Dissertations / Theses: 'Ezra'

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Ozturk, Turker Anthony. "Ezra Pound and visual art." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.253814.

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Brown, Stephen Edward. "Browning's Sordello and Ezra Pound." Thesis, University of Ulster, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.326324.

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Dowthwaite, James. "Ezra Pound's theory of language." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:b7fdc3da-8442-478f-8dbf-4a401cf29e27.

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This thesis examines Ezra Pound's linguistic theory in relation to literary, philosophical and academic treatments of language in the modernist period. Pound is a central figure in the history of twentieth century literature, and his poetic career marks a sustained engagement with questions of how language can register thought, how it can transmit and communicate images, and, ultimately, how language is able to mediate between artists (or, indeed, language speakers as a whole) and the world. I read Pound's statements on language against the disciplinary history of linguistics, assessing the extent to which his positions are representative of his period, or, conversely, the ways in which they form part of an idiosyncratic worldview. My approach is broadly historical. I begin with Pound's educational background, and move chronologically through his career to the concluding passages of his Cantos. I investigate the extent to which Pound's critical writing engages with new departures taking place in linguistics in the late nineteenth century and the early part of the twentieth century. The scope of my investigation ranges from the legacy of nineteenth century philology to the approaches taken by William Dwight Whitney, Michel Bréal, and Ferdinand de Saussure, to name but a few, in focusing linguistic scholarship on synchronic study of language as function in the early twentieth century, to Franz Boas's and Edward Sapir's studies in the relationship between language and culture between 1910 and 1939. In situating Pound in relation to the history of linguistics as a discipline, I argue that his work asks some of the period's most apposite questions about language and culture, even if his conclusions differ from the dominant academic positions of the time.

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Suo, Jinmei. "Confucianism in Pound's cantos Pangde "Shi zhang" zhong de ru xue /." Tianjin Shi : Nan kai da xue chu ban she, 2003. http://books.google.com/books?id=JFA0AAAAMAAJ.

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Yoo, Philip Young. "Ezra and the second wilderness : the literary development of Ezra 7-10 and Nehemiah 8-10." Thesis, University of Oxford, 2014. http://ora.ox.ac.uk/objects/uuid:0c8e430c-aa5f-4334-9040-b69a7f70b598.

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For many pre-modern and modern critics, the emergence of Ezra among the post-exilic Jerusalem community marks a significant event in the beginning stages of Judaism. Ezra’s promulgation of a “law of Moses,” bolstered by the theory of Persian imperial authorization, is often viewed as the moment at which the final form of the Pentateuch is published. The accounts contained in Ezra 7-10 and Nehemiah 8-10, however, continue to present historical and literary problems for the exegete. Compounding the difficulties for a reconstruction of Ezra’s activities, recent scholarship has raised questions concerning the viability of state-sanctioned support for the Pentateuch and revived skepticism on the historicity of Ezra and the reliability of the biblical witness. Still, the Ezra Memoir (EM) remains an important source that is shaped by the political, religious, and social worldview of post-exilic Yehud. This study incorporates two scholarly debates: on the one hand, the identification of EM and its supplemental layers; and on the other hand, the development of the Pentateuch up to this period. After the parameters of EM are identified in Ezra 7-10 and Nehemiah 8-10, this study supports EM’s use of Deuteronomic and Priestly literature but adds that EM also demonstrates significant literary connections to pentateuchal strands that are neither Deuteronomic nor Priestly. These strands are distinguished by the narrative and historical claims that are preserved in the classical pentateuchal documents. This study concludes that EM is a product of the Second Temple that anticipates the final form of the Pentateuch by collecting and integrating multiple presentations of the wilderness generation into a super-narrative that projects Ezra and the returnees as a second exodus and Sinai generation that supersedes their predecessors.

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Bristow, Laurence S. C. "Ezra Pound, poetry and public speaking." Thesis, University of Cambridge, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.359763.

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Lancaster, Irene. "Abraham ibn Ezra : hermeneutics and Torah." Thesis, Lancaster University, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.306911.

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Min, Kyung-Jin. "The Levitical authorship of Ezra-Nehemiah." Thesis, Durham University, 2002. http://etheses.dur.ac.uk/4230/.

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The study of Ezra-Nehemiah has been revolutionised in recent years by a growing rejection of the long-established belief that it was composed as part of the Chronicler's work. That shift in scholarly paradigms has re-opened many questions of origin and purpose, and this thesis attempts to establish an answer to the most important of these: the question of authorship. The first part deals with preliminary questions, reviewing the relationship with Chronicles and the unity of the work, and investigating current theories of origin. It affirms that Ezra-Nehemiah should be considered a single, independent composition, to be dated to the late fifth century B.C., and establishes that the author most probably belonged to one of the clerical groups of priests or Levites. The second part examines the attitude toward Levites in Ezra-Nehemiah, and compares it to the treatment of Levites in other, more or less contemporary literature. This comparison shows that the work is unlikely to have been a priestly composition, since priestly texts of the period show a consistent determination to portray the Levites as clerus minor, subordinate to the priests. On the other hand, the portrayal in Ezra-Nehemiah is quite compatible with that of the Levitical stratum in Chronicles. The third part explores the ideology of Ezra-Nehemiah in the context of Persian rule. It establishes that the author was pro-Persian, despite good reasons for Jewish discontent with Achaemenid policies, and shows that this would not have been inappropriate for a Levitical author by the time the work was written. It also explores the socio-political ideology of the book, concluding that its concerns with decentralisation, cooperation and reform are unlikely to have been voiced by a priestly writer. The dissertation concludes, therefore, that the most probable origin for Ezia-Nehemiah lies in Levitical circles, and that it was composed at a time when Levites had established an improvement in their status and authority, following Persian disenchantment with the priesthood. The implications of this conclusion, literary and historical, are explored briefly in the final chapter.

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Marrow, Charlotte Key. "Ezra William Doty, organist and pedagogue /." Digital version accessible at:, 1998. http://wwwlib.umi.com/cr/utexas/main.

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SACCONAGHI, CARLO. "VITTORIO SERENI TRADUTTORE DI EZRA POUND." Doctoral thesis, Università degli Studi di Milano, 2017. http://hdl.handle.net/2434/471648.

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My dissertation focuses on Vittorio Sereni’s translations of eight poems from Pound’s "Lustra", and investigates the influence that these translations exercised on Sereni’s own poetry. The first chapter outlines the context in which the translations were conceived. I detail the main inputs through which Sereni approached Pound’s poems in the early 1950’s: Luciano Anceschi and the group of young poets — later organized in the Neo-Avant-Gardist “63 Group” — who considered Pound as a master; the praise for Pound that T.S. Eliot had stated on several occasions; and the “Pound case”, which stimulated political and poetical discussions among Italian intellectuals after his arrest, extradition and internment. In this context, Sereni translated some poems from Lustra at the insistence of Pound’s main Italian publisher, Vanni Scheiwiller. The second chapter concerns the critical edition and a commentary of Sereni’s translations. In this section I collate the manuscripts, drafts and editions curated by Sereni and I record the author’s variants, which show the creative process preceding the final text. An overall interpretation of each poem is followed by a detailed analysis of Sereni’s stylistic choices and his translational attitude, which fluctuates between the assimilation and rejection of Pound’s technique. The last chapter reveals how the translations of Pound’s poems inspired Sereni’s own poetry. While searching for a renewed poetic language, Sereni was deeply intrigued by Pound’s poems because of their original aesthetic paradigm. I identify several textual elements which show Pound’s influence on the poems that Sereni wrote immediately after his translations — such as the combination of different languages, the extension of the verses’ measure, the assimilation of rhetorical devices as the iteration, and also, according to Pound’s aesthetics habit, the insertion of literary references. These stylistic features are not present in Sereni’s writings which precede Pound’s translations, and they characterize Sereni’s third book, "Gli strumenti umani" (1965). In conclusion, my research reveals the contribution that the translations from Pound’s early poems gave to the poetical development of Vittorio Sereni, and it represents a significant case study of the impact that Anglo-American modernist poetry had on the Italian post-hermetic poetic progress.

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Byun, Paul Young-Soo. "The Persian Emperor’s New Clothes: A Literary Study of Imperial Representation in Ezra-Nehemiah." Thesis, The University of Sydney, 2020. https://hdl.handle.net/2123/24634.

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Are the Persian emperors benefactors or hinderances to the Judeans and their cause? The answer to the question is predicated upon who you ask. This thesis examines how the emperors are represented in the Hebrew Bible, specifically, whether the text of Ezra-Nehemiah represents Cyrus, Darius I, and Artaxerxes I positively or negatively. Although such an investigation has yet to be examined at length, the majority of scholars have either argued or assumed that Ezra-Nehemiah presents the Persian kings favourably. Through a literary based approach, this study reaches a contrary conclusion. The study shows that the Persian kings often hinder the objectives of the narrative and that their conflicting decrees make the process of establishing a community difficult. While the representation of each Persian king is varied, the overall image of the Persian kings in Ezra-Nehemiah is one of dissatisfaction.

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Kan, Chuk-him Hymns. "The musical elements in Ezra Pound's poetry." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25334992.

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Szechy, Csilla. "Reading Ezra 9-10 as Christian scripture." Thesis, Durham University, 2009. http://etheses.dur.ac.uk/1/.

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This dissertation examines Christian attitudes to the Law through the story of Ezra 9-10 and its Torah interpretation, in dialogue with Jewish exegetical tradition, and offers a framework for reading this difficult text from a Christian perspective. The first part of the dissertation juxtaposes some Christian and Jewish approaches to the Law in order to set the scene, followed by the examination of both the wider and the more immediate context of Ezra 9-10. The exegesis focuses primarily on Ezra 9:1-2 and addresses questions such as the pentateuchal source for the nations list in v.1 and the meaning of the ‘abominations’ associated with them, as well as the role the ancient h)erem law might have played in the solution offered to the exiles’ problem. Further, the dissertation considers ‘the holy seed’ rationale for the ban on intermarriages in v.2, its possible legal background and internal logic. Jewish perspectives are drawn into the task of interpretation as appropriate throughout and the Ezran solution is also compared to the similar incident in Neh 13:23-31. The second part of the dissertation assesses the difficulties Christian interpreters often have with the story of Ezra 9-10 and then maps out ways in which various considerations may contribute to a larger Christian framework for reading a difficult text such as Ezra 9-10. I argue that Jewish approaches may create awareness of implicit Christian assumptions, that canon and tradition place constraints on difficult OT texts which need to be spelt out and that analogous NT text(s) can highlight continuities and discontinuities between Old and New Testament. Further, I suggest that insights from fields outside biblical interpretation such as those from anthropology, as well as contemporary answers to analogous problems may put an ancient story and the difficulties connected to it into perspective.

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Beasley, R. L. "Ezra Pound and modern art 1906-1930." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.596497.

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My dissertation discusses the early career of the American poet Ezra Pound in relation to visual art at the beginning of the twentieth century. Pound was a leading propagandist of modern art, advertising his friends Wyndham Lewis, Henri Gaudier-Brzeska and Constantin Brancusi, among others, in his extensive art criticism, and explaining his poetic theories by reference to art movements and practices. The majority of Pound's critics have followed his lead and describe his poetry by using the aesthetic values and terminology Pound conveniently supplied in his prose. I argue that this is an erroneous move, which hides a series of problems in the development of Pound's poetics. Pound's poetry shows surprisingly little evidence of his interest in art; however, unpublished manuscripts show that this evidence existed, but was deliberately excised. My dissertation aims to uncover the sequence of decisions which led to vital changes in Pound's poetic style, by focusing on the periods during which he aligned himself with particular artists or movements. In my first chapter, I look at unpublished essays and poetry written between 1906 and 1908, to explore Pound's interest in the work of James McNeill Whistler, and explain an apparent change in poetic style in 1908. My second chapter deals with Pound's association with the vorticists, which I argue was less a meeting of minds than a method of placing his imagist verse, with its nineteenth-century predilections, in an emphatically modern context. In the third chapter I analyse the earliest drafts of The Cantos in detail, showing how Pound's conception of the poem in 1915 as egalitarian in structure and argument was compatible with the type of visual description he had rejected in 1908. The dada movement, which I discuss in my fourth chapter, contributes to Pound's redefinition of artistic talent. His emphasis on the value of the artist's personality above the artist's works necessitates a reconsideration of the structure of The Cantos in 1922. The fifth chapter examines the role of sculpture in Pound's poetry and prose, in order to determine how it becomes an analogy for Pound's poetic technique.

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Kan, Chuk-him Hymns, and 簡卓謙. "The musical elements in Ezra Pound's poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953499.

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Hilmy, H. "Dionysus in The Cantos of Ezra Pound." Thesis, University of Essex, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.279169.

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Moo, Jonathan Andrew. "Creation, nature and hope in fourth Ezra." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612417.

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Hepburn, Iain C. "The use of Torah in Ezra-Nehemiah." Thesis, University of Aberdeen, 2010. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=202571.

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The manner in which Torah is understood alters the manner in which the use of it is determined. This biblical „law‟ has traditionally been understood to prescribe legal remedies and obligations for the cases it treats. However, this prescriptive understanding is increasingly seen as an anachronistic caricature in need of revision. Current alternative proposals based upon an indicative model are still fundamentally legal in nature. Considering the implications derived from the relational character of narrative and covenant this thesis postulates that a similar underpinning of Torah would be feasible. It is in this context that the thesis attempts to examine an example of use to determine the nature of Torah. As a snapshot of a particular time and context the Yehud example of Ezra-Nehemiah was chosen on the basis of the prescriptive association and the consequential difficulties the texts offer. Indeed, the complications derived from adopting the more legalistic approach usually results in questions being raised over the reliability of the text. In particular, the conflict in matching Ezra 9-10 and the genuine use of a legalistic Torah has given rise to much scholarship intent on identifying the alternative events behind the text. Assumptions on the required manipulation of the material and the genuine reasons motivating the religious leader are variously offered at the expense of the consequently unreliable text. In contrast, the relational approach allows for a genuine Torah basis to the text, which effectively removes the need for creative explanations. In addition, the relational approach also provides a greater correlation between the Ezra and Nehemiah text with an emphasis on the empowerment of a community with direct access to the Torah. It is on this basis that this thesis concludes that the use of the Torah in Ezra-Nehemiah indicates that the text should be understood as relational.

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Holland, Tom. "Ezra Pound, Wyndham Lewis, and the crowd." Thesis, University of York, 2004. http://etheses.whiterose.ac.uk/11053/.

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While the work of Pound and Lewis has often been read as the expression of 'high' literary culture's desire to erect a barrier against the incursions of the masses, this thesis argues that if we place their work in the context of the early twentieth-century dialogue on the crowd, the relationship between modernism and the masses . appears more complex. For both authors, their engagement with the apparition of the crowd, and the lessons they believed artists must learn from crowd culture, were key to their development. Chapter 1 positions Pound's Lustra in the context of continental and American ideas about crowds and argues that this collection is best understood as an ambiguous response to a new world where engagement with crowds is essential. Chapter 2 argues that Lewis's early texts should likewise be read in the context of the crowd, and that his experiments of Blast can be read as attempts to show readers how to master the emerging 'crowd-mind'. Chapter 3 examines the impact of the war crowds, and shows how Lewis engages with post-war London where ideas about the death of the ,crowd had taken on an immediate cultural urgency. It argues that, as particular visions of crowd-being faded from the political scene, the crowd, too, faded from the focus of literary modernism. The thesis cohcludes by speculating on the fate and future-if any-of crowd writing. An appendix presents a text of Wyndham Lewis's unpublished 'Cantelman: Crowd Master' prepared from the manuscripts in Cornell University Library.

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Kenny, Paul Daniel Gregory. "Browning and his influence on Ezra Pound." Thesis, University of Oxford, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670371.

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Aji, Hélène. "Ezra pound et william carlos williams : correspondances." Amiens, 1997. http://www.theses.fr/1997AMIE0002.

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A la lumiere de la correspondance entre ezra pound et williams carlos williams, il apparait qu'une comparaison entre leurs oeuvres permet de presenter une synthese sur le developpement de la poesie americaine au xxe siecle. Il s'agit de rechercher, dans certaines de leurs demarches, les points communs et les differences entre les deux poetes qui sont a l'origine des grands mouvements de la poesie americaine contemporaine. Tant ces points communs entre les deux poetes que leurs divergences et leurs desaccords indiquent les enjeux d'un travail poetique fondateur d'une nouvelle tradition americaine. La notion de tradition, d'acceptation et de rejet de l'heritage litteraire, semble a la source de ce que l'on pourrait appeler leur conservatisme revolutionnaire. Leur geste poetique est marque a la fois par une volonte d'innovation et par une volonte d'enracinement dans le passe historique, le present esthetique et un avenir place sous le signe du poetique et du politique. L'heritage que pound et williams ont legue est marque par l'ambiguite d'une critique litteraire qui les place dans une seule tradition cosmopolite, le modernisme, ou encore dans une seule tradition americaine, celle du long poeme, perdant de vue le caractere eminemment social de leur vision poetique. L'incompletude des cantos et de paterson empeche toute vision unitaire : ni oeuvre close, ni oeuvre ouverte, le long poeme serait peut-etre la metaphore par excellence de l'amerique, pris dans l'ecart entre elan et stase, entre creation et conservation, entre action et reaction
In ezra pound and william carlos williams's correspondence one can find the foundation for a broader comparison of their respective works leading to a synthesis on the development of american poetry in the twentieth century. The aim is to investigate their various strategies so as to distinguish their points in common as well as their differences, and thus to outline the great tendencies of contemporary american poetry. These common points between the two poets, along with their many disagreements and all that may separate them, show what is at stake in a poetic work aimed at founding a new american tradition. This very notion of tradition. Of acceptance and rejection of their literary inheritance, underlies what can be called their revolutionary conservatism. Their poetic action is marked both by the will to innovate and by the desire to root oneself in the historical past, in the aesthetic present and in a future seen as poetic and political. The pound and williams heritage is deeply affected by the ambivalence of the literary critics who too often place them either in a monolithic cosmopolitan tradition they call modernism, or in the american tradition of the long poem, overlooking the social nature of their poetic vision. Any unifying appraisal of their works is prevented by the fact that both the cantos and paterson are unfinished poems : pound and williams's long poems are neither closed nor open works, but perhaps the metaphor par excellence for america, a form caught in the gap between impulse and stasis, creation and conservation, action and reaction

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Warner, Michael Lee. "Cantomorphosis multilingualism in the Cantos of Ezra Pound /." Access abstract and link to full text, 1986. http://0-wwwlib.umi.com.library.utulsa.edu/dissertations/fullcit/8616703.

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Salchak, Stephen P. (Stephen Patrick). "The Arrangement of Ezra Pound's Personae (1926) : An Interpretive Application of Editorial and Critical Theory." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278644/.

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Pound foregrounded the importance of "shaping" poetic books through particular arrangements of individual poems by using his ideogrammic method as the crucial organizational principle for constructing Personae (1926). Critics have long understood Pound's use of the ideogrammic method in individual poems, but have so far ignored his application of it to the structuring of poetic books and sequences. Lea Baechler and A. Walton Litz, the editors of a 1990 edition of Personae (1926), however, have moved a crucial section of poems, and their rearrangement of the original text both disregards evidence of authorial intention and obscures Pound's innovative principles for arranging his shorter poems into meaningful sequences.

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Malm, Mike W. "Editing economic history : Ezra Pound's "The Fifth decad of Cantos /." Frankfurt am Main : P. Lang, 2005. http://catalogue.bnf.fr/ark:/12148/cb40044412c.

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Luo, Hui. "Ezra Pound, Confucius and the art of interpretation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ58058.pdf.

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Claro, AndreÌs. "Ezra Pound's poetics of translation : principles, performances, implications." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.424875.

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Leyland, Anthony Allan. "Ezra Pound and the Italian Renaissance, 1915 - 1930." Thesis, University of York, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.440733.

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Mundye, Charles. "Ezra Pound's operas : an analytical and contextual study." Thesis, University of York, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.245908.

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Bains, Christopher. "De l'esthétisme au modernisme : Théophile Gautier, Ezra Pound." Paris 3, 2005. http://www.theses.fr/2005PA030030.

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Le passage de l'esthétisme au modernisme est ici envisagé sous ses aspects historiques et esthétiques dans l'œuvre de Théophile Gautier (1811-1872) et Ezra Pound (1885-1972). S'inscrivant dans un XXe siècle naissant, l'émergence des modernistes s'accompagne d'une volonté de redéfinition par opposition au siècle précédant, à ses courants littéraires et artistiques. Cependant, en dépit de l'apparition des nouvelles techniques artistiques, l'artiste s'interroge sur l'esthétique du siècle passé : l'importance du style, de la voix poétique, de la technique et de l'objectivité. Si la correspondance entre l'art plastique et la littérature reste déterminante dans le modernisme au début siècle, il s'agit d'intégrer les principes d'un art traversé par une crise de représentation, le sujet s'effaçant derrière la forme et la technique artistique. Ces recherches s'orientent donc vers l'approfondissement des notions de différence et de similitude esthétique caractérisant ce temps de la transition : de l'art pour l'art à un art de l'action, et du mot juste à une représentation en directe de la chose, etc. Cette étude repose sur des revues et des documents esthétiques de l'époque ainsi que les oeuvres principales des deux poètes
From Aestheticism to Modernism examines the dominant features of Aestheticism and describes their continuation, transformation, and death with regard to the emergence of Anglo-American Modernism. This comparative study focuses on the critical writings and poetry of Théophile Gautier (1811-1872) and Ezra Pound (1885-1972). In spite of bona fide progress in new poetic techniques, the artist reopens many of the same aesthetic questions from the preceding century : the importance of style, poetic voice, technique, and objectivity. If the correspondence between the visual arts and literature remains a fertile terrain of exploration, the arts undergo a crisis of representation, whereby the subject of modernist works is dispersed within form and technique. This study explores the notions of similitude and difference which characterize this period of transition: from art for art's sake to an art of action, from the mot juste to a direct representation of the object, etc. The principal sources used are aesthetic documents from the period as well as the literary works of the two poets

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Barnhisel, Greg. "New Directions Press and Ezra Pound's literary reputation /." Digital version accessible at:, 1999. http://wwwlib.umi.com/cr/utexas/main.

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Slagle, Judith Bailey. "Review of Hiding Ezra, by Rita Sims Quillen." Digital Commons @ East Tennessee State University, 2014. https://dc.etsu.edu/etsu-works/3214.

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Visi, Tamas. "The Early Ibn Ezra supercommentaries a chapter in medieval Jewish intellectual history /." Budapest : Central European University, 2006. http://aranne5.lib.ad.bgu.ac.il/yaatz/VisiTamas.pdf.

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Tayler, Anne Hamilton. "Viva voce : the oral and rhetorical power of quotation in The cantos of Ezra Pound." Thesis, University of British Columbia, 1991. http://hdl.handle.net/2429/32012.

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This study of Ezra Pound's Cantos considers quotations in the poem which are clearly marked as such, not for their content, nor for the relationship between new and old contexts, but for the oral qualities of the quoted material, and for the rhetorical effects of the fact of quotation itself. After cataloguing the principal means by which quotation is marked, the thesis assesses the notion (most clearly formulated by Walter Benjamin) that the great power of quotation lies in its interruptive power rather than in its value as authority in argument (Chapter 3). Such interruptive power, drawing attention as it does to the multiplicity of voices available in the text, reinforces our sense of The Cantos as an oral text. This chapter and the one following — which traces the connections between The Cantos and oral traditions and traditional techniques — suggests that the neglect of the oral qualities of quotation has led critics to consider the poem as deeply and irretrievably fragmented. Situating The Cantos in relation to other oral works shows not only the ways in which Pound draws on the tension between the aural and the visual elements of the poem and of language (speech and song in contrast to the written) but also the pervasive omnipresence of the heard: the play of ear against eye is a play of melopoeia against phanopoeia, and the text of The Cantos is most fruitfully to be seen as a score for the speaking voice. Such orality enables Pound to draw directly upon the resources and techniques of the classical rhetorical tradition, thereby enabling him in quoting the words of others to lend their words the authority of his own voice. The poem thus achieves a strong sense of a multiplicity of voices and effects unified by the presence of the poet himself, without compromising Pound's conviction (shared with Yeats and Williams and others of his contemporaries) that rhetoric is utterly to be distinguished from poetry, and kept separate from it.
Arts, Faculty of
English, Department of
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Pryor, Sean Brendan. "The poetry of paradise : W.B. Yeats and Ezra Pound." Thesis, University of Cambridge, 2007. https://www.repository.cam.ac.uk/handle/1810/252045.

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Smith, Colin Hugh Wilson. "Ezra Pound and Henri Gaudier-Brzeska, sexuality and creation." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0016/MQ54648.pdf.

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Elek, Jonathan. "Humour in the poetry of Ezra Pound 1908-1920." Thesis, Queen Mary, University of London, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.412491.

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Eyck, David ten. "The development and composition of Ezra Pound's Adams Cantos." Thesis, University of Oxford, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251509.

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Howey, K. K. "Ezra Pound and the rhetoric of science, 1901-1922." Thesis, University College London (University of London), 2009. http://discovery.ucl.ac.uk/17429/.

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This thesis identifies science as Ezra Pound’s first extended extra-poetic interest. This reference to science in Pound’s poetic theory and poetry is portrayed as rhetoric, with its emphasis on the linguistic signifier or word rather than the actual concepts and data of science. The material covers over two decades between 1901, when Pound entered university, and 1922, after he left London. Beginning with Pound’s exposure to philology, the thesis establishes a correlation between his educational background and his use of scientific rhetoric in his prose. As he attempted to establish a professional status for the poet, he used metaphors linking literature to the natural sciences and comparisons between the poet and the scientist. Additionally, Pound attempted to organize poetic movements that resembled the professional scientific organizations that were beginning to form in America. In his writings promoting these movements, Pound developed a hygienic theory of poetry— itself an extensive rhetorical project—which produced a clean, bare poem and further linked Pound’s poetic output with the sciences. Beyond his rhetorical use of science, Pound attempted to study the sciences and even adopted a doctor persona for his friends with illnesses—both diagnosing and prescribing cures. When Pound was planning to leave London, he also considered entering medical school—a biographical fact to which Pound scholarship has paid little attention. His decision not to formally study the sciences reinforced his identity as a poet and his representations of scientific knowledge as mere rhetoric. This interest in the sciences, and medicine in particular, influenced Pound’s poetry and prose because of their frequent references and their alignment with literature. Additionally, this early use of rhetoric and an exploration into extra-poetic materials prepares Pound for his later, better-known and often infamous explorations of economics and social theory.

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Jo, Gyu Oh. "The three Israels in Ezra-Nehemiah : an ideological study." Thesis, University of Sheffield, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.557950.

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My research question started from why the Jewish community called themselves 'Israel' in the post-exilic period, though 'Israel' and 'Judah' were two different entities in the first half of the first-millennium BCE. In particular, since the term 'Israel' has a political, religious and ethnic function in the Bible, my question has developed into investigating the problem of the nature and membership of Israel in each story of the Bible. The present thesis deals with the membership and nature of Israel in the three independent stories of Ezra-Nehemiah in the Masoretic text finally considered as the official version of the Jewish community and canonically used as the Old Testament in the Protestant community. This means I will focus on analysing the systematic structures of these biblical stories as they are in their final form and searching for the unity of a story with its unique ideology in a given book as it stands, rather than on investigating the origin of the fragmentary sources in each story and the history of their editing to form the various biblical stories. In chapters 1, 2 and 3, I will investigate the vision of the nature and membership oflsrael depicted in each section through a close reading which allows us to analyse the contents of the biblical stories with their plot developments and their different ideologies which are evident in a close study of their final forms. Then, in the synthesis and conclusion, I will address the ramifications of my findings from the perspective of both ideological criticism and cultural memory. The ultimate goal of this thesis is to determine whether that vision is monolithic across the three sections, or whether different visions are presented. With the result of this investigation, we will keep going on our journey searching for which Israel is dealt with in each story unit in the Bible.

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曾昭楹 and Chiu-ying Venus Tsang. "Temporality in modernist literature: Ezra Pound and Virginia Woolf." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2003. http://hub.hku.hk/bib/B26822428.

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Selby, Nicholas. "Poetics of loss in The Cantos of Ezra Pound." Thesis, University of York, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.316210.

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Haj, Mohamad Mohamad. "Ezra Pound and Ibn Hazem : modernism and arabic culture." Thesis, Keele University, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.332358.

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Skinner, Paul. "Ford Madox Ford and Ezra Pound : responses to crisis." Thesis, University of Bristol, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.357675.

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Demetriou, Galateia. "Modernist poetics of distance : George Seferis and Ezra Pound." Thesis, University of Birmingham, 2018. http://etheses.bham.ac.uk//id/eprint/8111/.

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This thesis offers the first full-length comparative study of George Seferis and Ezra Pound. The analysis begins by establishing, in the first chapter, a field of research by looking at the ways in which Pound was read, translated and received in Greece from 1935 onwards, and, in doing so, maps out the important Greek publications on Pound. Prominent among the discussed poets and translators, it is argued, Seferis showed a deeper affinity with Pound and developed a significantly similar modernist poetics at once singularly Greek and aligned with the Anglo-American example. This thesis, then, proceeds to elucidate the affinities between the two poets through a detailed comparative reading. The second chapter offers an in-depth analysis of the two poets’ views on translation theory and practice, building on Hugh Kenner’s concept of ‘touching distance’. The third chapter concentrates on the two poets’ responses to place in both their poetry and their travel writings, by problematising the conceptual ‘mobility’ of place at work in their writings. Through these explorations, this project offers insights on both poets individually and helps to broaden current understandings of their poetry and poetics comparatively, ultimately demonstrating that Seferis’ modernism, despite being articulated in Greek, was never far removed from high modernist poetics as represented by Pound.

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Baker, Jack. "The impersonal modes of Ezra Pound and Wallace Stevens." Thesis, Durham University, 2014. http://etheses.dur.ac.uk/10773/.

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This thesis examines the impersonal modes refined by Ezra Pound and Wallace Stevens. It argues that these major poets, commonly placed at opposite ends of the spectrum of modernism, share important formal and thematic preoccupations. Each evolves an impersonal sensibility designed to free the poet from the limitations of his merely private associations and social circumstances, and to licence extraordinary ambitions: Pound’s paradiso terrestre and Stevens’ supreme fiction constitute unifying artistic responses to a shaken, fragmenting and sceptical culture. Supreme fictions are not in vogue, and both poets have been chastised for the didacticism, elitism, or even pretension latent in their poetic theories: it is argued that their reach exceeds their grasp. But this thesis is not a critique of theory; it is a study of praxis. It explores the techniques of both poets’ greatest poems, and proposes the impersonal mode as one reason for their uncanny power. Chapter I explores poetic impersonality under three headings: “Inheritance”; “Sensibility”; and “Technique”. Chapter II contrasts the irregular progression of Pound’s early verse with the eerie precision of Stevens’ Harmonium. Chapter III traces the expansion of Pound’s impersonal voice through A Draft of XXX Cantos, and argues that “The Man with the Blue Guitar” is of crucial importance to the development of Stevens’ later style. Chapter IV argues that, in the plangent and elemental forms of Cantos XLVII and XLIX, and in the rôle of the “possible poet” explored in “Notes Toward a Supreme Fiction”, Pound and Stevens come closest to fulfilling their early desires for a transcendent and autonomous rhetoric. Chapter V finds each poet plunged into crisis, toppling the fleeting consolations of Canto XLVII and “Notes”, and requiring new, more urgent and more expansive poetic modes. Pound’s Pisan Cantos, in their search for an idiom newly resistant to severe external pressures, are comparable to “The Auroras of Autumn” and “An Ordinary Evening in New Haven”, which reveal Stevens’ own bout of intense creative uncertainty. Chapter VI shows how the enduringly impersonal techniques of Pound’s and Stevens’ final poems – which preserve, on their surface, a grammatical and lexical detachment – increasingly come to register deeper emotions. The effect of subduing personal experience to an impersonal aesthetic is to enhance the poignancy of the very emotions and frailties that are all but veiled.

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Mitchell-Cook, Martha Adaline. "To Write Paradise: A Study of Ezra Loomis Pound." Youngstown State University / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ysu1008357754.

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DeVinney, Joel. "Mixed marriages and divorce in Ezra, Nehemiah, and Malachi." Theological Research Exchange Network (TREN), 1999. http://www.tren.com.

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Cranford, David E. "Using Ezra/Nehemiah as a model for church restoration." Online full text .pdf document, available to Fuller patrons only, 2004. http://www.tren.com.

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Nurmi, Jennifer Marie. "Epistemology and intertextual practice in Ezra Pound's "The Cantos"." Connect to Electronic Thesis (ProQuest) Connect to Electronic Thesis (CONTENTdm), 2007. http://worldcat.org/oclc/457044976/viewonline.

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Danzer, Ina Dorothea. "T. S. Eliot, Ezra Pound und der französische Symbolismus /." Heidelberg : C. Winter, 1992. http://catalogue.bnf.fr/ark:/12148/cb35629370p.

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Dissertations / Theses on the topic 'Ezra'

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