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Journal articles on the topic 'Ernest Fenollosa'

Author: Grafiati

Published: 3 June 2025

Last updated: 31 July 2025

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1

Tanaka, Stefan. "Imaging History: Inscribing Belief in the Nation." Journal of Asian Studies 53, no. 1 (1994): 24–44. http://dx.doi.org/10.2307/2059525.

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A commission sponsored by the meiji government and headed by Okakura Tenshin (Kakuzō), Kanō Tessai, and Ernest F. Fenollosa traveled to Nara Prefecture in 1884 to catalog the important artifacts in temples and shrines. Fenollosa's later description of an event of this trip, which is often presented to show how he with the assistance of Okakura “saved” Japanese art, brings out the major argument of my article: the role of fine art in the formulation of belief in the nation. Fenollosa describes his “discovery” of the Guze Kannon (Goddess of Mercy), a seventh-century gilt-wood sculpture, at the H

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2

BLOUIN, MICHAEL J. "The Eternal Embrace: Ghostly Maidens in Sidney McCall's Fiction." Journal of American Studies 44, no. 4 (2010): 675–90. http://dx.doi.org/10.1017/s0021875810001295.

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At the turn of the century, “Japan” was being imagined for the American public in a variety of ways. Sidney McCall, wife of Hegelian Ernest Fenollosa and close friend of Romanticist Lafcadio Hearn, sought a way to incorporate “Japan” into Fenollosa's broader Idealist arch while simultaneously preserving the titillation of Hearn's “ghostly tales.” By so doing, McCall attempted to reconcile divided notions of “femininity” in early Japanology (and American discourse at large). She utilized the form of the novel itself to work systematically through the schism between “feminine mystique” and “mate

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3

Vali, Abid. "Noh Collaboration:." Crossings: A Journal of English Studies 9 (August 1, 2018): 112–21. http://dx.doi.org/10.59817/cjes.v9i.110.

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Ezra Pound was initially more interested in Noh than in Ernest Fenollosa’s notes on Chinese poetry. The attention paid to “Ezra Pound and China” often obscures Pound’s interest in Noh, his first love in Fenollosa’s notes, and the actual work of the collaboration/s that resulted in the published texts. Pound gained specific ideas and cultivated particular relationships due to his prior attention to Noh. In fact, given the presence of Japanese interlocutors and translators to aid Fenollosa in the creation of his notes which Ezra Pound then went on to utilize, it might be argued that the Noh play

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4

Lavery. "Ernest Fenollosa: Out of Time, Out of Place." Journal of Modern Literature 35, no. 2 (2012): 131. http://dx.doi.org/10.2979/jmodelite.35.2.131.

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5

Barbosa, Thiago de Melo. "O Ideograma como um Modelo de Ler e Ver Poesia." Manuscrítica: Revista de Crítica Genética, no. 23 (March 15, 2012): 167–84. http://dx.doi.org/10.11606/issn.2596-2477.i23p167-184.

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Os ideogramas chineses associados à poesia chegaram ao Brasil por volta dos anos de 1950 quando os poetas concretos começaram a propalar as ideias do poeta e crítico norte-americano Ezra Pound, o qual, por sua vez, foi o principal divulgador dos estudos do filósofo e orientalista norte-americano Ernest Francisco Fenollosa (1853-1908) sobre os caracteres chineses e a poesia, sintetizados no célebre ensaio The chinesewrittencharacter as a medium for poetry (Os caracteres da escrita chinesa como instrumento para a poesia). Nesse, Fenollosa elucida de que maneira a milenar escrita chinesa pode aux

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6

Nute, Kevin. "Ernest Fenollosa and the universal implications of Japanese art." Japan Forum 7, no. 1 (1995): 25–42. http://dx.doi.org/10.1080/09555809508721526.

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7

Guzmán Alonso, Eloísa de. "Acercamiento a un pensamiento asintáctico a través de Ernest Fenollosa." Epos : Revista de filología, no. 31 (January 1, 2015): 195. http://dx.doi.org/10.5944/epos.31.2015.17364.

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8

Jung, Hwa Yol. "Ernest Fenollosa's Etymosinology in the Age of Global Communication." Theory, Culture & Society 26, no. 2-3 (2009): 249–73. http://dx.doi.org/10.1177/0263276409103129.

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This article puts forward the thesis that in the age of multiculturalism, global communication is rooted in cross-cultural understanding as shown in McLuhan's late communication theory. The American philosopher Ernest Fenollosa went to Japan during the Meiji Restoration when it started in earnest full-scale Westernization. He became fascinated with the poetics of sinography manifested in etymosinology. Etymosinology reveals the depth of the Sinic cultural soul, which is this-worldly, practical, concrete and specific. Sinism (i.e. Confucianism, Daoism and Chan/Zen Buddhism) is a species of rela

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9

Mitteau, Arthur. "L’universalisme de l’esthétique chez Okakura Kakuzō (dit Tenshin) et Ernest Fenollosa : critique et actualité." Ebisu, no. 50 (October 1, 2013): 95–133. http://dx.doi.org/10.4000/ebisu.1138.

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10

Williams. "Japanese Aesthetic Influences on Early 20th-Century Art Education: Arthur Wesley Dow and Ernest Fenollosa." Visual Arts Research 39, no. 2 (2013): 104. http://dx.doi.org/10.5406/visuartsrese.39.2.0104.

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11

LITZ. "A New Acquisition: Papers of Ernest Fenollosa and Ezra Pound Relating to the Nō Drama." Princeton University Library Chronicle 53, no. 1 (1991): 8. http://dx.doi.org/10.2307/26410001.

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12

Pinho, Marília Gabriela Malavolta. "Escrever sem palavras: a escrita ideogrâmica em Clarice Lispector." MOARA – Revista Eletrônica do Programa de Pós-Graduação em Letras ISSN: 0104-0944 2, no. 46 (2017): 287. http://dx.doi.org/10.18542/moara.v2i46.3834.

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Propõe-se, com este artigo, que na crônica “Lembrança da feitura de um romance” (1970), Clarice Lispector procura igualar, como ideal de escrita, a palavra ao ideograma, o que faz não por meio de afirmação direta (como o fez na conferência “Literatura de vanguarda no Brasil”), mas por meio de explicações e imagens que aludem às operações do signo ideogrâmico. O método ideogrâmico de composição, tal como este foi explicado e laureado por Ernest Fenollosa e também, posteriormente, por Ezra Pound, contém os argumentos que sustentam tal proposição, ao lado da reunião de evidências do interesse e d

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13

Riordan, Kevin. "Yeats's Photographs and the World Theatre of Images." Theatre Survey 65, no. 1 (2024): 14–36. http://dx.doi.org/10.1017/s0040557423000303.

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W. B. Yeats's dramatic career was transformed in the 1910s through a series of collaborations in London. In an essay from the period, “Certain Noble Plays of Japan,” he writes: “I have invented a form of drama, distinguished, indirect and symbolic.” This form, like many other modernist inventions, is better understood as something else, in this case the alchemy of his earlier work, some eclectic influences, and the contributions of his American, English, French, and Japanese collaborators. Together, this group of artists drew on Irish mythology, the occult, the continental avant-garde, and—as

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14

Linares González, Gabriel Enrique. "Epopeyas de la escritura: Algunas reflexiones sobre el lenguaje poético en Ezra Pound y Jorge Luis Borges." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 2 (August 29, 2020): 104–26. http://dx.doi.org/10.22201/ffyl.nuevaspoligrafias.2020.2.1380.

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El presente artículo estudia los textos “The Chinese Written Character as A Medium for Poetry” (1919) de Ezra Pound (1885-1972) y Ernest Fenollosa (1853-1908), y “Tlön, Uqbar, Orbis Tertius” (1940) de Jorge Luis Borges (1899-1986). Se establecen lazos entre ambos con base en la afinidad que manifiestan en su interés por la creación de un gran poema a la manera de la épica, por el monólogo dramático y la traducción. Se hace especial énfasis en la forma en la que los dos autores articulan en ambas obras reflexiones sobre la naturaleza del lenguaje poético y vinculan dichas reflexiones con el mon

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15

Shellhorse, Adam Joseph. "The Specter of Sartre in Brazilian Concrete Poetry: Paideuma, Affect, Politics, and the Question of World Literature." Revista Hispánica Moderna 76, no. 2 (2023): 159–84. http://dx.doi.org/10.1353/rhm.2023.a913730.

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ABSTRACT: This essay returns to Brazilian concrete poetry's origins and conception of the paideuma. It does so in order to unearth the cardinal, yet underestimated legacy of Jean-Paul Sartre for the Noigandres group's conception of poetic form, literary engagement, and world literature. Drawing on their theoretical writings as well as those of Sartre, Martin Heidegger, Oswald de Andrade, Ernest Fenollosa and Pound, I illustrate how the French thinker configured a matrical part of what the poets deemed the cultural-morphological process. Third, against the grain of the numerous critiques that h

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16

Armstrong, David F. "The Chinese Written Character as a Medium for Poetry by Ernest Fenollosa and Ezra Pound: A Critical Edition." Sign Language Studies 9, no. 4 (2009): 480–82. http://dx.doi.org/10.1353/sls.0.0024.

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17

Johnson, Ryan. "“Une origine oubliée”: Global Modernity and East-West Debates over Classical Heritage." Comparative Literature 76, no. 4 (2024): 492–511. https://doi.org/10.1215/00104124-11316381.

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Abstract Analogies between the ancient Mediterranean and premodern China and Japan are a well-noted phenomenon in literary studies. Recently, a wealth of scholarship has reignited interest in how people from either side of the Eurasian continent sought to understand one another through comparisons between an imagined shared antiquity. Yet less work has been done comparing Eastern and Western ways of conceiving this analogy with current work in comparative literature. This essay considers late nineteenth- through early twentieth-century East Asian and Western analogies between classical East As

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18

Sá, Raquel Harumi de. "A Poesia Chinesa Definida por Ezra Pound: uma busca pela origem." Zi Yue 1, no. 1 (2020): 55–64. http://dx.doi.org/10.11606/issn.2675-4614.v1i1p55-64.

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O presente texto apresenta uma reflexão a respeito de uma possível “zona de contato” entre as teorias de tradução poética definidas por Ernest Fenollosa e seu discípulo Ezra Pound, e a literatura em língua chinesa por eles traduzida. Elaborado por Mary Pratt (1991), estudiosa de literatura espanhola, o conceito de zonas de contato considera a literatura como um espaço social em que culturas diferentes se encontram, confrontam ou mesmo se atracam (“grapple”) em contextos geralmente de relações de poder altamente assimétricas. Ao verificarmos a ausência do reconhecimento deste contato, por parte

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19

Yu, Meihui. "Ernest Fenollosa, Das chinesische Schriftzeichen als poetisches Medium. Übersetzt von Eugen Gomringer. Mit einem Beitrag von Ezra Pound und einem Nachwort von Monika Motsch. (Fröhliche Wissenschaft 146) Matthes & Seitz, Berlin 2019. 95 S., € 12,–." Arbitrium 41, no. 2 (2023): 213–16. http://dx.doi.org/10.1515/arb-2023-0027.

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20

Maire, Gonzalo. "EL MODELO DE ERNST FENOLLOSA SOBRE EL ARTE Y SU IMPACTO EN COLECCIONES CHILENAS. CASO DE ESTUDIO: LA COLECCIÓN DE ESTAMPAS JAPONESAS CLÁSICAS DEL ARCHIVO CENTRAL ANDRÉS BELLO." Intus - Legere Historia 12, no. 1 (2018): 114. http://dx.doi.org/10.15691/07198949.238.

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Este artículo examina la Colección de Estampas Japonesas Clásicas del Archivo Central Andrés Bello de la universidad de Chile desde dos cauces: primero, las condiciones de posibilidad teóricas y museales de asociación de las piezas japonesas (ukiyo-e) con otros conjuntos de objetos nacionales y europeos, a partir de los modos en que a los objetos nipones se le imponen lógicas de legibilización y experiencia; segundo, desde la caracterización de esas susodichas lógicas como modelo de conocimiento del Arte, cuyo principio autoral y categorial se encuentra en el pensamiento de Ernst Fenollosa.

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21

Vali, Abid. "Genius, Appropriation and Transnational Collaboration in Ezra Pound’s Cathay." Anglica. An International Journal of English Studies, no. 27/1 (September 17, 2018): 97–110. http://dx.doi.org/10.7311/0860-5734.27.1.07.

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When we discuss the cross-cultural relationships of Euro-American modernists we often fall between the poles of either celebrating the ‘coming together of traditions’ or suspiciously decrying the power play involved. A case in point is the divergent critical understanding most often posited of Ezra Pound’s relationship to the materials he produced from Ernest Fenollosa’s notes – notably Classical Chinese poetry in the form of Cathay (1915). The first position is Hugh Kenner’s who holds that its meaning, its primary function, was as an anti-WWI volume, rather than as any representation of Chine

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22

Bacigalupo, Massimo, Akiko Miyake, Sanehide Kodama, Nicholas Steele, and Zhaoming Qian. "A Guide to Ezra Pound and Ernest Fenollosa's 'Classic Noh Theatre of Japan'." Modern Language Review 93, no. 3 (1998): 812. http://dx.doi.org/10.2307/3736538.

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23

Kato, Eileen, Akiko Miyake, Sanehide Kodama, and Nicholas Teele. "A Guide to Ezra Pound and Ernest Fenollosa's `Classic Noh Theatre of Japan'." Monumenta Nipponica 50, no. 4 (1995): 555. http://dx.doi.org/10.2307/2385596.

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24

Lipin, G. "Eliciting Etymo-Sinography: Ernest Fenollosa’s Treatise The Chinese Written Character as a Medium for Poetry." World of the Orient 2021, no. 3 (2021): 66–71. http://dx.doi.org/10.15407/orientw2021.03.066.

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25

Storm, Jason Ānanda Josephson. "Excavating the Hall of Dreams: The Inventions of “Fine Art” and “Religion” in Japan." Religions 13, no. 4 (2022): 313. http://dx.doi.org/10.3390/rel13040313.

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Setting out from Okakura Kakuzō and Ernest Fenollosa’s famous “discovery” of the Yumedono Kannon, this article will trace the contested construction of the categories of “religion” (shūkyō) and “fine art” (bijutsu) in Meiji Japan. In religious studies circles, it has become commonplace to think of “religion” as the only disciplinary master category with issues. However, not only was “religion” invented in Japan, but “fine art” was invented there too. Indeed, categories from “culture” to “society” to “politics” have similar issues. Attending to these will help refocus crucial debates away from

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26

Dantas, Márcio De Lima, and Francisco Freire de AMORIM. "Fenollosa: da exegese do ideograma às vanguardas." Revista Texto Poético 9, no. 14 (2014). http://dx.doi.org/10.25094/rtp.2013n14a23.

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Partindo das considerações do filósofo norte-americano Ernest Francisco Fenollosa sobre os caracteres chineses, presentamos, em nossa investigação, pontos de vista sobre problemas da poética ocidental, bem como possíveis soluções para traduções. Entre a possibilidade de uma mitopoética e a existência de uma escrita ligada às estruturas da natureza, analisa-se o surgimento de uma vanguarda artística influenciada pelo Oriente.

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27

Cabeza Laínez, José María, José Manuel Almodóvar Melendo, and Inmaculada Rodríguez-Cunill. "Ernest Fenollosa, Kakuzo Okakura y el arte japonés. Un diálogo fructífero entre Oriente y Occidente." UCOARTE. Revista de Teoría e Historia del Arte, December 16, 2022, 123–39. http://dx.doi.org/10.21071/ucoarte.v11i.14526.

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Ernest Fenollosa llegó a Japón en 1878 por mediación de Edward Morse para ser profesor de Filosofía y Política Económica en la Universidad Imperial de Tōkyō. En Japón realizó una ingente labor en pos de la revitalización del arte japonés que tuvo un gran reconocimiento, llegando a ser nombrado Comisionado Imperial de las Artes. Durante su regreso a EE.UU. fue comisario del prestigioso Museo de Arte en Boston y contribuyó decisivamente a la difusión de las artes de Japón. Publicó diversas obras, entre las que destaca el monumental Epochs of Chinese and Japanese Arts, que ha servido de base para

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28

Cid Lucas, Fernando. "El hombre que nos trajo Japón: Ernest F. Fenollosa habla sobre teatro Noh." Estudios de Asia y África, September 1, 2011, 687–707. http://dx.doi.org/10.24201/eaa.v46i3.2008.

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Al hablar de japonología, lo mismo que al leer la bibliografía referente a la llegada de la estética nipona a Occidente, irremediablemente uno se encuentra con ilustres nombres, como los de Basil H. Chamberlain, Ernest M. Satow o Edward S. Morse, y se puede recurrir a sus escritos de gran riqueza antropológica y muy útiles para comenzar a desentrañar la compleja idiosincrasia del pueblo nipón. Sin embargo, aún existen en lengua castellana enormes lagunas a la hora de recolectar títulos que puedan leerse en el idioma del Quijote. No estoy hablando de trabajos específicos, dedicados a una minorí

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29

"On the Paths of nō – from Ernest Fenollosa to the First Reformers of the Western Theatre." Rocznik Orientalistyczny/Yearbook of Oriental Studies, November 6, 2023. http://dx.doi.org/10.24425/ro.2019.132999.

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30

Gr�nlie, Espen Gr�nlie. "Linguistic Relativism and Poetry: Ezra Pound�s Reading of Lucien L�vy-Bruhl as a Key to Ernest Fenollosa�s The Chinese Written Character as a Medium for Poetry." Journal of Modern Literature 45, no. 4 (2022). http://dx.doi.org/10.2979/jmodelite.45.4.01.

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31

Adrian, Kohn. "Understanding Unlikeness, in John Chamberlain: Choices, Susan Davidson, ed. (New York: Solomon R. Guggenheim Museum, 2012), pp. 45–55." June 9, 2017. https://doi.org/10.5281/zenodo.804550.

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ere is just some of what we are given to understand John Chamberlain’s art as being like: car wrecks and dancers, artichokes and mummies and giant phalluses, drapery, a football player, ornaments for an immense Christmas tree and monstrous jungle-gyms, a sucked egg, and Titans beside themselves with rage. Next, a long list of the art-historical movements that his pieces have brought to mind: the baroque and rococo, neoclassicism, Cubism, Dada and Surrealism, both Abstract Expressionism and Pop, and also Minimalism and Process art. And, lastly, a very long list of the artists whose works Chambe

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32

Xie, Ming. "Ezra Pound and Spatial Poetics." Canadian Review of American Studies, August 1, 2023. http://dx.doi.org/10.3138/cras-2023-005.

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Ezra Pound was preoccupied with both time and space. But he developed a spatial poetics in order to transform experiences of time into intense moments of relationality and supra-historical awareness. His earlier discovery of a “method of Luminous Detail” was further confirmed by Ernest Fenollosa’s theory of the ideogram. What interested Pound was the superposition of historical and cultural meanings in the present, or, more precisely, in the textual present of the Cantos. It is not that Pound wanted to suppress time; superposition is for him simply the mode of being in the present, which is co

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