Walter Baumann, John Gery, and David McKnight (eds)
- Published in print:
- 2021
- Published Online:
- May 2022
- ISBN:
- 9781949979800
- eISBN:
- 9781800852525
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.3828/liverpool/9781949979800.001.0001
- Subject:
- Literature, 20th-century Literature and Modernism
This volume gathers fourteen essays by authors from eight different countries who offer new interpretations on Ezra Pound’s poetics, as well as new perspectives on his critical reception globally. It ...
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This volume gathers fourteen essays by authors from eight different countries who offer new interpretations on Ezra Pound’s poetics, as well as new perspectives on his critical reception globally. It covers Pound’s work from his beginnings as a young poet in Philadelphia in the early1900s through his most productive years as a poet, critic, and translator, to the first critical treatments of his work in the 1940s and 50s, as well as translations of his poetry into other languages during the last half century. Although in our era such terms as “cross-cultural thinking,” “globalism,” “transnationalism,” and “internationalism” remain fluid and often stir controversy, especially in relation to modernism, the place of Pound as a prominent modernist figure worldwide remains unquestioned. Without attempting to be comprehensive, these essays provide a clear picture of the reach of Pound’s engagement, including the international scope of his literature, his translations, his editorial work on behalf of others, and the diverse historical, social, ideological, interdisciplinary, and theoretical contexts in which he can be read and interpreted. Divided into four categories, Cross-Cultural Ezra Pound considers his early influences, his collaborative, transnational, and interdisciplinary methods, questions of modernist translation (concerning both Pound’s translations and translations of his poetry), and cross-cultural readings of his literary stature.Less
This volume gathers fourteen essays by authors from eight different countries who offer new interpretations on Ezra Pound’s poetics, as well as new perspectives on his critical reception globally. It covers Pound’s work from his beginnings as a young poet in Philadelphia in the early1900s through his most productive years as a poet, critic, and translator, to the first critical treatments of his work in the 1940s and 50s, as well as translations of his poetry into other languages during the last half century. Although in our era such terms as “cross-cultural thinking,” “globalism,” “transnationalism,” and “internationalism” remain fluid and often stir controversy, especially in relation to modernism, the place of Pound as a prominent modernist figure worldwide remains unquestioned. Without attempting to be comprehensive, these essays provide a clear picture of the reach of Pound’s engagement, including the international scope of his literature, his translations, his editorial work on behalf of others, and the diverse historical, social, ideological, interdisciplinary, and theoretical contexts in which he can be read and interpreted. Divided into four categories, Cross-Cultural Ezra Pound considers his early influences, his collaborative, transnational, and interdisciplinary methods, questions of modernist translation (concerning both Pound’s translations and translations of his poetry), and cross-cultural readings of his literary stature.
Emma Short
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781474458641
- eISBN:
- 9781474477147
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474458641.003.0007
- Subject:
- Literature, Criticism/Theory
This chapter compares Bowen to Katherine Mansfield. Neither English nor Irish, but a hybrid of both, Bowen, like Mansfield, does not belong to one country, existing instead in an unstable, liminal ...
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This chapter compares Bowen to Katherine Mansfield. Neither English nor Irish, but a hybrid of both, Bowen, like Mansfield, does not belong to one country, existing instead in an unstable, liminal sphere between the two. Bowen’s admiration for Mansfield has been well-documented, and while she was undoubtedly influenced by Mansfield’s style, technique and talent, this chapter foregrounds a deeper connection between the two authors in their shared, fractured histories, and in the effect that this had on their writing. Charting the persistence of in-between spaces across the work of Bowen and Mansfield, the chapter considers the way in which the use of such spaces by the two writers not only signifies their shared histories of hybridity and dislocation, but also enables them to interrogate the shifting position of women in modernity. The chapter sketches out a taxonomy of such spaces in Bowen and Mansfield’s narratives, and in doing so reveals the dialogues operating across the writings of these authors through the spaces of the in between.Less
This chapter compares Bowen to Katherine Mansfield. Neither English nor Irish, but a hybrid of both, Bowen, like Mansfield, does not belong to one country, existing instead in an unstable, liminal sphere between the two. Bowen’s admiration for Mansfield has been well-documented, and while she was undoubtedly influenced by Mansfield’s style, technique and talent, this chapter foregrounds a deeper connection between the two authors in their shared, fractured histories, and in the effect that this had on their writing. Charting the persistence of in-between spaces across the work of Bowen and Mansfield, the chapter considers the way in which the use of such spaces by the two writers not only signifies their shared histories of hybridity and dislocation, but also enables them to interrogate the shifting position of women in modernity. The chapter sketches out a taxonomy of such spaces in Bowen and Mansfield’s narratives, and in doing so reveals the dialogues operating across the writings of these authors through the spaces of the in between.
Claire Davison
- Published in print:
- 2017
- Published Online:
- January 2019
- ISBN:
- 9781474426138
- eISBN:
- 9781474438681
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474426138.003.0005
- Subject:
- Literature, 20th-century Literature and Modernism
This essay explores the rich epistolary exchange between Katherine Mansfield and William Gerhardi, when she was at the height of her career and he was a student and aspiring novelist. It traces the ...
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This essay explores the rich epistolary exchange between Katherine Mansfield and William Gerhardi, when she was at the height of her career and he was a student and aspiring novelist. It traces the essential intermediary presence of Chekhov in their letters, in terms of his biography, writerly ethics and characteristic voice. A mutual love of Chekhov provides the key to the writers’ fast-developing intimacy, as they model their own lives, literary aspirations and style around his. As the essay suggests, their persistent failure to meet, the thwarted projects they cherish, and the hapless personas they perform – in themselves Chekhovian trademarks – are later reconfigured in Gerhardi’s own fictional worlds and literary criticism, to the extent that his first two novels, ostensibly about the Russian Revolution and the immediately post-revolutionary era in Russia, as well as his essay on Chekhov, can themselves be read as a loving tribute to the first mentors, and the wistful pleasures of never quite meeting them.Less
This essay explores the rich epistolary exchange between Katherine Mansfield and William Gerhardi, when she was at the height of her career and he was a student and aspiring novelist. It traces the essential intermediary presence of Chekhov in their letters, in terms of his biography, writerly ethics and characteristic voice. A mutual love of Chekhov provides the key to the writers’ fast-developing intimacy, as they model their own lives, literary aspirations and style around his. As the essay suggests, their persistent failure to meet, the thwarted projects they cherish, and the hapless personas they perform – in themselves Chekhovian trademarks – are later reconfigured in Gerhardi’s own fictional worlds and literary criticism, to the extent that his first two novels, ostensibly about the Russian Revolution and the immediately post-revolutionary era in Russia, as well as his essay on Chekhov, can themselves be read as a loving tribute to the first mentors, and the wistful pleasures of never quite meeting them.
