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«.

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.

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.

Salient ordering of free verse and its translation

2000 ◽  
Vol 9 (2) ◽  
pp. 170-181 ◽  
Author(s):  
Elzbieta Wójcik-Leese
Keyword(s):  
Visual Perception ◽  
Cognitive Linguistics ◽  
Cognitive Strategies ◽  
Visual Design ◽  
Semantic Structure ◽  
Free Verse ◽  
Poetic Form ◽  
Late 20Th Century ◽  
Sensory Imagery ◽  
Ground Organization

In the first Polish attempt to systematically describe free verse Urbafska (1995) argues that this poetic form requires ‘visual perception during mental (silent) reading’. As free verse gradually adapts to late 20th-century culture, where the visual supersedes the oral, the intonation and rhythm of a poem increasingly come to depend on its graphic segmentation. Consequently, the visual design of the poem constitutes its meaning. As cognitive linguistics admits that sensory imagery, also visual, ‘plays a substantial role in conceptual and semantic structure’ (Langacker, 1983), it seems possible to employ the cognitive parameters of focal adjustments to analyse a poem composed in free verse. If we assume that reading such a poem involves ‘scanning through a domain’ of the page and ‘along a line’ of the poem ‘until a contrast is registered’ (Langacker, 1983), then we can discuss the whole poem in terms of the figure/ground organization. The whole poem can thus be treated both as the figure in itself and as the background to each of the verses, which demands from its readers constant readjustment of the viewpoint. Therefore the awareness of the cognitive strategies of focal adjustments may help to analyse syntactic and stylistic resources of the salient ordering offered by free verse. Moreover, it may assist the translation of poems composed in free verse and the assessment of translated texts.

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.

Eliot, Thomas Stearns (1888–1965)

2018 ◽  
Author(s):  
Erin Templeton
Keyword(s):  
Academic Career ◽  
Ezra Pound ◽  
Bachelor's Degree ◽  
Long Poem ◽  
Free Verse ◽  
The Waste Land ◽  
Waste Land ◽  
Facsimile Edition ◽  
Postgraduate Studies ◽  
Post War

Thomas Stearns Eliot (1888–1965) was an essayist, editor, playwright, poet, and publisher. He was awarded the Nobel Prize in Literature in 1948. He is perhaps best known for his long poem The Waste Land. Eliot was born in St. Louis, Missouri and attended Harvard University, where he earned his bachelor’s degree in philosophy. Eliot’s postgraduate studies in philosophy took him to the Sorbonne in 1910/11 and to Oxford in 1914. Once he arrived in England, however, he spent much of his time in London. There he met two of the most influential people of his literary life: the American poet Ezra Pound and a young Englishwoman named Vivienne Haigh-Wood, whom Eliot would marry in 1915 after a four-month courtship. Pound encouraged Eliot, who had been planning an academic career, to keep writing poetry and to submit "The Love Song of J. Alfred Prufrock" to Poetry magazine for publication. In addition to writing poetry, Eliot also took a position with Lloyd’s Bank in 1917, managing foreign accounts. Pound and Eliot frequently collaborated and critiqued each other’s work throughout the 1920s and 1930s and remained friends until Eliot’s death, despite divergent political and religious paths. The most famous of these collaborations, The Waste Land, has been documented in a published facsimile edition of the poem (1972) that reveals Pound’s numerous comments on Eliot’s manuscript. The Waste Land is revolutionary both in its form, free verse, and its subject matter, which links urbanization, technology, sexuality, and post-war alienation to dozens of classical allusions in seven languages. The poem is a pastiche of voices and fragments linked both thematically and tonally.

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.

Denise Levertov

2012 ◽  
Author(s):  
Dana Greene
Keyword(s):  
Life Experience ◽  
The United States ◽  
William Carlos Williams ◽  
Substantial Body ◽  
Poetic Voice ◽  
Poet Laureate ◽  
Kenneth Rexroth ◽  
Four Books ◽  
The Times ◽  
Denise Levertov

Kenneth Rexroth called Denise Levertov (1923–1997) “the most subtly skillful poet of her generation, the most profound, ... and the most moving.” Author of twenty-four volumes of poetry, four books of essays, and several translations, Levertov became a lauded and honored poet. Born in England, she published her first book of poems at age twenty-three, but it was not until she married and came to the United States in 1948 that she found her poetic voice, helped by the likes of William Carlos Williams, Robert Duncan, and Robert Creeley. Shortly before her death in 1997, the woman who claimed no country as home was nominated to be America's poet laureate. This book examines Levertov's interviews, essays, and self-revelatory poetry to discern the conflict and torment she both endured and created in her attempts to deal with her own psyche, her relationships with family, friends, lovers, colleagues, and the times in which she lived. This book is the first complete biography of Levertov, a woman who claimed she did not want a biography, insisting that it was her work that she hoped would endure. And yet she confessed that her poetry in its various forms—lyric, political, natural, and religious—derived from her life experience. Although a substantial body of criticism has established Levertov as a major poet of the later twentieth century, the book represents the first attempt to set her poetry within the framework of her often tumultuous life.

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.

‘Which is the American?’: Themes, Techniques, and Meaning in William Carlos Williams's Three Novels

1972 ◽  
Vol 6 (2) ◽  
pp. 189-200
Author(s):  
John C. Davies
Keyword(s):  
Ezra Pound ◽  
William Carlos Williams ◽  
Close Attention ◽  
Resident Alien ◽  
Definition Of

In 1928 Ezra Pound described William Carlos Williams as an ‘observant foreigner’ who ‘starts where an European would start if an European were about to write of America: sic: America is a subject of interest, one must inspect it, analyse it, and treat it as subject.’ If Pound was right, Williams was a native-born outsider, a life-long resident alien giving America the serious attention of his life's work. The detachment and close attention noted by Pound as originating in Williams's sense of his own ‘foreignness’ (a sense which Williams obliquely admitted by his insertion of a relevant letter of Pound in the ‘Prologue’ to Kora in Hell), are constants in Williams's work. Both the Imagist and Objectivist phases of his career show his determination to capture in words ‘the local fully realized’ – Williams's definition of ‘the classic’. In his trilogy of novels, his exploration of ‘the local’, ‘the only thing that is universal’ is shown both in theme and technique.

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