Log in

Relevant bibliographies by topics / Pound / Dissertations / Theses

Dissertations / Theses on the topic 'Pound'

To see the other types of publications on this topic, follow the link: Pound.

Author: Grafiati

Published: 4 June 2021

Last updated: 29 July 2024

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the top 50 dissertations / theses for your research on the topic 'Pound.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.

1

Squire, Susannah. "A pound of flesh." Master's thesis, University of Cape Town, 2006. http://hdl.handle.net/11427/8092.

Full text

Abstract:

This novel explores themes such as post feminism, the clash of Islam and Christianity in a globalised world and sexual morality through the eyes of a girl who is not only coming of age but is also coming to terms with the sociopolitics of modern Britain.

APA, Harvard, Vancouver, ISO, and other styles

2

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

5

Smark, Ciorstan. "Pound foolish accounting's role in deinstitutionalisation /." Access electronically, 2002. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20060404.123052/index.html.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Eckelberg, Brett Edward. "H.D. and Pound : a poetic relationship /." For electronic version search Digital dissertations database. Restricted to UC campuses. Access is free to UC campus dissertations, 2003. http://uclibs.org/PID/11984.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

9

Basti, David. "Patterns of Mortality in a Lobster Pound." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/BastiD2008.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

11

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

12

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

13

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

14

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

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

15

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

16

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/.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

17

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

18

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

19

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

20

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

21

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

Full text

Abstract:

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

APA, Harvard, Vancouver, ISO, and other styles

22

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

23

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.

Full text

Abstract:

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
Graduate

APA, Harvard, Vancouver, ISO, and other styles

24

Chambers, James Paul. "High frequency Pound-Drever-Hall optical ring resonator sensing." Texas A&M University, 2007. http://hdl.handle.net/1969.1/85824.

Full text

Abstract:

A procedure is introduced for increasing the sensitivity of measurements in integrated ring resonators beyond what has been previously accomplished. This is demonstrated by a high-frequency, phase sensitive lock to the ring resonators. A prototyped fiber Fabry-Perot cavity is used for comparison of the method to a similar cavity. The Pound-Drever-Hall (PDH) method is used as a proven, ultra-sensitive method with the exploration of a much higher frequency modulation than has been previously discussed to overcome comparatively low finesse of the ring resonator cavities. The high frequency facilitates the use of the same modulation signal to separately probe the phase information of different integrated ring resonators with quality factors of 8.2 x10^5 and 2.4 x10^5. The large free spectral range of small cavities and low finesse provides a challenge to sensing and locking the long-term stability of diode lasers due to small dynamic range and signal-to-noise ratios. These can be accommodated for by a calculated increase in modulation frequency using the PDH approach. Further, cavity design parameters will be shown to have a significant affect on the resolution of the phase-sensing approach. A distributed feedback laser is locked to a ring resonator to demonstrate the present sensitivity which can then be discussed in comparison to other fiber and integrated sensors. The relationship of the signal-to-noise ratio (S/N) and frequency range to the cavity error signal will be explored with an algorithm to optimize this relationship. The free spectral range and the cavity transfer function coefficients provide input parameters to this relationship to determine the optimum S/N and frequency range of the respective cavities used for locking and sensing. The purpose is to show how future contributions to the measurements and experiments of micro-cavities, specifically ring resonators, is well-served by the PDH method with high-frequency modulation.

APA, Harvard, Vancouver, ISO, and other styles

25

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

26

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

27

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

28

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

29

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/.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

30

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

31

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

32

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

33

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

34

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

35

Niven, Alex F. "Basil Bunting's late modernism : from Pound to poetic community." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:c6d887a6-0e63-440d-9959-0791168bce5b.

Full text

Abstract:

This study examines Basil Bunting's development as a poet from his meeting with Ezra Pound in Paris in 1923, through his collaborations with Pound, Louis Zukofsky, and other members of the Objectivist circle in the 1930s, up to his meeting with Allen Ginsberg and Tom Pickard in 1960s Britain against a backdrop of social activism and modernist revival. In particular, it seeks to query the critical commonplace that Bunting was a sceptic interested solely in the autotelic form of poetry, and to argue that his revival at the time of the long poem Briggflatts in the sixties should be read historically - as a case study that shows the Poundian tradition of praxis and orality acquiring a newly communitarian, leftist emphasis in the context of post-war Anglo-American poetry. The study draws extensively on unpublished manuscripts and letters held at the Basil Bunting Archive, Durham University, the Harry Ransom Center, University of Texas (Austin), and the Beinecke Rare Book and Manuscript Library, Yale University.

APA, Harvard, Vancouver, ISO, and other styles

36

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

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

37

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

38

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

Full text

APA, Harvard, Vancouver, ISO, and other styles

39

Ziglioli, Francesca <1988&gt. "L'influenza del Daxue sul pensiero politico di Ezra Pound." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3401.

Full text

APA, Harvard, Vancouver, ISO, and other styles

40

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

41

Bassi, Camila. "Asian gay counter-hegemonic negotiation of Birmingham's pink pound territory." Thesis, University of Sheffield, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.289691.

Full text

APA, Harvard, Vancouver, ISO, and other styles

42

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

43

O'Driscoll, Michael J. "The truth in pointing, Whitman, Pound, Cage, and text as index." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/nq21309.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

44

Tischer, Jennifer C. "EgPn-440, a Late Prehistoric bison pound on the northwestern plains." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape2/PQDD_0016/MQ55174.pdf.

Full text

APA, Harvard, Vancouver, ISO, and other styles

45

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

46

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

47

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.

Full text

APA, Harvard, Vancouver, ISO, and other styles

48

Barnes, David. "Urbs/passion/politics : Venice in selected works of Ruskin and Pound." Thesis, Queen Mary, University of London, 2009. http://qmro.qmul.ac.uk/xmlui/handle/123456789/393.

Full text

Abstract:

This thesis argues that the representations of Venice found in the works of John Ruskin and Ezra Pound can only fully be understood in the light of historico-political contexts such as the Austrian occupation of Venice, the rise of revolutionary Nationalism and Fascist uses of Venetian history. In contrast to critical approaches that concentrate on the construction of Venice as aestheticised fantasy, this project draws on a range of archival materials to place these two modern literary visions of Venice within their respective historical ‘moments’. The first chapter examines a range of cultural representations of Venice in the nineteenth and twentieth centuries. Using examples from Ernest Hemingway, Hugo von Hofmannsthal and Thomas Mann, it argues against the prevailing myth of the ‘Dream’ of Venice and proposes that literary and other representations of the city should be understood in relation to specific historical events and political anxieties. The second chapter focuses on Ruskin and demonstrates how his text The Stones of Venice can be seen as a counter to the nineteenth-century myth of the ‘dark legend’ of Venice as propagated by historians like Pierre Daru. The third chapter then demonstrates how Ruskin’s Venetian works can be situated within a spectrum of European Nationalist concerns, particularly examining how the 1848 Venice revolution and its aftermath creates an atmosphere of political tension in The Stones of Venice. The following two chapters on Ezra Pound place Pound’s Venetian engagement against the backdrop of early twentieth-century Italian Nationalism. Beginning by discussing the cultural uses of Venetian history under the Fascist regime, these chapters show how Pound’s engagement with the idea of a ‘renewed’ Venice proposed by Nationalist writers such as D’Annunzio, along with Pound’s own Fascist commitment, provide contexts for his visions of Venice in the Cantos. Thus the representations of the city in both writers are seen to be crucially connected to the political concerns of Nationalism and the Nationalistic use of Venetian history.

APA, Harvard, Vancouver, ISO, and other styles

49

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/.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

50

Porter, Newell Scott. ""A poem containing history": Pound as a Poet of Deep Time." BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6326.

Full text

Abstract:

There has been an emergent trend in literary studies that challenges the tendency to categorize our approach to literature. This new investment in the idea of "world literature," while exciting, is also both theoretically and pragmatically problematic. While theorists can usually articulate a defense of a wider approach to literature, they struggle to develop a tangible approach to such an ideal. By examining Ezra Pound's critical approach to poetry, especially in The Cantos, an applicable visualization of a global approach to literature becomes more transparent.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!