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Books on the topic 'Ernest Fenollosa'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Fenollosa, Ernest Francisco. Ernest Francisco Fenollosa: Published writings in English. Edition Synapse, 2009.

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2

1930-, Miyake Akiko, Teele Nicholas John 1944-, and Kodama Sanehide 1932-, eds. A guide to Ezra Pound and Ernest Fenollosa's Classic Noh theatre of Japan. Mational Poetry Foundation, University of Maine, 1994.

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3

1930-, Miyake Akiko, Kodama Sanehide 1932-, and Teele Nicholas John 1944-, eds. A guide to Ezra Pound and Ernest Fenollosa's Classic Noh theatre of Japan. National Poetry Foundation, University of Maine, 1994.

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4

Olsen, Flemming. Ernest Fenollosa Ars Poetica or the Roots of Poetic Creation? Sussex Academic Press, 2011.

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5

Yamaguchi, Seiichi, and Boston Staff Museum of Fine Arts. Ernest Francisco Fenollosa - Complete Catalogue of Collection of Specimens of Japanese Art. Taylor & Francis Group, 2021.

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6

Miidera ni nemuru Fenorosa to Bigerō no monogatari: Ernest Francisco Fenollosa, William Sturgis Bigelow. Miyaobi Shuppansha, 2012.

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7

Fenollosa, Ernest Francisco, and Pound Ezra. 'noh': Or Accomplishment, a Study of the Classical Stage of Japan. by Ernest Fenollosa and Ezra Pound. Creative Media Partners, LLC, 2015.

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8

Ernest Fenollosa, the Chinese written character as a medium for poetry: Ars poetica or the roots of poetic creation? Sussex Academic Press, 2011.

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9

Olsen, Flemming. Ars Poetica or the Roots of Poetic Creation?: Ernest Fenollosa - the Chinese Written Character As a Medium for Poetry. Sussex Academic Press, 2011.

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10

Olsen, Flemming. Ernest Fenollosa Ars Poetica or the Roots of Poetic Creation?: The Chinese Written Character As a Medium for Poetry. Sussex Academic Press, 2011.

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11

Olsen, Flemming. Ernest Fenollosa Ars Poetica or the Roots of Poetic Creation?: The Chinese Written Character As a Medium for Poetry. Sussex Academic Press, 2011.

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12

Cathay: Translations by Ezra Pound, for the Most Part From the Chinese of Rihaku, From the Notes of the Late Ernest Fenollosa, and the Decipherings of the Professors Mori and Ariga. Forgotten Books, 2016.

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13

Teo, Tze-Yin. If Babel Had a Form. Fordham University Press, 2022. http://dx.doi.org/10.5422/fordham/9781531500184.001.0001.

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In twentieth-century intersections of China and Asia with the United States, translations did more than communicate meaning across politicized and racializing differences of language and nation. Instead, transpacific translation breached the regulative protocols that created those very differences of cultural value and meaning. The result saw translators cleaving to the sounds and shapes of poetry to imagine a translingual “likeness of form” but not of meaning or kind. At stake in this form without meaning is a new task of equivalence. As a concept, equivalence has been rejected for its coloni

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14

A Guide to Ezra Pound and Ernest Fenollosa's Classic Noh Theatre of Japan. National Poetry Foundation, 1994.

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15

Bachner, Andrea. The Secrets of Language. Edited by Carlos Rojas and Andrea Bachner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.6.

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In his 2009 poetry collectionQing/man (Light/Slow), Taiwanese poet Chen Li returns to a traditional Chinese form of anagrammatic poetry, the genre of the hidden-character poem (yinzi shi), a rebus-like poetic riddle that focuses on the graphic form the sinograph, by providing clues to its riddle in the form of descriptions of, references to, and graphic components of a given Chinese character. This chapter uses the genre and theory of anagrams as its starting point for a reflection on language, literary creation, and translation, from Ernest Fenollosa’s reflections on the ideographic method to

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