Dissertations / Theses on the topic 'Pound, 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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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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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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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 Pound's poetry shows surprisingly little evidence of his interest in art; however, unpublished manuscripts show that this evidence existed, but was deliberately excised.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 In my first chapter, I look at unpublished essays and poetry written between 1906 and 1908, to explore Pound's interest in the work of James McNeill Whistler, and explain an apparent change in poetic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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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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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 reactionIn 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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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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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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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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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 poètesFrom 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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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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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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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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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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Krishnan, Rajiv C. "Self and form in the early Cantos of Ezra Pound." Thesis, University of Cambridge, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260472.
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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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Childress, Malcolm D. "Four Voices of Pound in Cantos I-XVII." Oberlin College Honors Theses / OhioLINK, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1397222794.
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Lickindorf, Elizabeth Theresa. "The literary relations of T.S. Eliot and Ezra Pound 1914-1922." Thesis, University of Oxford, 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.385561.
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Carroll, Zoe. "Content as technique : Ezra Pound and the problem of encyclopaedic form." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.302602.
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Martin, Catherine Lucy. "The poetics of memory : Ezra Pound, Robert Duncan and Susan Howe." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.414773.
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Damasceno, Rodrigo Lôbo. "Situação do autor na poesia moderna: Fernando Pessoa e Ezra Pound." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-29062015-151506/.
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Esta dissertação propõe um estudo comparativo das obras críticas e poéticas de Fernando Pessoa e Ezra Pound, partindo da hipótese central de que a leitura conjunta dos seus textos proporciona um ângulo privilegiado de análise, tanto de seus procedimentos específicos quanto de alguns dos aspectos axiais da poesia moderna e das tensões que os constituem. Focaliza, para tanto, as estratégias formais que os poetas utilizam na busca por uma espécie de despersonalização poética (seja na escrita de poesia, seja em sua leitura e em sua crítica): os fenômenos da heteronímia e da persona. Como eixo organizador dessa leitura, encontra-se a relação dos dois autores com a tradição literária entendida como arquivo de escritos que caberia ao poeta contemporâneo (moderno e antimoderno) conservar e renovar, o que os faz assumir uma postura contrária à das manifestações mais severas das vanguardas, sobretudo do Futurismo italiano, com as quais polemizam. A tradição, supostamente morta pelos decretos vanguardistas, deve então reviver e retornar nas obras de Pessoa e de Pound que encontram na crítica, na experiência da voz (da multiplicidade de vozes que funda e conforma a poesia) e na tradução os meios próprios para esse retorno. Os ideais de uma despersonalização poética, cristalizados nos expedientes da persona e da heteronímia (mas postas em movimento também em suas traduções e páginas críticas), são lidos aqui, portanto, como passos em busca da conservação e da renovação das vozes que vêm da tradição. Situados num período de extremismos estéticos (nos quais eles também incorrem constantemente), Pessoa e Pound são lidos nessa dissertação como marcos em que a modernidade poética se realiza e ao mesmo tempo se trai, balizas em que o novo e o antigo têm suas definições borradas e em que a modernidade se define por meio de suas próprias indefinições e contradições.This dissertation proposes a comparative study of critical and poetic works by Fernando Pessoa and Ezra Pound, based on the central hypothesis that the joined reading of their texts enables a privileged angle of analysis with respect to their specific procedures as well as to the axial aspect of modern poetry and its constituting tensions. As such, the present study focuses on the formal strategies utilized by the poets in their quest for poetic depersonalization (whether in their writing of poetry, or in their reading and critique): the phenomena of heteronymia and of persona. The organizing axis of this reading is framed within the relation of both authors to literary tradition understood as an archive of writings that is bestowed upon the contemporary (modern and anti-modern) poet for conservation and renovation, forcing them to assume a negative position towards the more severe vanguard manifestations, namely towards Italian Futurism. Tradition, supposedly dead at the hands of vanguard decrees, must therefore relive and return in the works of Pessoa and Pound who find in criticism, in the experience of the voice (of the multiplicity of voices that founds and conforms poetry) and in translation the means by which it can return. The ideals of a poetic depersonalization, crystallized in the expedients of the persona and heteronymia (but set in movement also through translation and critical pages) are hence understood as crucial steps in the search for conservation and renovation of the voices that come from tradition. Situated in a period of aesthetic extremisms (from which they are never far themselves), Pessoa and Pound are read as milestones in which poetic modernity is effected at the same time as it is betrayed, where the new and the old have their definitions blurred, bringing about a definition of modernity that is composed by its very own indefiniteness and contradictions.
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Paschall, Steven. "Metaphrastic materiality : the typographic archive of Ezra Pound and Susan Howe." Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0108.
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En rapport avec la tradition du poète-historien du vingtième siècle, la poétique documentaire pratiquée par Ezra Pound et Susan Howe de manières distinctes mais liées sert de base à une étude de la matérialité complexe au sein du processus compositionnel des deux écrivains. Fondée sur les matériaux d'archives des deux séquences, une analyse détaillée des « Malatesta Cantos » de Pound et de « Marginalia de Melville » de Howe permet une réflexion sur le développement de la transformation typographique dans le domaine de la poésie. Tout au long de cette critique, Steven Paschall aborde les processus de la signification de la matérialité en parallèle aux conceptions et expériences Poundiennes et Howiennes de l'archive historique et de la production littéraire. Pour Pound l'interprétation du quattrocento et de la saga de Sigismond Malatesta, et pour Howe celle des notes marginales et des ébauches manuscrites, a mené à la composition des poèmes innovateurs qui, à partir des sources textuelles, redéfinissent les idées conventionnelles de l'historiographie et de la pratique interprétative poétique au moyen des techniques structurelles et formelles. En examinant les opérations de l'appropriation littéraire, de la révision du langage écrit et de la page visuo-spatiale, Paschall avance un lien généalogique entre la matérialité archivistique du « poème contenant l'histoire » de Pound et les expériences visuelles d'articulation effectuées dans les reconfigurations palimpsestiques de HoweSet against the tradition of the 20th-century poet-historian, the documentary poetics practiced in distinct yet related ways by Ezra Pound and Susan Howe serves as the basis of this study's investigation of the complex materiality underpinning each writer's compositional process. Pound's "Malatesta Cantos" and Howe's "Melville's Marginalia" are the focus of detailed analysis specifically grounded in the archival materials for each sequence in order to explore the development of typographic metaphrasis. Throughout this critical work, Steven Paschall sets the processes of materiality's signification in parallel to Pound and Howe's conceptions of, and engagements with, the historical archive and literary production. Pound's reading of the quattrocento and the saga of Sigismondo Malatesta, and Howe's reading of marginalia and manuscript drafts, resulted in unique source-based poems, the structural and formal techniques of which redefine conventional notions of historiography and interpretative poetic practice. In addressing the mechanics of literary appropriation, editing written language, and the visio-spatial page, Paschall asserts a genealogical thread between the archival materiality of Pound's "poem containing history" and the visual experiments in articulation of Howe's palimpsestic reconfigurations thereof
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Hull, David. "Modernism and state power in the pre-war poetry and prose of Ezra Pound, 1911-1914." Thesis, University of Sussex, 2015. http://sro.sussex.ac.uk/id/eprint/54508/.
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Pound scholars have tended to assume that questions of state power, and of the relationship between the state and the individual, only become central to his work during the inter-war period. The present thesis, however, argues that these questions are a major concern in Pound's writing during the years immediately preceding the First World War, and that questions of state power significantly colour Pound's imagist and vorticist work. Chapter one reads Pound's translation of the Anglo-Saxon Seafarer as a contribution to the radical Edwardian debate about the expansion of the state's bureaucratic power and the threat it might pose to individual autonomy. I also consider the way Pound's translation links state power to the division of labour. Chapter two reassesses Pound's instigation of the imagist movement, against the backdrop of his concurrent fascination with the First Balkan War, an episode all but ignored in previous Pound scholarship. I argue that Pound interpreted the Balkan states as undertaking on the battlefield the very same modernizing struggle that he saw himself as embarking upon in the field of letters. Chapter three argues that as Pound's pursuit of the ‘new' intensifies, his identity as an American—as, in his words, ‘a citizen of a free State, a member of the sovereign people'—takes on a dual significance. Poetically, America's perceived national youthfulness and virility become important tropes for novelty and modernity in his poetry. Politically, though, Pound casts the unfolding national, political and nascent imperial project of the United States as a metonym for modernity itself, scoffing at the Italian Futurist's ‘automobilism' as essentially provincial, and proposing instead his own ‘American Risorgimento'. Methodologically, this thesis strives to combine close readings of Pound's poetry and prose, seen within its original publication context (that is, largely in little magazines), with careful reference to the broader historical context. Please note: For the purpose of online publication, all copyrighted material reproduced in the examination copy of this thesis (except that considered ‘fair use') has been removed. The redacted material is collected in a supplementary volume.
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Tremblay, M. Anthony. "Ezra Pound and Marshall McLuhan, a meditation on the nature of influence." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1995. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ29476.pdf.
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Bell, Terence Antony. "The hero polumetis : a new interpretation of the Cantos of Ezra Pound." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.293484.
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Parker, Richard Thomas Arie. "From utopia to paradise : Louis Zukofsky and the legacy of Ezra Pound." Thesis, University of Sussex, 2010. http://sro.sussex.ac.uk/id/eprint/2404/.
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In my introduction I begin by sketching Ezra Pound's engagement with utopian and paradisal themes, charting his moves from aestheticism in the pre-war years to utopian-political concerns in the 1930s and on to a synthetic-paradisal phase after the Second World War. In my first chapter I chart the period of Pound and Louis Zukofsky's closest collaboration, analysing the presence of Zukofsky's political thought in his poetics through this crucial phase and the proximity of his thought to his mentors Pound and William Carlos Williams. In my second chapter I discuss Pound and Zukofsky's interest and use of music in their poetries, suggesting that this theme provides an analogue to their paradisal thought from the late 1930s until the mid-1950s. Music is of great importance to both writers and the points at which their approaches coincide and differ are revelatory of their conceptions of paradise. Finally I turn to the late, paradisal segment of Zukofsky's career in the 1960s and 1970s, describing the manner in which Zukofsky's synthetic paradisal method relates both to Pound's in The Cantos and takes stock of the work and interests of the younger poets writing of the period. In my conclusion I briefly describe the termination of Pound and Zukofsky's relationship and make some closing comments on their paradises, relating their final synthetic paradises to differing conceptions of time that relate to their entire oeuvres, even back to the poets' early aesthetic phases.
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Tortell, David. "Continuous interruption : Picasso, Pound, and the structures of collage." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26342.
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In this thesis I argue against the conventionally held belief that collage as a form is defined through the mutual differences existing between the inserted material fragment and those signifiers that surround it. Examining works by Pablo Picasso and then turning my attention to Ezra Pound's Cantos, I seek to establish, within the related frameworks of visual and verbal collage respectively, a structural model of these and other such works predicated upon the continuity, not the distinctiveness, of fragment and host-text. Collage, I hope to show, is necessarily organic in structure due to the unstable nature of the linguistic sign, a phenomenon of language that informs the thesis from beginning to end. Ultimately, I aim to present this model as a metaphor for perception generally, as both a delineation and demonstration of the way in which one comes to know the world.
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Plasa, Stefan. "Knots und Vortices T. S. Eliots und Uzra Pounds Dichtungstheorie zwischen Tradition und Innovation." Paderborn München Fink, 2010. http://d-nb.info/994036116/04.
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Carlin, Gerald. "Art and authority : a comparative study of the modernist aesthetics of Ezra Pound." Thesis, University of Warwick, 1994. http://wrap.warwick.ac.uk/4164/.
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Due to the pressure to define a contemporary literature, 'High' modernism in English is often presented as a univocal canon of authors and works whose ideals have been identified and surpassed. This study attempts to re-emphasise the diversity of this writing by showing how crises in inherited authority were 'staged' by its aesthetics. The manner of this staging is examined in the writings and programmes of a selected group of authors while a focus is provided by the aesthetics of Ezra Pound. Pound's work is taken to be of especial interest because of the scope of his influence in establishing a 'modern' movement, the extremism of his writing's antagonism to authority, and the ambiguity of critical responses that the politics of his project continue to elicit. Chapter 1 examines the ways in which Pound promotes an 'aesthetics' of history and politics as the key to contemporary revolutionary change, and views his writing through a body of thinking which considers that the artwork, and not authority, might 'found' a modem culture. Chapter 2 treats Pound's metaphysics, showing how 'de-authorised' conceptions of religion, sexuality and language underpin this project. Chapter 3 deals with the writing of T. S. Eliot, and with the particular anti-aesthetics that inhabit his criticism and the draft of The Waste Land. Eliots project is shown to oppose Pound's by defining a desired authority against the power of art, an opposition that Pound's editing of The Waste Land effectively masks. Chapter 4 discusses the 'mass' aesthetics of James Joyce's Ulysses, and shows that the processes of self-interrogation that feature in this work realign the antipathy between art and authority in ways that militate against the ideals of a Poundian art of 'power'. Chapter 5 treats the work of D. H. Lawrence as a site where an empowered art and culture is both overtly promoted and intrinsically challenged. The proximity of Lawrence's programmatic modernism to Pound's is stressed, while an inbuilt antagonism to its own ideals is shown to sharply distinguish the dynamic trajectory of Lawrencean aesthetics from a Poundian art of self-authorisation. While establishing the antagonism between art and authority as a common focus for modernism, this study underlines differences and antipathies that emerge between the projects and texts under discussion, charting the diversity of responses to a commonly felt crisis. The study concludes with a discussion of Pound's post-war poetry, examining the fate of a writer who failed to extend into his own aesthetics the insights that modem crises in authority delivered.
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Skog, Viktor. ""A Totalitarian Vision of Paradise" : Transnationalism, Individuailty, and Totalitarianism in The Cantos by Ezra Pound." Thesis, Stockholms universitet, Engelska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-131107.
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Dolack, Thomas William. "Literary ventriloquism : Pound, Celan, Mandelstam and twentieth-century poetic translation /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1404336851&sid=5&Fmt=2&clientId=11238&RQT=309&VName=PQD.
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Thesis (Ph. D.)--University of Oregon, 2007.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 276-292). Also available for download via the World Wide Web; free to University of Oregon users.
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Schoenberg, Christian. "High modernist difficulty as commodity : Ezra Pound and James Joyce an the literary marketplace." Thesis, University of Oxford, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.416778.
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Trexler, Adam. "Modernist poetics and New Age political philosophy : A.R. Orage, Ezra Pound and T.S. Eliot." Thesis, Queen Mary, University of London, 2006. http://qmro.qmul.ac.uk/xmlui/handle/123456789/1756.
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This dissertation argues that the political, philosophical, and aesthetic theories developed in The New Age, edited by A. R. Orage, provided a crucial foundation for modernist poetry. By situating the modernist aesthetics of Ezra Pound, Wyndham Lewis, and T. S. Eliot in tenris of the complex scene of 19 10s and early 1920s London radicalism, this study develops historically local theoretical terms to read modernist poetry and also suggests the continued relevance of modernist political questions when viewed frorri this perspective. The first chapter analyzes Orage's early political and theosophical writings, demonstrating how these sources informed the journal's interconnected concerns with print culture, radical politics and literature. The second chapter analyzes Ezra Pound's entr6e into the NeIv Age scene in late 1911, situating the criticism and poetry of I Gather the Limbs of Osiris as an important ideological contribution to The New Age's Guild Socialism movement. The third chapter argues that Wyndham Lewis and Ezra Pound's Vorticist movement was organized as a radical mode of production along New Age lines and that Vorticism's aesthetic products are politically positioned against capitalist production. The fourth and fifth chapters trace The New Age's engagement with orthodox economic theory and Pound and Eliot's interest in radical economics, particularly as they connected to epistemology, money and representation, value, corporate organization, consumption and scarcity. In the final chapter, this analysis of Social Credit is used to arguet.h at the developmento f The Cawos and The WasteL aiid are fundamentally connected to the New Age's radical economic epistemology. As a whole, this dissertationa rguest hat the idiosyncratic political theory of T11eN ew Age shaped the production and consumption of crucial modernist poetic strategies.
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Moss, Gemma Candice. "Between aesthetics and politics : music in James Joyce, Ezra Pound and Sylvia Townsend Warner." Thesis, University of Manchester, 2016. https://www.research.manchester.ac.uk/portal/en/theses/between-aesthetics-and-politics-music-in-james-joyce-ezra-pound-and-sylvia-townsend-warner(8bf91abc-f236-402e-b88b-bb78f6234986).html.
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This thesis explores the relationships between music, literature, aesthetics and politics in the novels of James Joyce, Sylvia Townsend Warner, and the poetry of Ezra Pound, to show the political relevance of how discourses of musical transcendence appear in these texts. These authors were notably political: Pound was involved with Italian fascism, Warner a Communist Marxist, while Joyce critics have been invested in claiming for him a liberal, humanist political position that is reflected in his writing. This allows me to analyse their engagement with music in light of their politics in order to make connections between aesthetics and politics through music in modernist literature. The texts analysed in this thesis are Joyce’s Chamber Music and Ulysses, Pound’s Cantos, his early essays and articles, and his musical theories ‘absolute rhythm’ and ‘Great Bass’, and finally Warner’s Mr Fortune’s Maggot, ‘The Music at Long Verney’, and The Corner That Held Them. I use a methodology, informed by the musicology and philosophy of T.W. Adorno, that moves between aesthetic and social approaches to music. I analyse the political significance of Joyce’s and Pound’s appropriation of musical forms as part of a radical departure from traditional aesthetic practices to articulate a newly modern subjectivity, and arrive at an analysis of Warner’s exploration of the tension between music as both transcendent aesthetic paradigm and material object with political meanings and functions. I argue that the extent to which writers and scholars continue to refer to discourses of musical transcendence as a way of exploring and representing humanity’s relationship with the world means that analyses of music’s social grounding, which can reject problems of signification and meaning, are not sufficient to explain the variety of functions music can fulfil in writing and in thought.
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Stevenson, Guy. "Blast and bless : radical aesthetics in the writings of Henry Miller and Ezra Pound." Thesis, Goldsmiths College (University of London), 2015. http://research.gold.ac.uk/12309/.
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The aim of this thesis is to provide a new way of reading Henry Miller by drawing attention to his unlikely aesthetic and moral intersections with Ezra Pound. It traces the lineage of a particular strand of radical modernist expression that is exemplified in Pound’s critical essays between 1909 and 1938 and finds its way – incongruously - into Henry Miller’s semi-autobiographical novels of the 1930s. In the process, I will illuminate hitherto underexplored territory that is shared by two seemingly incompatible writers, pointing the way to a better understanding of the aesthetic and moral contradictions in Miller’s – and indeed Pound’s – work. Crucially, I propose that Miller’s literature is morally engaged rather than amoral or unwittingly counter-revolutionary, two common and reductive assumptions. By reading him in the context of Pound’s often suspect pronouncements on hierarchy and order it is possible to reassess George Orwell’s widely accepted conclusion that Miller is simply a ‘passive, unflinching’ recorder of life.* It is also possible to treat his textual violence as an important part of his aesthetic, rather than condemning or glossing over it. This thesis will define a set of aesthetics that are common to Pound and Miller and involve complex, often paradoxical impulses – most crucially between the desire to cultivate a radically inclusive artistic approach and the instinctive adherence to a set of absolute tastes and values. Taking as my starting point a little known review by Pound of Miller’s Tropic of Cancer, I demonstrate that the latter’s often brutal, anti-humanist rhetoric enables rather than undermines his larger humanistic project. I show that Miller’s idiosyncratic assimilation of high modernist reactionary tropes and ideas were integral to his original and influential view of art, ethics and reality. Concomitantly, this comparison of two very different writers seeks to generate a new perspective on the slippage between retrograde and progressive elements in both their works as well as the period in which they were writing. *George Orwell, ‘Inside the Whale’ in Collected Essays, ed. by George Packer (London: Harvill Secker, 2009), pp. 95-137, p. 128. Originally published in Inside the Whale and Other Essays (London: Victor Gollancz, 1940).