Relevant bibliographies by topics / Pound, Ezra Loomis, 1885-

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Academic literature on the topic 'Pound, Ezra Loomis, 1885-'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Pound, Ezra Loomis, 1885-"

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RUTHVEN, K. K. "THE DISCLOSURES OF INSCRIPTION: EZRA (LOOMIS) (WESTON) POUND." Journal of the Australasian Universities Language and Literature Association 66, no. 1 (November 1986): 159–78. http://dx.doi.org/10.1179/aulla.1986.66.1.003.

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Ribeiro de Oliveira, Marcelo Fonseca. "The Seafarer." Em Tese 21, no. 3 (July 18, 2016): 141. http://dx.doi.org/10.17851/1982-0739.21.3.141-145.

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Ezra Pound nasceu em Idaho em 1885 e estudou línguas românicas na Universidade da Pensilvania. Funda a corrente do Imagismo, editando uma antologia em 1914. Antes, havia angariado o reconhecimento de nomes como Elliot, Henry James, Frost, Joyce e outros. O poema 'The Seafarer', tradução de Pound do anglo-saxão original, reflete suas preocupações filológicas e estilísticas com a Idade Média, e é reconhecidamente a versão moderna mais aceita.
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Ingelbien, Raphael. "Metres and the Pound: Taking the Measure of British Modernism." European Review 19, no. 2 (April 14, 2011): 285–97. http://dx.doi.org/10.1017/s1062798710000554.

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Seen in the broader context of European modernism, British modernist literature stands out through the limited role of collective avant-gardes and the conservative or reactionary politics of the writers who make up the canon of modernist poetry. This article explores how these peculiarities are replicated in the use of traditional poetic forms (metres in particular) in the works of W.B. Yeats (1865–1939), Ezra Pound (1885–1972) and T.S. Eliot (1888–1965). As modernist (rather than avant-garde) writers, those poets rejected or backed away from free verse and simultaneously cultivated forms that harked back to older and less insular poetic traditions than the ones that dominated mainstream English poetry in the Victorian period.
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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 monólogo y la traducción. El signo lingüístico resulta ser equiparable no solo con uno de los tropos considerados esenciales por la retórica, la metáfora, sino también con la prosopopeya, el tropo rector del monólogo. Por otro lado, en estos textos, la reflexión sobre la naturaleza del signo se revela inseparable de la traducción. Así, prosopopeya y traducción resultan en la obra de estos autores no solo ser esenciales a la creación literaria sino, hasta cierto punto, prácticas análogas.
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Peter Nicholls. "Ezra Pound: Poet. A Portrait of the Man and His Work. I: The Young Genius 1885–1920 (review)." Modernism/modernity 15, no. 3 (2008): 571–73. http://dx.doi.org/10.1353/mod.0.0014.

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Beasley, R. "A. DAVID MOODY. Ezra Pound: Poet. A Portrait of the Man and his Work. Volume 1: The Young Genius, 1885-1920." Review of English Studies 59, no. 240 (October 4, 2007): 480–81. http://dx.doi.org/10.1093/res/hgn029.

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Bolin, John. "A. David Moody, Ezra Pound: Poet. A Portrait of the Man and his Work, Volume 1 The Young Genius 1885–1920." Notes and Queries 55, no. 4 (November 29, 2008): 537–38. http://dx.doi.org/10.1093/notesj/gjn197.

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Brooker, Peter. "A. David Moody, Ezra Pound: Poet. A Portrait of the Man & His Work. Volume 1. The Young Genius 1885–1920 (Oxford: Oxford: University Press, 2007). 507 pp. ISBN: 978-0-19-921557-7." Modernist Cultures 5, no. 1 (May 2010): 162–69. http://dx.doi.org/10.3366/mod.2010.0011.

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Blasingame, Tom. "Survive, Revive, Thrive: Chapter 11—Flank Speed." Journal of Petroleum Technology 73, no. 08 (August 1, 2021): 6–7. http://dx.doi.org/10.2118/0821-0006-jpt.

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Either move or be moved. - Ezra Pound, American poet, 1885–1972 Flank Speed (a ship’s maximum speed) Character cannot be developed in ease and quiet. Only through experience of trial and suffering can the soul be strengthened, ambition inspired, and success achieved. - Helen Keller, American author, 1880–1968 (she was blind and deaf from birth) I will be uncharacteristically brief: if there were ever a time for operating at maximum capacity/capability, then this is it. I ask that everyone reading this column think of 10 tasks/ideas/concepts that they can perform right now that will change their trajectory (and hopefully SPE’s as well), distill those 10 tasks to three, and commit like your life depends on it to performing at least one of those tasks in the next 6–12 months. Call it homework if you want, but every person reading this column can create, innovate, and deliver some task/idea/concept that will significantly benefit our industry. Don’t say you have more important things to do—this is your profession and your passion. Get started, push directly to flank speed, and get it done. Then move to the next idea on your list. SPE needs its member contributions as never before. SPE and You Democracy is finding proximate solutions to insoluble problems. - Reinhold Niebuhr, American theologian, 1892–1971 It is very easy to sit on the fence, but sooner or later the post will hurt you where it counts. You must do something constructive in this life to be alive. More simply, in the words of the British clergyman John Henry Newman, “Growth is the only evidence of life.” SPE must grow its missions, but its missions must also include what we do now to prepare for the foreseeable future. Energy transition is not a fad; it is a critical path we as an industry and as a professional society must pursue to provide energy for all. Oil and gas are simultaneously our most secure energy resources, as well as our “battery backup” for situations where renewable options are either unavailable or impractical. Energy sustainability will evolve (I guarantee it), but let’s never forget what will pave the way to that sustainable and renewable energy future—oil and gas. Every conceivable product that is part of the energy transition is either fueled by or dependent on oil and gas as raw materials. Regardless of how you feel about SPE as a professional organization, it cannot and will not grow into what it must become without your volunteerism and your engagement. I understand that “change=pain,” but we are in a different world now. We can choose to be patient (wait and see what happens), pause (basically be in a state of paralysis), or we can pivot, which is to say that we can push or change/evolve to another path. It is complicated, because in the last year on an individual basis most if not all, of us have done all three.
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"Ezra Pound: poet: a portrait of the man and his work: v.1: The young genius, 1885-1920." Choice Reviews Online 46, no. 02 (October 1, 2008): 46–0754. http://dx.doi.org/10.5860/choice.46-0754.

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Dissertations / Theses on the topic "Pound, Ezra Loomis, 1885-"

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

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Le passage de l'esthétisme au modernisme est ici envisagé sous ses aspects historiques et esthétiques dans l'œuvre de Théophile Gautier (1811-1872) et Ezra Pound (1885-1972). S'inscrivant dans un XXe siècle naissant, l'émergence des modernistes s'accompagne d'une volonté de redéfinition par opposition au siècle précédant, à ses courants littéraires et artistiques. Cependant, en dépit de l'apparition des nouvelles techniques artistiques, l'artiste s'interroge sur l'esthétique du siècle passé : l'importance du style, de la voix poétique, de la technique et de l'objectivité. Si la correspondance entre l'art plastique et la littérature reste déterminante dans le modernisme au début siècle, il s'agit d'intégrer les principes d'un art traversé par une crise de représentation, le sujet s'effaçant derrière la forme et la technique artistique. Ces recherches s'orientent donc vers l'approfondissement des notions de différence et de similitude esthétique caractérisant ce temps de la transition : de l'art pour l'art à un art de l'action, et du mot juste à une représentation en directe de la chose, etc. Cette étude repose sur des revues et des documents esthétiques de l'époque ainsi que les oeuvres principales des deux poètes
From Aestheticism to Modernism examines the dominant features of Aestheticism and describes their continuation, transformation, and death with regard to the emergence of Anglo-American Modernism. This comparative study focuses on the critical writings and poetry of Théophile Gautier (1811-1872) and Ezra Pound (1885-1972). In spite of bona fide progress in new poetic techniques, the artist reopens many of the same aesthetic questions from the preceding century : the importance of style, poetic voice, technique, and objectivity. If the correspondence between the visual arts and literature remains a fertile terrain of exploration, the arts undergo a crisis of representation, whereby the subject of modernist works is dispersed within form and technique. This study explores the notions of similitude and difference which characterize this period of transition: from art for art's sake to an art of action, from the mot juste to a direct representation of the object, etc. The principal sources used are aesthetic documents from the period as well as the literary works of the two poets
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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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Vidal, Marianne. "Poésie et traduction : un échange de textes." Toulouse 2, 1991. http://www.theses.fr/1991TOU20060.

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Quand le traducteur se saisit d'un poeme avec l'intention de faire lui-meme oeuvre de poete, quelle strategie doit-il appliquer? le present expose de reponses possibles s'appuie sur l'experience du poete americain ezra pound qui, parmi les contemporains, a le plus nourri sa propre poesie de la traduction, aussi bien comme materiau que comme "critique en acte". Trois parties etudient donc successivement le materiau sonore et rythmique du poeme, puis le reseau de ses images, enfin comment il replace ce poeme dans un contexte historique et poetique (au passage, sont poses les problemes de la fidelite a la lettre ou a l'esprit et des rapports en traduction entre modernite et tradition), pour conclure sur le resultat de cet "echange" entre le texte et sa traduction : un art et un langage poetiques penetres par la poetique etrangere
When a translator takes over a foreign poem with the intention of behaving like a true poet, what kind of strategy is he more likely to use? the present account of possible responses to this question is based upon the experience of the american poet ezra pound who, among his contemporaries, fleshed out most of his own poetry with translation, using it not only as a material but also as a criticism "in action". The three parts study first, how he conveys the sonic and rhythmic material of the poem, then the network of images used, finally how he puts this poem back in a historical and poetical system (meanwhile, we will examine the problems of fidelity to the spirit or to the word and of the rapports in translation between modernity and tradition), to conclude with the result of such an exchange between the original text and its translation : a poetical art and language forstered by foreign poetics
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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 Howe
Set 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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Bizzini, Chantal. "Le recours à la tradition antique chez deux poètes américains contemporains : Ezra Pound et Hart Crane." Paris 3, 2001. http://www.theses.fr/2001PA030018.

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Ce travail se propose d'etudier en parallele le recours a la tradition antique chez deux poetes americains contemporains : ezra pound et hart crane. Cette etude est suivie d'une traduction en francais du recueil de hart crane white buildings, precedee d'une introduction et suivie de notes. Ce travail montre successivement la maniere dont apparaissent et se tranforment, dans les oeuvres de ces poetes, les motifs antiques de la descente aux enfers et de la metamorphose, puis dans quelle mesure ces poetes ont emprunte a la philosophie antique platonicienne ou neoplatonicienne, pour decrire enfin comment se batit dans leurs oeuvres une cite utopique. Par l'etude de la descente aux enfers, il a ete possible d'apprecier les rapports que ces poetes entretiennent avec la mort, la tradition et leur terre d'origine, par celle de la metamorphose, la place que ces poetes revendiquent pour eux-memes dans le monde ainsi que l'usage qu'ils font du langage comme procede pouvant leur permettre de le transformer. Aborder la maniere dont ils ont recours l'un et l'autre a la philosophie antique permet de les situer dans l'histoire de la pensee ; enfin, voir se construire dans leurs oeuvres une cite utopique montre leur projection dans l'histoire et permet d'apprecier leur pensee politique. La conclusion de cette etude, pose la question difficile de l'heritage de pound et de hart crane.
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Molina, Robles José Luis. "Poetics in translation : "make it new" by Ezra Pound and "transcreation" by Haroldo de Campos." Thesis, Perpignan, 2017. http://www.theses.fr/2017PERP0009/document.

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Le but de ce travail est de présenter comment la traduction est devenue une poétique pour le poète américain Ezra Pound et le poète brésilien Haroldo de Campos. Les deux poètes ont utilisé la traduction pour élargir leur compréhension de la poésie mais, en même temps, créer une nouvelle approche du phénomène littéraire en rassemblant des œuvres d'auteurs de différentes régions, époques et langues différentes. Pound a commencé à écrire de la poésie au rythme de l'anglo-saxon, puis il a pris une direction différente en produisant des livres avec des commentaires sur ses traductions comme les troubadours provençaux et la poésie chinoise. Il a passé presque 25 ans à traduire l'ensemble du travail de Confucius et, après cette période, il a publié ses dernières traductions de poèmes grecs et égyptiens. Haroldo était un admirateur de Pound et il a partagé sa passion de traduction. Il a fondé le mouvement avant-gardiste de la poésie concrète au Brésil et il a fait des traductions collectives avec les membres du mouvement. Sa spécialisation dans les langues l'a amené à traduire la poésie d'avant-garde de plusieurs langues différentes, puis il s'est déplacé vers les classiques comme Dante, Goethe, Homer et la Bible. De Campos a bénéficié de son poste universitaire pour obtenir des conseils spécialisés pour ses traductions. En outre, il a élaboré une théorie sur la traduction après des textes philosophiques, qu'il appelait «la transcreation». Il était convaincu que la meilleure poésie en tout temps était essentiellement d'avant-garde
The aim of this work is to present how translation became a poetics for the American poet Ezra Pound and the Brazilian Poet Haroldo de Campos. Both poets employed translation to expand their understandings about poetry but, at the same time, to create a new approach to the literary phenomenon by bringing together works of authors from many different geographies, epochs and languages. Pound started to write poetry following the rhythm of the Anglo-Saxon and then he took a different direction producing books with comments on his translations like Provençal troubadours and Chinese poetry. He spent almost 25 years translating the entire work of Confucius and after that period he published his last translations of Greek and Egyptian poems. Haroldo was an admirer of Pound and he shared his translation passion. He founded the Avant-garde movement of Concrete Poetry in Brazil and he did collective translations with the members of the movement. His specialization in languages prompted him to translate Avant-garde poetry from many different languages and then he moved to the classics like Dante, Goethe, Homer and the Bible. De Campos benefited from his academic position to obtain specialized advising for his translations. Furthermore, he elaborated a theory on translation following philosophical texts, that he called “transcreation.” He was convinced that the best poetry in all times is essentially Avant-garde
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Books on the topic "Pound, Ezra Loomis, 1885-"

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Schmied, Wieland. Erinnerungen an Ezra Pound (1885-1972). Aachen: Rimbaud, 2002.

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Kearns, George. Ezra Pound, The cantos. Cambridge [England]: Cambridge University Press, 1989.

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The poetry of Ezra Pound. Lincoln: University of Nebraska Press, 1985.

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Stock, Noel. The life of Ezra Pound. Harmondsworth: Penguin, 1985.

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Stock, Noel. The life of Ezra Pound. Harmondsworth, England: Penguin Books, 1985.

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Ezra Pound in context. Cambridge: Cambridge University Press, 2010.

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Flory, Wendy Stallard. The American Ezra Pound. New Haven: Yale University Press, 1989.

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The Pound era. London: Pimlico, 1991.

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Bush, Ronald. The genesis of Ezra Pound's Cantos. Princeton, N.J: Princeton University Press, 1991.

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Wilson, Peter. A preface to Ezra Pound: Peter Wilson. London: Longman, 1996.

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Book chapters on the topic "Pound, Ezra Loomis, 1885-"

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Müller, Wolfgang G. "Pound, Ezra [Weston Loomis]." In Englischsprachige Autoren, 219–23. Stuttgart: J.B. Metzler, 2004. http://dx.doi.org/10.1007/978-3-476-02951-5_83.

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Nadel, Ira B. "‘Mastership at One Leap’: 1885–1908." In Ezra Pound, 7–32. London: Palgrave Macmillan UK, 2004. http://dx.doi.org/10.1057/9780230378810_2.

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Robinson, Alan. "Ezra Pound: the Pre-Imagist Phase." In Poetry, Painting and Ideas, 1885–1914, 150–81. London: Palgrave Macmillan UK, 1985. http://dx.doi.org/10.1007/978-1-349-07190-6_6.

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Massa, Ann. "Ezra Pound (1885–1972)." In American Literature in Context, 75–87. Routledge, 2016. http://dx.doi.org/10.4324/9781315535531-7.

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"Childhood, 1885/1901." In The Life of Ezra Pound, 15–25. Routledge, 2013. http://dx.doi.org/10.4324/9780203806968-8.

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