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From “Accelerated Grimace” to Catastrophe: Ethics of Aesthetics in Ezra Pound’s Hugh Selwyn Mauberley

100%

Pietrzak W.

Kwartalnik Neofilologiczny

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2016

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nr 1

114-128

EN

The article proposes to read Ezra Pound’s long poem Hugh Selwyn Mauberley with a view to unravelling an ethic that informs the poem. It is demonstrated that the source of the English national intellectual stasis is located in the depreciation of arts and letters in the contemporary world but the consequences of this collapse of literature lead to a genocidal catastrophe, which is shown to also hover about section two of the poem, customarily read as a denunciation of apathy that was rife among Pound’s contemporary poets and artists. The notion of ethics is derived from Pound’s own writings of the period and one of his principal philosophical sources: Confucius.

2

Poezja życia / poezja instrukcji: poems Anrzeja Sosnowskiego w kontekście teorii poezji Ezry Pounda

87%

Pietrzak W.

Poznańskie Studia Polonistyczne. Seria Literacka

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2013

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nr 22

251-268

EN

In the present article Andrzej Sosnowski’s poems is analysed against the theoretical principles elaborated by Ezra Pound. Pound’s postulates such as the ideogrammic method and the melo-, fano-, and logopoeia, all of which are briefly discussed, are used to characterise Sosnowski’s poetic practice. The article shows that, irreducible differences notwithstanding, both poets write in accordance with a set of similar principles. The difference between Sosnowski’s poems and Pound’s Cantos consists mainly in the fact that the former gives up on the inherently Poundian desire to reorganise reality in an epic work and seeks what may be termed a scene of voice on which one’s ownmost identity can be manifested. It is among the many discourses that comprise poems that a voice of life sounds in all its complexity and fragility.

3

Genius, Appropriation and Transnational Collaboration in Ezra Pound’s Cathay

75%

Vali A.

Anglica. An International Journal of English Studies

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2018

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nr 27/1

97-110

XX

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 Chinese poetry or an extension of Imagism (1971, 202–204). In seeming opposition to this vision of an ideal aesthetic come at by the application of genius, we have those who highlight the source material of Fenollosa’s notes to discuss various modes of Pound as translator. Interestingly, these critics, who resist the Kennerian celebration of Poundian genius and insist that Pound is engaged here in an act of translation, “essentially [...] appropriative” (Xie 232), or otherwise, also reinforce a reading whereby “the precise nature of the translator’s authorship remains unformulated, and so the notion of authorial originality continues” (Venuti 6). This is the issue I wish to address when we study the disparities between Fenollosa’s notes and the Cathay poems, i.e. Pound’s own choices with regard to those poems’ content, as a key chapter in the study of transnational collaboration.

4

W stronę modernistycznego opus vitae. Drogi twórcze Tymoteusza Karpowicza i Ezry Pounda

71%

Górniak K.

Autobiografia. Literatura. Kultura. Media

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2015

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nr 2(5)

13–32

PL

Artykuł ma na celu przedstawienie biografii artystycznych dwóch przedstawicieli modernizmu w poezji polskiej i anglo-amerykańskiej – Tymoteusza Karpowicza i Ezry Pounda. Nakreślenie okoliczności, w jakich powstawały ich „dzieła życia” (odpowiednio: Słoje zadrzewne i The Pisan Cantos), rzuca nowe światło na zależności między polską powojenną poezją awangardową i anglo-amerykańskim nurtem zwanym high modernism. Porównując autobiograficzne wymiary obu dzieł, możemy dostrzec kilka ważnych punktów wspólnych. Słoje zadrzewne i The Pisan Cantos to dzieła rozliczeniowe, podsumowujące dotychczasową twórczość. Są przykładem niezrealizowanego marzenia autorów o stworzeniu modernistycznej Księgi.

EN

The article aims to present the biographies of two representatives of literary modernism in Polishand Anglo-American poetry: Tymoteusz Karpowicz and Ezra Pound. Drafting the circumstances in which their lifeworks rose (ie. Słoje zadrzewne and The Pisan Cantos) the author points out the possible concurrences of Polish postwar avant-guarde poetry and high modernism in Anglo-American poetry. Looking at the autobiographical aspect in the chosen fragments of these two works we can notice few important junctions. Słoje zadrzewne and The Pisan Cantos carry a stigma of the last will – they are thought to be a recapitulation of the poets’ output. These volumes of poetry are the examples of unrealized dream about the creation of a modernist “Book”. The literary evolution of two poets is sketched in this text, what inspires to continue the considerations about indirect recurrences between the poetry of Karpowicz and Pound.

5

Wyobraźnia wyzwolona. Kubistyczny model przekładu literackiego

65%

Brzostowska-Tereszkiewicz T.

Poznańskie Studia Polonistyczne. Seria Literacka

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2014

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nr 23

79-98

EN

The subject of the present discussion is the cubist model of literary translation, which assumes a multilateral perspective in simultanism, expressed in rotation of the original text through various historical timespaces, styles, poetics, conventions, registers, and varieties of an ethnic language (or several languages) in the field of target text, nullification of the oppositions between domestication and exoticisation, archaising and modernising, and maximisation of reader’s reception: reader’s multilingual and multicultural competences. The “eclipticity” of relation between source and target text, peculiar to the cubist model, as well as the nonlinear (stereometric) approach to original, metonymic and juxtapositional translation technique, and ironic modality, all lead, in cubist translation, to the requirement of intertextual confrontation with the original, which is necessary of an assessment of scale, value, and range of a translation experiment.

6

Aesthetic and Methodologic Resources of Ezra Pound’s Poetry

63%

Gherasim G. C.

American, British and Canadian Studies Journal

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2012

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tom 19

88-103

EN

The study of The Cantos, one of the most complex and difficult works belonging to literary modernism makes possible, precisely due to this observation, the exploration of a series of characteristics and dimensions of Pound’s work that have either remained in a programmatic stage or should be revisited more closely in order for their meanings to be discerned. ‘Analyticity’ and ‘scientism’ can be considered relevant characteristics of Pound’s work, with both aesthetic and methodologic meanings. The present study aims at investigating these two dimensions of Pound’s poetry as they appear in the second and the fourth decades of the 20th century. In conclusion the question is whether Pound’s analyticity and scientism could still be considered valuable from an aesthetic or methodologic point of view.