Josephine Nock-Hee Park
- Published in print:
- 2008
- Published Online:
- May 2008
- ISBN:
- 9780195332735
- eISBN:
- 9780199868148
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195332735.003.0002
- Subject:
- Literature, Poetry, American, 20th Century Literature
This chapter argues that Ezra Pound's multiple invocations of China were bound to his American ambitions. Pound struggled with Whitman to take on the mantle of American bard, but he turned to the ...
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This chapter argues that Ezra Pound's multiple invocations of China were bound to his American ambitions. Pound struggled with Whitman to take on the mantle of American bard, but he turned to the Orient as a means of disciplining the homeland he had fled. Reading both Pound's early interest in Tang Dynasty verse in his Imagist poetry and his later devotion to Confucianism in the China Cantos, this chapter unveils an underlying desire to speak for and to America via the Orient that runs the length of Pound's career.Less
This chapter argues that Ezra Pound's multiple invocations of China were bound to his American ambitions. Pound struggled with Whitman to take on the mantle of American bard, but he turned to the Orient as a means of disciplining the homeland he had fled. Reading both Pound's early interest in Tang Dynasty verse in his Imagist poetry and his later devotion to Confucianism in the China Cantos, this chapter unveils an underlying desire to speak for and to America via the Orient that runs the length of Pound's career.
Robert B. Jones
- Published in print:
- 1988
- Published Online:
- July 2014
- ISBN:
- 9780807842096
- eISBN:
- 9781469616421
- Item type:
- chapter
- Publisher:
- University of North Carolina Press
- DOI:
- 10.5149/northcarolina/9780807842096.003.0001
- Subject:
- Literature, American, 20th Century Literature
Thie part of the book includes poems which were marked by Imagism, improvisation, and experimentation. This period in Jean Toomer's work is termed the Aesthetic period. Between 1919 and 1921, Toomer ...
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Thie part of the book includes poems which were marked by Imagism, improvisation, and experimentation. This period in Jean Toomer's work is termed the Aesthetic period. Between 1919 and 1921, Toomer experimented with several forms of poetry including haiku, lyrical impressionism, and “sound poetry.” The major influences on his artistic and philosophical development during this period were Orientalism, French and American Symbolism, and Imagism.Less
Thie part of the book includes poems which were marked by Imagism, improvisation, and experimentation. This period in Jean Toomer's work is termed the Aesthetic period. Between 1919 and 1921, Toomer experimented with several forms of poetry including haiku, lyrical impressionism, and “sound poetry.” The major influences on his artistic and philosophical development during this period were Orientalism, French and American Symbolism, and Imagism.
Anne Witchard
- Published in print:
- 2012
- Published Online:
- January 2013
- ISBN:
- 9789888139606
- eISBN:
- 9789882208643
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888139606.003.0003
- Subject:
- Society and Culture, Asian Studies
The events that would shape Lao She's emergence as one of China's most important new novelists happened in London, some 15 years before he arrived there, ‘on or around 1910’, the date to which ...
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The events that would shape Lao She's emergence as one of China's most important new novelists happened in London, some 15 years before he arrived there, ‘on or around 1910’, the date to which Virginia Woolf would famously attribute the birth of modernism. This chapter outlines a trajectory of the ways in which the cultural landscape of the capital, until this point ‘extraordinarily provincial and chauvinistic’, was broadened by modernist interaction with China, taking Ezra Pound as the lynchpin of a global aesthetic exchange that, in its turn, would determine Hu Shi's prescriptions for Chinese writing after May Fourth. While China's own literary revolution would result from specific experiences of modernity that were indissoluble from the exigencies of colonialism, it was imperial expansion that gave rise to formations of artistic modernism in the West, prompted by the concentration of wealth and power in imperial capitals and a simultaneous access to subordinate ‘other’ cultures.Less
The events that would shape Lao She's emergence as one of China's most important new novelists happened in London, some 15 years before he arrived there, ‘on or around 1910’, the date to which Virginia Woolf would famously attribute the birth of modernism. This chapter outlines a trajectory of the ways in which the cultural landscape of the capital, until this point ‘extraordinarily provincial and chauvinistic’, was broadened by modernist interaction with China, taking Ezra Pound as the lynchpin of a global aesthetic exchange that, in its turn, would determine Hu Shi's prescriptions for Chinese writing after May Fourth. While China's own literary revolution would result from specific experiences of modernity that were indissoluble from the exigencies of colonialism, it was imperial expansion that gave rise to formations of artistic modernism in the West, prompted by the concentration of wealth and power in imperial capitals and a simultaneous access to subordinate ‘other’ cultures.
R. John Williams
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9780300194470
- eISBN:
- 9780300206579
- Item type:
- chapter
- Publisher:
- Yale University Press
- DOI:
- 10.12987/yale/9780300194470.003.0004
- Subject:
- Philosophy, Aesthetics
This chapter argues that Ernest Fenollosa's anxieties over the aesthetic tragedy of machine culture and the role of Asia's technê as an antidote to that dilemma point directly to an important ...
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This chapter argues that Ernest Fenollosa's anxieties over the aesthetic tragedy of machine culture and the role of Asia's technê as an antidote to that dilemma point directly to an important complication in the traditional story about how his theories were interpreted and disseminated by his literary executor, Ezra Pound. The typical account of Fenollosa/Pound operates under the commonsensical notion that since Pound edited, published, and continually championed Fenollosa's manuscripts, the two figures were more or less of the same mind regarding the operative dynamics of the Chinese ideograph. However, when we consider the role of the machine in—and as—art, striking discontinuities and tensions between Fenollosa and Pound begin to emerge.Less
This chapter argues that Ernest Fenollosa's anxieties over the aesthetic tragedy of machine culture and the role of Asia's technê as an antidote to that dilemma point directly to an important complication in the traditional story about how his theories were interpreted and disseminated by his literary executor, Ezra Pound. The typical account of Fenollosa/Pound operates under the commonsensical notion that since Pound edited, published, and continually championed Fenollosa's manuscripts, the two figures were more or less of the same mind regarding the operative dynamics of the Chinese ideograph. However, when we consider the role of the machine in—and as—art, striking discontinuities and tensions between Fenollosa and Pound begin to emerge.
Lee M. Jenkins
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780813060507
- eISBN:
- 9780813050676
- Item type:
- book
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813060507.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This book posits an “American Lawrence,” exploring D. H. Lawrence’s role as a creator as well as a critic of American literature between 1922 and 1925 when he was resident in the New World. The ...
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This book posits an “American Lawrence,” exploring D. H. Lawrence’s role as a creator as well as a critic of American literature between 1922 and 1925 when he was resident in the New World. The American Lawrence, this book argues, ought to be included in the globalized definition of American literature which obtains in American Studies today. The book reconstructs Lawrence’s underexplored yet important relationship, as a poet, with transatlantic Imagism, with the local American modernism sponsored by Alfred Stieglitz and William Carlos Williams, and with the regional, New Mexico modernism promoted, among others, by Mary Austin and Alice Corbin Henderson. Lawrence’s American fictions—“St. Mawr,” “The Princess,” and “The Woman Who Rode Away”—are read here as incursions into the generic and gendered conventions of American literature (American Romance, the Indian captivity narrative) and as stories which register the complex, triethnic politics of northern New Mexico. This book also assesses Lawrence’s relationships, as collaborator, as male muse, and as antagonist, with women writers and painters in northern New Mexico, among them his hostess in Taos, Mabel Dodge Luhan, and the artists Dorothy Brett and Georgia O’Keeffe.Less
This book posits an “American Lawrence,” exploring D. H. Lawrence’s role as a creator as well as a critic of American literature between 1922 and 1925 when he was resident in the New World. The American Lawrence, this book argues, ought to be included in the globalized definition of American literature which obtains in American Studies today. The book reconstructs Lawrence’s underexplored yet important relationship, as a poet, with transatlantic Imagism, with the local American modernism sponsored by Alfred Stieglitz and William Carlos Williams, and with the regional, New Mexico modernism promoted, among others, by Mary Austin and Alice Corbin Henderson. Lawrence’s American fictions—“St. Mawr,” “The Princess,” and “The Woman Who Rode Away”—are read here as incursions into the generic and gendered conventions of American literature (American Romance, the Indian captivity narrative) and as stories which register the complex, triethnic politics of northern New Mexico. This book also assesses Lawrence’s relationships, as collaborator, as male muse, and as antagonist, with women writers and painters in northern New Mexico, among them his hostess in Taos, Mabel Dodge Luhan, and the artists Dorothy Brett and Georgia O’Keeffe.
- Published in print:
- 2012
- Published Online:
- May 2013
- ISBN:
- 9789888139590
- eISBN:
- 9789888180202
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888139590.003.0003
- Subject:
- History, Asian History
As a translator of Chinese poetry, Ayscough first received attention because of her collaboration with her close friend Amy Lowell, American modernist poet. The two produced a collection of poetry in ...
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As a translator of Chinese poetry, Ayscough first received attention because of her collaboration with her close friend Amy Lowell, American modernist poet. The two produced a collection of poetry in 1921 entitled Fir Flower Tablets that brought much critical acclaim. Their work brought them directly into the sphere of influence of Modernist poets such as Ezra Pound, Arthur Waley and Witter Bynner.Less
As a translator of Chinese poetry, Ayscough first received attention because of her collaboration with her close friend Amy Lowell, American modernist poet. The two produced a collection of poetry in 1921 entitled Fir Flower Tablets that brought much critical acclaim. Their work brought them directly into the sphere of influence of Modernist poets such as Ezra Pound, Arthur Waley and Witter Bynner.
Lee M. Jenkins
- Published in print:
- 2015
- Published Online:
- September 2015
- ISBN:
- 9780813060507
- eISBN:
- 9780813050676
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813060507.003.0002
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter discusses Lawrence’s involvements with and influence on American modernism and the avant-garde. The chapter opens with an assessment of Lawrence’s importance for the Stieglitz circle and ...
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This chapter discusses Lawrence’s involvements with and influence on American modernism and the avant-garde. The chapter opens with an assessment of Lawrence’s importance for the Stieglitz circle and the localizing American aesthetic promoted in the poetry and cultural criticism of William Carlos Williams and Marsden Hartley, and it goes on to analyse Lawrence’s close connection to the place-based modernism of northern New Mexico in the 1920s. The chapter assesses the relationship of Lawrence’s collections Look! We Have Come Through!(1917) and Birds, Beasts and Flowers (1923) to American poetry from Whitman to Williams, comparing the use of the Persephone-myth in Lawrence’s poems and those of his American contemporaries. The chapter also discusses Lawrence’s connections to transatlantic Imagism, via Amy Lowell, H.D., Harriet Monroe, Alice Corbin Henderson, and Mary Austin, and his articulation, in the New Mexico poems of Birds, Beasts and Flowers, of a local poetics of space and place.Less
This chapter discusses Lawrence’s involvements with and influence on American modernism and the avant-garde. The chapter opens with an assessment of Lawrence’s importance for the Stieglitz circle and the localizing American aesthetic promoted in the poetry and cultural criticism of William Carlos Williams and Marsden Hartley, and it goes on to analyse Lawrence’s close connection to the place-based modernism of northern New Mexico in the 1920s. The chapter assesses the relationship of Lawrence’s collections Look! We Have Come Through!(1917) and Birds, Beasts and Flowers (1923) to American poetry from Whitman to Williams, comparing the use of the Persephone-myth in Lawrence’s poems and those of his American contemporaries. The chapter also discusses Lawrence’s connections to transatlantic Imagism, via Amy Lowell, H.D., Harriet Monroe, Alice Corbin Henderson, and Mary Austin, and his articulation, in the New Mexico poems of Birds, Beasts and Flowers, of a local poetics of space and place.
Leigh Wilson
- Published in print:
- 2012
- Published Online:
- May 2013
- ISBN:
- 9780748627691
- eISBN:
- 9780748684441
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748627691.003.0003
- Subject:
- Literature, 20th-century Literature and Modernism
This chapter looks at the relationship between language and ghosts in a number of thinkers and writers in the early twentieth century. Beginning with Ludwig Wittgenstein's Tractatus ...
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This chapter looks at the relationship between language and ghosts in a number of thinkers and writers in the early twentieth century. Beginning with Ludwig Wittgenstein's Tractatus Logico-Philosophicus, and moving to C.K. Ogden and I.A. Richards’ The Meaning of Meaning via Jeremy Bentham's theory of fictions, the chapter locates an anxiety about the inherent relation between words and magic. This anxiety is often expressed in a repeated return to the ghostly. The chapter goes on to show that literary modernism, from Imagism onwards, shares this sense of the relation between words and ghosts, but uses it to claim the transformative power of language. This is substantiated through readings of Proust, A la recherche du temps perdu, of Mann, The Magic Mountain, and finally of book 12 of Ulysses, ‘Cyclops’, where the parodic evocation of a séance is read not as a debunking of such practices but as a claim for the transforming nature of Joyce's writing.Less
This chapter looks at the relationship between language and ghosts in a number of thinkers and writers in the early twentieth century. Beginning with Ludwig Wittgenstein's Tractatus Logico-Philosophicus, and moving to C.K. Ogden and I.A. Richards’ The Meaning of Meaning via Jeremy Bentham's theory of fictions, the chapter locates an anxiety about the inherent relation between words and magic. This anxiety is often expressed in a repeated return to the ghostly. The chapter goes on to show that literary modernism, from Imagism onwards, shares this sense of the relation between words and ghosts, but uses it to claim the transformative power of language. This is substantiated through readings of Proust, A la recherche du temps perdu, of Mann, The Magic Mountain, and finally of book 12 of Ulysses, ‘Cyclops’, where the parodic evocation of a séance is read not as a debunking of such practices but as a claim for the transforming nature of Joyce's writing.
Kostas Boyiopoulos
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780748690923
- eISBN:
- 9781474412377
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748690923.003.0008
- Subject:
- Literature, Poetry
The variety of the Decadent image in Wilde, Symons, and Dowson, the Coda suggests, induces responses from twentieth-century Modern and Modernist poetry. The Imagist movement and its attention to form ...
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The variety of the Decadent image in Wilde, Symons, and Dowson, the Coda suggests, induces responses from twentieth-century Modern and Modernist poetry. The Imagist movement and its attention to form share much with Aesthetic form as well as with Decadent motifs. Symons’s city poetry is a crucial formative influence on T. S. Eliot’s early poetry. In the concluding section Eliot, Yeats, and Ezra Pound question the boundaries between art and life as much as they reconsider Victorian Aestheticism and Decadence: artificiality is eventually elegised, recast and re-aestheticised under a new mode of expression.Less
The variety of the Decadent image in Wilde, Symons, and Dowson, the Coda suggests, induces responses from twentieth-century Modern and Modernist poetry. The Imagist movement and its attention to form share much with Aesthetic form as well as with Decadent motifs. Symons’s city poetry is a crucial formative influence on T. S. Eliot’s early poetry. In the concluding section Eliot, Yeats, and Ezra Pound question the boundaries between art and life as much as they reconsider Victorian Aestheticism and Decadence: artificiality is eventually elegised, recast and re-aestheticised under a new mode of expression.
Adi Efal-Lautenschläger
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781474423632
- eISBN:
- 9781474438520
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474423632.003.0023
- Subject:
- Philosophy, Political Philosophy
One preliminary point which must be stated regarding Agamben’s relation to the art historian Abraham (‘Aby’) Moritz Warburg (1866–1929) is that this line of questioning is not reducible to problems ...
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One preliminary point which must be stated regarding Agamben’s relation to the art historian Abraham (‘Aby’) Moritz Warburg (1866–1929) is that this line of questioning is not reducible to problems regarding imagery or ‘visual’ art. Agamben says explicitly that ‘only the myopia of a psychologizing history of Art could have defined [Warburg’s art history] as a “science of the image”’ (ME 53). Although most scholarship on Warburg has indeed viewed the latter’s work as laying the foundations for image and visual studies, in Agamben’s account Warburg ushers the humanities towards another kind of inquiry, one having more to do with the concept of time than with any sort of imagery or visual phenomena. In this, Agamben’s reading of Warburg differs substantially from those of major art historians influenced by Warburg, such as Horst Bredekamp (Bildakt)1 or Georges Didi-Huberman (images malgré tout).2 In fact, Agamben’s reading of Warburg’s art historical inquiries can be elaborated as a fruitful critique of the recent ‘imagist’ turn in the history of art, viewing visual artworks as being primary and essentially ‘images’.Less
One preliminary point which must be stated regarding Agamben’s relation to the art historian Abraham (‘Aby’) Moritz Warburg (1866–1929) is that this line of questioning is not reducible to problems regarding imagery or ‘visual’ art. Agamben says explicitly that ‘only the myopia of a psychologizing history of Art could have defined [Warburg’s art history] as a “science of the image”’ (ME 53). Although most scholarship on Warburg has indeed viewed the latter’s work as laying the foundations for image and visual studies, in Agamben’s account Warburg ushers the humanities towards another kind of inquiry, one having more to do with the concept of time than with any sort of imagery or visual phenomena. In this, Agamben’s reading of Warburg differs substantially from those of major art historians influenced by Warburg, such as Horst Bredekamp (Bildakt)1 or Georges Didi-Huberman (images malgré tout).2 In fact, Agamben’s reading of Warburg’s art historical inquiries can be elaborated as a fruitful critique of the recent ‘imagist’ turn in the history of art, viewing visual artworks as being primary and essentially ‘images’.
Gideon Nisbet
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199662494
- eISBN:
- 9780191761355
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199662494.003.0007
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Mackail's ‘book of Greek life’ became the canon text from which post-War translators made their selections. In the meantime the Loeb series had delivered a sound edition-with-translation of the ...
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Mackail's ‘book of Greek life’ became the canon text from which post-War translators made their selections. In the meantime the Loeb series had delivered a sound edition-with-translation of the complete work, but for readers in English, ‘The Anthology’ meant Mackail. With Simonides expropriated as the predominant model for commemoration of Britain’s War dead, translators of the 1920s amplified the pastoral tone of Mackail’s ‘Chapters’, reducing the Anthology to conservative nostalgia for semi-wild Nature. Emphasizing ‘natural’ gendered behaviours brought the Anthology into contact with the New Criticism, and fostered heterosexual erotica in the smaller presses. A close reading of Shane Leslie’s mass-market Greek Anthology for Routledge (1929) concludes the volume’s timeline and exemplifies its theme of rhetorical continuities. Meanwhile, pocket-sized editions of Select Epigrams went everywhere, accruing to the genre a folksong-like aura in the world of the small press and self-published pamphlet.Less
Mackail's ‘book of Greek life’ became the canon text from which post-War translators made their selections. In the meantime the Loeb series had delivered a sound edition-with-translation of the complete work, but for readers in English, ‘The Anthology’ meant Mackail. With Simonides expropriated as the predominant model for commemoration of Britain’s War dead, translators of the 1920s amplified the pastoral tone of Mackail’s ‘Chapters’, reducing the Anthology to conservative nostalgia for semi-wild Nature. Emphasizing ‘natural’ gendered behaviours brought the Anthology into contact with the New Criticism, and fostered heterosexual erotica in the smaller presses. A close reading of Shane Leslie’s mass-market Greek Anthology for Routledge (1929) concludes the volume’s timeline and exemplifies its theme of rhetorical continuities. Meanwhile, pocket-sized editions of Select Epigrams went everywhere, accruing to the genre a folksong-like aura in the world of the small press and self-published pamphlet.
