williams wind words writing wrote Yeats York
Popüler pasajlar
Sayfa 251 - There died a myriad, And of the best, among them, For an old bitch gone in the teeth, For a botched civilization, Charm, smiling at the good mouth, Quick eyes gone under earth's lid, For two gross of broken statues, For a few thousand battered books.
Sayfa 30 - The only true motive for putting poetry into a fresh language must be to endow a fresh nation, as far as possible with one more possession of beauty.
Sayfa 183 - See, they return; ah, see the tentative Movements, and the slow feet, The trouble in the pace and the uncertain Wavering! See, they return, one, and by one, With fear, as half-awakened; As if the snow should hesitate And murmur in the wind, and half turn back; These were the "Wing'd-with-Awe,
Sayfa 99 - I STOOD still and was a tree amid the wood, Knowing the truth of things unseen before ; Of Daphne and the laurel bow And that god-feasting couple old That grew elm-oak amid the wold. 'Twas not until the gods had been Kindly entreated, and been brought within Unto the hearth of their heart's home That they might do this wonder thing; Nathless I have been a tree amid the wood And many a new thing understood That was rank folly to my head before.
Sayfa 136 - We have lived long in a generalizing time, at least since 450 BC And it has had its effects on the best of men, on the best of things. Logos, or discourse, for example, has, in that time, so worked its abstractions into our concept and use of language that language's other function, speech, seems so in need of restoration that several of us go back to hieroglyphs or to ideograms to right the balance. (The distinction here is between language as the act of the instant and language as the act of thought...
Sayfa 9 - You went into far Ku-to-Yen, by the river of swirling eddies, And you have been gone five months. The monkeys make sorrowful noise overhead. You dragged your feet when you went out. By the gate now, the moss is grown, the different mosses, Too deep to clear them away ! The leaves fall early this autumn, in wind.
Sayfa 96 - Bah! I have sung women in three cities, But it is all the same; And I will sing of the sun. Lips, words, and you snare them, Dreams, words, and they are as jewels, Strange spells of old deity, Ravens, nights, allurement: And they are not; Having become the souls of song.
Sayfa 18 - Tell me now in what hidden way is Lady Flora the lovely Roman ? Where's Hipparchia, and where is Thais, » Neither of them the fairer woman? Where is Echo, beheld of no man, Only heard on river and mere, — She whose beauty was more than human? ... But where are the snows of yester-year?
Sayfa 41 - text," for strategic reasons, in part — a "text" that is henceforth no longer a finished corpus of writing, some content enclosed in a book or its margins, but a differential network, a fabric of traces referring endlessly to something other than itself, to other differential traces.