Search Results for canto

...Angus Fletcher Copyright © Hofstra University 2002 m Ezra Pound’s Egypt and the Origin of the Cantos Angus Fletcher A t the origin of the Cantos lies a puzzle that no one has ever attempt­ ed to solve: Ezra Pound’s sudden loss of interest in Egypt. Egypt pos­...

...Chris Hall This article reads modernist animals against the dominating strategies of fascist racism, examining the hierarchization of bodies along the human/nonhuman divide in Ezra Pound’s Pisan Cantos and Virginia Woolf’s Flush and how the animals in both works challenge the integrity of the human...

... disguised as reportage even though he detests other reporters and critics. Pound’s penchant for anaphora in this passage, as in the majority of his prose works and much of the Cantos, signals more than a breach of Edwardian decorum. Again and again he chooses declamatory repetition over...

... unforgiving binaries?” (250) DuPlessis asserts that she composed her own long poem Drafts—quite consciously composed in Canto-length segments, and with a projected overall scale comparable to that of The Cantos—not so much in imitation as in an act of“critical resistance”: 535 Mark Scroggins...

... discussion of a rejected fragment of Canto 21 and its implications for understanding the role of African- American figures in The Cantos as a whole. Combining a felicitous archi­ val discovery with an explicit engagement with Playing in the Dark, as well as other works of African-American...

... on the “open form” of the Cantos has long been a central topic of Pound scholarship, from Hugh Kenner’s The Pound Era and Timothy Materer’s Vortex through Maijorie Perloff’s The Futurist Moment, Charles Altieri’s Painterly Abstraction in Modernist American Poetry, and Vincent Sherry’s Ezra Pound...

... published by Stanley Nott, the London publisher of C. H. Douglas. There’s no mistaking the invective against usury, which increases in volume and viciousness in letters like this one, as also in Pound’s poetry of the period, most notoriously in Canto 45, “With Usura. . . .” (see Pound 1995 , 229–30...

...-in Make gay the hallucinations in surfaces. (403) The faithfulness of diurnal time renders “hallucinations” and actual “sur­ faces” inseparable; every nocturnal “phrase” of the “spirit” (403), as the next canto specifies, can turn to a sunlit “fact.” Through “propounding” (404) of natural cycles...

... with Marianne Moore. Bush’s contribution is perhaps even more startling for how it modifies a thesis he developed over thirty years ago in The Genesis of the Cantos of Ezra. In that book, Bush argued that there was actually very little “Fenollosa” in the final Poundian no- tion of the ideogrammatic...

... encountering unexpected elements. “My Last Duchess” is a conversation poem, a dramatic monologue, a study in pathology, a work of ekphrasis: it is all of these things and more. But readers experiencing 660 Review the shock of something like Pound’s Canto IV, or even of “Moeurs Contemporaines...

... a state of mind, of sensibility, of all-roundedness and awareness,” he did it “against the current of power” (159). As a result, it cannot truly be considered pari of its culture. And whereas most of Beethoven’s music and even his own Cantos are “records of personal struggle”—particular...

... for how the trauma of war and, indeed, of neutrality, of missing the war, embeds itself in literary language that signs itself as “unreadable.” Copyright © Hofstra University 2016 Dante Irish Emergency neutrality trauma World War II In Canto III of the Inferno , just outside the gates...

... admiration for Bishop’s celebrations of ordi­ nary experience informs his aesthetic rejection of the “totalizing, monu­ mental structures” of such modernist works as A Vision, The Waste Land, Paterson, and The Cantos. At the same time, Merrill’s poems invigorate as well as undercut monumental...

... clarifica­ tion so far of the complex relationship of Pound’s “Canto 49” with the eight painted scenes in the sourcebook the poet used, thus reaffirming the poem’s remarkable achievements as representative of modernist ekphrasis. Qian’s visual approach allows him to make discoveries where...

... cantos by Pound as an inscription on Tching T’ang’s bathtub (“Canto LIII”): cleansing the body (corps, corpse, corpus) makes it new not by destroying it but by exfoliating and renovating. Michael North locates the phrase’s initial appearance in an obscure publication by Pound in 1928, with its more...

... of displacing objects from their initial contexts into new epistemologies that foreground the erasure of previous cultures. A little further on in the canto, the homology between modern London and the museum’s display of ancient cultures becomes explicit, when the speaker pauses at a building blasted open...

... (2001): 467-509 Fitzgerald, F. Scott. See Hollington Fletcher, Angus. “Ezra Pound’s Egypt and the Origin of the Cantos." 48.1 (2002): 1-21 Fluet, Lisa. “Modernism and Disciplinary History: On H. G. Wells and T. S. Eliot” 50.3 (2004): 283-316 Forster, E. M. See Bailey; MarkleyjTurner...

... death had undone so many. ( CP 54–55) Of course, many modernists attempted to find some kind of recuperative cultural meaning or source of hope in their contemplations of death, as in Pound’s portrayal of Odysseus’s voyage to the realm of the dead, in the first of the Cantos , to receive...

... will not be compared to past or present “giants,” Paterson I bests Ezra Pound’s Cantos and Hart Crane’s The Bridge, and can stand too with those eminences of modern poetry: Eliot, W. H. Auden, and Wallace Stevens. In sum, if the ensuing pieces of Williams’s opus “are as good as Part I, Paterson...

...: A Poem in XII Cantos, in which the speaker declares himself, with the full pomposity of an apposition, as “I Stephen” (26). Unfortunately, as Walcott himself recognizes, this Stephen of St. Lucia fails because he cannot master “an armful of traditions in my fumble / For a voice...