There Is Always Others

2017 ◽  
Author(s):  
John Timberman Newcomb
Keyword(s):  
Ezra Pound ◽  
American Poetry ◽  
William Carlos Williams ◽  
Social Dimension ◽  
Poetic Form ◽  
Marianne Moore ◽  
Industrial Modernity ◽  
The Masses

This chapter examines how the experimental verse of Others, the quintessential aestheticist-modernist little magazine of American poetry, emerges from and responds to the climate of metropolitan activism that links it to The Masses. Others, published between July 1915 and July 1919 by Alfred Kreymborg and various friends, published works by such distinguished poets such as Ezra Pound, T. S. Eliot, William Carlos Williams, Marianne Moore, and Carl Sandburg. This chapter argues that Others's commitment to stylistic experimentalism possessed a strong social dimension by showing how its verses addressed the conditions of urban-industrial modernity. It also describes the magazine's poetics of modernity as it extends across three interdependent registers: formal, thematic, and metapoetic. Finally, it discusses Others's contribution to the expansion of modern poetic form by cultivating a distinctive innovation, the vers libre variation sequence.

scholarly journals Tidens rytmik

2006 ◽  
Vol 34 (102) ◽  
pp. 108-128
Author(s):  
Jakob Stougaard-Nielsen
Keyword(s):  
Dante Alighieri ◽  
Ezra Pound ◽  
Albert Einstein ◽  
William Carlos Williams ◽  
Free Verse ◽  
Poetic Form ◽  
Speech Rhythm ◽  
Poetic Voice ◽  
Michel Serres ◽  
Modern Age

Dante Alighieri, William Carlos Williams’ prosodi og Michel Serres Rhythm of TimeThe article discusses William Carlos Williams’s poetics and his particular conception of a modern prosody as expressed in the essay »Speech Rhythm« (1913) and as materialized in his experiments with a poetic form he himself termed »the variable foot« in »the triadic verse«. The article suggests that Williams’s poetics should be conceived as both an attempt to reinvigorate a typographically governed poetic language, his reaction to free verse, and as a larger figure for a poetic project which attempts to offer a poetic form to an unruly American idiom. Additionally, Williams’s new poetic measure is considered as an attempt to produce a poetic voice that could capture the rhythms and temporalities suggested by the modern age. Williams’s poetics present, then, a conflation of poetic scheme and trope, of prosody and anthropology, and are presented here as in tune with Ezra Pound, George Antheil, Albert Einstein and Michel Serres’ aesthetic and scientific abstractions of temporality. Williams’s poetic experiments offer a new measure for a modern »time«.

Carter vs. Poets (Round 2)

2018 ◽  
Author(s):  
David Schiff
Keyword(s):  
Ezra Pound ◽  
William Carlos Williams ◽  
Wallace Stevens ◽  
Literary Modernism ◽  
Marianne Moore ◽  
Middle Years ◽  
Instrumental Works ◽  
The Aesthetic ◽  
Aesthetic Ideas

Alongside the lucid, transparent instrumental works of his last years, Carter composed seven works for voice and ensemble that set poetry by the founding generation of American literary modernism: William Carlos Williams, Wallace Stevens, Marianne Moore, Ezra Pound, T.S. Eliot and e.e. cummings. Though contemporaries, these poets differed widely in their aesthetic and political stances. Carter’s settings connect with each of them in different ways. Some of these works revive the darker, more troubling explorations of Carter’s middle years. Taken as a whole though, they can be heard as a legacy project, a monument to and critique of the aesthetic ideas Carter first encountered in his teens.

Barnard, Mary (1909–2001)

2018 ◽  
Author(s):  
Sarah Barnsley
Keyword(s):  
New York ◽  
American Literature ◽  
Ezra Pound ◽  
William Carlos Williams ◽  
Marianne Moore ◽  
Musical Style ◽  
Translation Research ◽  
Fiction Writing

Born in Vancouver, Washington, Mary Barnard was a writer best known for Sappho: A New Translation (1958) and her correspondence with Ezra Pound, which she initiated in 1933 after reading a range of modernist works in college. Impressed by the economy of her verse (which reminded Pound of H. D.’s Imagism) and her interest in Greek cadences, Pound supervised Barnard’s early exercises in Sapphics. After winning Poetry’s Levinson Prize in 1935, Barnard relocated to New York where she came under the influence of Marianne Moore and William Carlos Williams. Williams’ tutelage provided a counterpoint to Pound’s, initiating what Barnard called her ‘spare but musical’ style of poems in the American grain, resulting in Cool Country (1940) and A Few Poems (1952). She later translated this style into fiction, writing mysteries and fables, but also into the clarity and measured rhythms of her Sappho translation. Research on Sappho led to an essay volume, The Mythmakers (1966), which anticipated Lévi-Strauss’s work on myth, and Time and the White Tigress (1986), an essay-in-verse exploring time myths. These experiences and creative stages were retold in her memoir Assault on Mount Helicon (1984). Her archive joined the Yale Collection of American Literature at the Beinecke Library following her death in 2001.

Readies for Bob Brown's Machine

2020 ◽  
Author(s):  
Robert Carlton Brown
Keyword(s):  
Text Messaging ◽  
Gertrude Stein ◽  
Ezra Pound ◽  
William Carlos Williams ◽  
Public Attention ◽  
Avant Garde ◽  
Internet Media ◽  
Facsimile Edition ◽  
Viewing Screen ◽  
Writing Technology

This is the much-anticipated new edition of the important volume of avant-garde writing, Readies for Bob Brown's Machine. The original collection of Readies was published by Brown’s Roving Eye Press in 1931. Despite including works by leading modernist writers including Gertrude Stein, Ezra Pound, William Carlos Williams, Kay Boyle, F.T. Marinetti, and 35 other writers and artists, this volume has never been re-issued. Like the ‘talkies’ in cinema, Brown’s machine and the ‘readies’ medium he created for it proposed to revolutionise reading with technology by scrolling texts across a viewing screen. Apart from its importance to modernism, Brown’s research on reading seems remarkably prescient in light of text messaging, e-books, and internet media ecologies. Brown’s designs for a modernist style of reading, which emphasised speed, movement, and immediacy, required a complete re-design of reading and writing technology. Complete with a new Preface by Eric White and a new Introduction and a separate chapter on the contributors by Craig Saper, this critical facsimile edition restores to public attention the extraordinary experiments of writing readies for a reading machine.

scholarly journals «Roundabout I-VI» de Martín Gubbins o dos lecturas de lo ilegible

2016 ◽  
Vol 8 (2) ◽  
pp. 339-351
Author(s):  
Alethia Alfonso
Keyword(s):  
Ezra Pound ◽  
William Carlos Williams ◽  
Alain Badiou ◽  
British Poetry

En este artículo planteo la relación que existe entre algunos postulados de Eric Mottram, uno de los iniciadores de British Poetry Revival, con la poesía de Martín Gubbins. Abogo por abrir las posibilidades de influencia anglosajona más allá de los conocidos Ezra Pound y William Carlos Williams. Además, busco entender qué sucede con el sujeto en poéticas contemporáneas predominantemente visuales y performativas. Por último, esbozo una noción de la relación que poemas como «Roundabout I-VI» de Gubbins tienen con la (in)estética según Alain Badiou.

Ghosts in the Machine Age: Rose and Bob Brown’s Reading Machines and the Socio-Technics of Social Change

2020 ◽  
pp. 162-213
Author(s):  
Eric B. White
Keyword(s):  
New York ◽  
Cultural Production ◽  
Mass Culture ◽  
Gertrude Stein ◽  
Ezra Pound ◽  
William Carlos Williams ◽  
Ivory Tower ◽  
Class Politics ◽  
Machine Age ◽  
The Great Depression

Chapter 4 begins at the point at which the Bob and Rose Brown’s ‘readies’ project supposedly failed: after the Readies for Bob Brown’s Machine anthology was published in 1931. Featuring experimental texts by Ezra Pound, Gertrude Stein, William Carlos Williams and many others, the readies project has hitherto been considered one of many modernist casualties of the Great Depression. This chapter finally reveals its full story, and details how Rose Brown led the development of a new working reading machine in the 1930s and beyond. Anthology contributors including James T. Farrell, Norman MacLeod and the Browns had begun to chart a course beyond the binary orbits of dour social realism and ‘ivory-tower’ aestheticism. The chapter combines new readings of these American super-realist writers with extensive archival research using a meta-formational approach, which relies on (rather than is undermined by) different disciplinary approaches to cultural production. Reconstructing the Browns’ journey from the rural labour institute Commonwealth College to the Polytechnic Museums of Russia – from the burgeoning microfilm industry in New York City to their plantation in Brazil – it reveals how the Browns’ proletarian class politics and Veblenist technicities articulate a sustained and dialogic engagement between modernist vanguards and mass culture.

Haiku

2018 ◽  
Author(s):  
Michelle Veenstra
Keyword(s):  
Thirteenth Century ◽  
Significant Role ◽  
Zen Buddhism ◽  
Ezra Pound ◽  
Natural World ◽  
Poetic Form ◽  
Asian Culture ◽  
Western Literature ◽  
Amy Lowell ◽  
Beat Poets

A brief form of poetry originally developed in Japan around the thirteenth century, haiku are typically composed of three lines with a total of seventeen onji, or syllable-like units. Traditional haiku depicts the natural world, is written in the present tense, and includes minimal subjective commentary from the poet, often reflecting Buddhist principles of interrelatedness and egolessness. Much like other forms of Asian culture, haiku played a significant role in the development of early modernism, notably the poetic movement Imagism developed primarily by Ezra Pound, H.D., and Amy Lowell. Haiku has maintained a strong presence globally and in Western literature throughout the twentieth and twenty-first centuries, seeing a particularly strong resurgence in the 1950s and 1960s, when the poetic form and the related ideas of Zen Buddhism were embraced and disseminated by the Beat poets.

Ocarina: Designing the iPhone's Magic Flute

2014 ◽  
Vol 38 (2) ◽  
pp. 8-21 ◽  
Author(s):  
Ge Wang
Keyword(s):  
Social Interaction ◽  
Mobile Computing ◽  
Mobile Devices ◽  
Social Dimension ◽  
Physical Interaction ◽  
The World ◽  
The Masses ◽  
Magic Flute

Ocarina, created in 2008 for the iPhone, is one of the first musical artifacts in the age of pervasive, app-based mobile computing. It presents a flute-like physical interaction using microphone input, multi-touch, and accelerometers—and a social dimension that allows users to listen in to each other around the world. This article chronicles Smule's Ocarina as a mobile musical experiment for the masses, examining in depth its design, aesthetics, physical interaction, and social interaction, as well as documenting its inextricable relationship with the rise of mobile computing as catalyzed by mobile devices such as the iPhone.

scholarly journals An American Mystic in the East: Tracing the Origins of Robert Bly’s Interest in Persian Literary Tradition

2021 ◽  
Vol 11 (12) ◽  
pp. 1668-1675
Author(s):  
Fazel Asadi Amjad ◽  
Kamran Ahmadgoli ◽  
Qadir Haqiqatshenas
Keyword(s):  
20Th Century ◽  
Ezra Pound ◽  
Literary Tradition ◽  
Poetic Form ◽  
Persian Poetry ◽  
American Poet ◽  
Robert Bly

The American poet Robert Bly is among the most important literary figures in the second half of the 20th century. He worked in various capacities as a poet, translator, teacher and workshop organizer among other things, so much so that he is sometimes compared to Ezra Pound on account of the variety of his interests and the extent of his influence. Like Pound, Bly developed an interest in Asian poetic traditions, including that of Iran, and in doing so, he translated the poetry of Rumi (better known as Mowlana in Iran) and Hafez into English. The present study seeks to trace the paths through which Bly came to develop an interest in Persian mystical poetry and to demonstrate two concerns that guided and informed his interest in this tradition; that is, the socio-political vocation of the poet and the formal advantages of the poetic form known as Ghazal. Such concerns, it will be argued, are firmly rooted within the American literary tradition and therefore this study reveals the continuities that underlie Bly’s interest in Persian poetry, suggesting that he sometimes approached Persian poetry on his own terms, without paying proper attention to the context, a shortcoming that, as will be shown, is the result not of ignorance but what may be called methodological laxity.

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