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Imagists wrote a significant number of poems that feature gardens. This topos draws from observable phenomena in actual gardens and city parks. Since gardens and parks were highly charged spaces in the 1910s it follows that Imagist poems engage with politics in ways no one has explored to date. In the 1910s London parks were sites of revolutionary change, whether it was the presence of independent women newly able to traverse the city or women in mass suffragette demonstrations. Reconsidering H.D. and Ezra Pound's involvement with the anarcho-feminist individualist politics of Dora Marsden's little magazine The Egoist, this essay makes the case that H.D. and Ezra Pound's version of anarcho-feminism registers sympathy with militant-suffrage tactics, engaging the rhetorical use of flowers in public park and garden space, but rejects collectivist action. In two poems that represent the span of their editorial associations with The Egoist, Pound and H.D. in "The Garden" (1913) and "Sheltered Garden" (1916) respectively, focus their attention, not toward the masses striving for action, but to solitary figures consumed in their own thoughts, working through internal struggles.

Several critics have been intrigued by the gap between late Victorian poetry and the more "modern" poetry of the 1920s. It is my contention that a close analysis
of the poetry and criticism written in the first decade of the 20th century and
until the end of the First World War – excluding war poetry – will be rewarding
if we want to acquire a greater understanding of the transition.
The book is not meant as a total overview of the intellectual climate in England
from Tennyson to Eliot. Rather, it describes the development that took
place within art and literature – especially poetry – as a reaction against the
positivist attitude. Early in the 19th century, science came to be taken as the
opposite of poetry because the Romanticists conceived of the lyrical poem as
the outlet of the poet's feelings. That attitude was dominant during the rest of
the 19th century.
To many readers and critics, T.E.Hulme represents little more thasn a footnote.
He is vaguely known as one of the precursors of the far more interesting
T.S.Eliot, for which reason some lip-service may be paid to him, but his own
achievement is hardly ever referred to.
Hulme and the Imagists represent an intermediary stage between Tennyson
and Eliot, but they are more than mere stepping-stones. Besides being experimenting
poets, most of them are acute critics of art and literature, prescriptively
as well as descriptively. Hulme's theories are sketchy, his presentation not
infrequently confusing, and his poetry mostly fragments. The following pages
attempt to analyse his oeuvre, a material hardly anybody has taken the trouble
to consider in its entirety, He understood that some form of theory is a useful
accompaniment of poetic practice, and, like his Imagist friends, he made the
poetic image the focus of his attention. The Imagists were opposed not only to
the monopoly of science, scientia scientium, which claimed to be able to decide
what truth and reality "really" were, but also to the "Tennysonianisms", which,
they felt, had made poetry predictable and insipid.

This book attempts to get to grips with the watershed.
I owe Professor Lars Ole Sauerberg my heartfelt gratitude for his advice,
encouragement and patience during the process of writing this book.

Starting with a critique of the rhetoric of rupture that is ordinarily closely linked to avant-garde aesthetics, this dissertation seeks to probe the ground of modernist American poetry through a poetics of and as relation. Viewing modernism and postmodernism from this standpoint has dramatic consequences on the assumptions of language theory and innovative poetry. Steering away from a single or dual literary portrait, this study follows the winding path relating early modernism to its metamorphic—or metamodernist—version. Largely focused on the late works of H.D. and Robert Duncan, my objective is not to establish the personal or literary boundaries of another counter-canon. Rather, the Duncan-H.D. line provides a critical outlook on the stakes of nodal or network writing. This involves a shift from the individual's politics of invention [Pound, Eliot…] to an ethics of relational composition [Duncan, H.D.…]. Therefore, the emphasi! s is laid on published and unpublished poetic exchanges and epistolary relations also involving Levertov, Olson, Pound, and Creeley among others, gradually producing the multilinear mapping of a nomadic poetry. Duncan and H.D.'s relational poetics, as evidenced by The H.D. Book and Ground Work, or Hymen and the War Trilogy, draw on a "boundless creational field," which is predicated on the Jamesian "lines of influence" and the Deleuzian "lines of flight," ultimately underwriting Glissant's philosophy of relation and Meschonnic's groundbreaking language theory. H.D.'s Sapphic rewriting of classic symbols into complex images, like Duncan's field poetics and serial writings, provide the ground for a reworking of twentieth-century modernism. ; Cette thèse explore le fonctionnement de la poésie moderniste américaine sous l'angle de la relation. Critiquant la rhétorique de la rupture généralement associée à l'esthétique des avant-gardes modernistes, notre parcours suit la ligne sinueuse de la poétique de la relation de H.D. [1886-1961] à Robert Duncan [1919-1988]. Loin de tracer une ...

Starting with a critique of the rhetoric of rupture that is ordinarily closely linked to avant-garde aesthetics, this dissertation seeks to probe the ground of modernist American poetry through a poetics of and as relation. Viewing modernism and postmodernism from this standpoint has dramatic consequences on the assumptions of language theory and innovative poetry. Steering away from a single or dual literary portrait, this study follows the winding path relating early modernism to its metamorphic—or metamodernist—version. Largely focused on the late works of H.D. and Robert Duncan, my objective is not to establish the personal or literary boundaries of another counter-canon. Rather, the Duncan-H.D. line provides a critical outlook on the stakes of nodal or network writing. This involves a shift from the individual's politics of invention [Pound, Eliot…] to an ethics of relational composition [Duncan, H.D.…]. Therefore, the emphasi! s is laid on published and unpublished poetic exchanges and epistolary relations also involving Levertov, Olson, Pound, and Creeley among others, gradually producing the multilinear mapping of a nomadic poetry. Duncan and H.D.'s relational poetics, as evidenced by The H.D. Book and Ground Work, or Hymen and the War Trilogy, draw on a "boundless creational field," which is predicated on the Jamesian "lines of influence" and the Deleuzian "lines of flight," ultimately underwriting Glissant's philosophy of relation and Meschonnic's groundbreaking language theory. H.D.'s Sapphic rewriting of classic symbols into complex images, like Duncan's field poetics and serial writings, provide the ground for a reworking of twentieth-century modernism. ; Cette thèse explore le fonctionnement de la poésie moderniste américaine sous l'angle de la relation. Critiquant la rhétorique de la rupture généralement associée à l'esthétique des avant-gardes modernistes, notre parcours suit la ligne sinueuse de la poétique de la relation de H.D. [1886-1961] à Robert Duncan [1919-1988]. Loin de tracer une ...

1. The imagery of Hulme's poems and notebooks / Paul Edwards -- 2. A language of concrete things : Hulme, imagism and modernist theories of language / Andrew Thacker -- 3. 'A definite meaning' : the art criticism of T. E. Hulme / Rebecca Beasley -- 4. Abstraction, archaism and the future : T.E. Hulme, Jacob Epstein and Wyndham Lewis / Alan Munton -- 5. T.E. Hulme and the 'spiritual dread of space' / Helen Carr -- 6. Hulme's compromise and the new psychologism / Jesse Matz -- 7. Hulme among the progressives / Lee Garver -- 8. Towards a 'right theory of society'? Politics, machine aesthetics, and religion / Andrzej Gasiorek -- 9. 'Above life' : Hulme, Bloomsbury, and two trajectories of ethical anti-humanism / Todd Avery -- 10. The politics of epochality : antinomies of original sin / C.D. Blanton -- 11. Hulme's feelings / Edward P. Comentale.

The sociologist of religion Fenggang Yang has recently extended his 'markets of religion' framework to the spiritual 'soul searching' in contemporary literature. In his epilogue to Angelica Duran and Yuhan Huang's Mo Yan in Context (2014), an anthology of interdisciplinary interpretations of Mo Yan's 'hallucinatory realist' fiction, Yang claims that 'Chinese souls' have been 'caged' by, among other things, 'Marxist-Leninist-Maoist atheism'. He refers to the Marxist theory of religion as merely 'the Marxist adage' that religion is 'the opiate of the people'. This essay analyzes Yang's 'cage' concept, to 'work against it both from without and within', as Lenin says. In doing so, I argue that Yang's 'soul searching' epilogue is a highly concentrated text of bourgeois ideological mystification and is, therefore, a productive site for Marxist oppositional pedagogy which contests the imagism of 'cages' with the materialist dialectics of class struggle.

By the end of the twentieth century, Amy Lowell's poetry had been all but erased from modernism, with her name resurfacing only in relation to her dealings with Ezra Pound, her distant kinship with Robert Lowell, or her correspondence with D. H. Lawrence. The tale of how Pound rejected Lowell's Imagism, rebranding his movement as Vorticism and spurning the 'Amygism' of Lowell's Some Imagist Poets anthologies (1915–1917), has become something of a modernist myth. Recent critics have begun the project of re-evaluating and ultimately reinstating Lowell, but the extent of her contribution to modernist poetry and poetics – and her influence on other, more popular, twentieth-century writers – has not yet been acknowledged. This essay encourages readers to see the apparitional Lowell, both in the male-dominated world of modernism and in celebrated works by writers that followed. By drawing attention to the weighty impact of Lowell's poetry on Lawrence – and, later, on Ted Hughes and Sylvia Plath – I provide compelling reasons not only to revisit Lowell but also to reassess those texts that are haunted by her presence.

Ezra Pound once remarked that "the history of English poetic glory is a history of successful steals from the French." To a certain degree, the same can be said of Russian poetry, particularly at the turn of the twentieth century, when the process of literary development paid little attention to national boundaries. The Acmeists, for example, owe many of their aesthetic and stylistic principles to French poets of at least three chronological periods: the medieval troubadours, the Parnassians, and, most obviously, the Symbolists. French influence did not cease with Baudelaire and Verlaine, however. The impact of the next generation of French poets was also felt in Russia, and the parallels between French Post-symbolism and Russian Acmeism are significant. Whereas Symbolism has long been acknowledged as a world-wide artistic phenomenon, the international scope of the movement which succeeded it has received little attention. In fact, Post-symbolism was also a movement of international proportions. In the first decades of the twentieth century, British and Russian poets looked to their contemporary French counterparts as a source of innovation and manifested their influence in two parallel independent movements — Anglo-American Imagism and Russian Acmeism. In exploring the transmission of French influence to Russia in the early twentieth century and the French sources of Acmeism, I hope to establish a basis for a comprehensive study of Post-symbolist poetry and for a more complete understanding of Acmeism.

Intro -- Half-title -- Title -- Copyright -- Dedication -- Contents -- Acknowledgements -- Contributors -- Foreword: Göran Printz-Påhlson, a Life in and beyond Letters -- Inbetween: Locating Göran Printz-Påhlson -- 'The Overall Wandering of Mirroring Mind': Some Notes on Göran Printz-Påhlson -- The Words of the Tribe: Primitivism, Reductionism, and Materialism in Modern Poetics -- Part One: Linguistic Primitivism in Modernism and Romanticism -- Part Two: Linguistic Reductionism in Poetry Criticism -- Part Three: The Material Word: From Imagism to New Criticism to Intertextualism -- Part Four: The Polity of Metaphor and the Purity of Diction -- Other Prose -- Part Five: Style, Irony, Metaphor, and Meaning -- Part Six: Realism as Negation -- Part Seven: Historical Drama and Historical Fiction: The Example of Strindberg -- Part Eight: The Canon of Literary Modernism: A Note on Abstractionin the Poetry of Erik Lindegren -- Part Nine: The Tradition of Contemporary Swedish Poetry -- Part Ten: Kierkegaard the Poet -- Part Eleven: Surface and Accident: John Ashbery -- Part Twelve: The Voyages of John Matthias -- Letters of Blood: Poems -- Letters of Blood -- One -- My Interview with I.A. Richards -- Generation -- Televisiondreamroutines -- The Longest-Running Show on Television -- The Enormous Comics -- Poem Unnamed -- Botchuana -- Two -- Aelius Lamia: Tankas for Robert Hass -- Odradek -- Turing Machine -- Broendal -- Two Prose Poems -- Sir Charles Babbage Returns to Trinity College -- Man-Made Monster Surreptitiously Regarding Idyllic Scene -- Joe Hill in Prison -- Remember the Rosenbergs -- When Beaumont and Tocqueville First Visited Sing-Sing -- Three Baroque Arias from Gradiva -- Three -- Comedians -- Acrobats on the Radio: Letter to Newcomb -- To John at the Summer Solstice, Before His Return -- Four -- The Green-Ey'd Monster.

Many accounts of the formative years of English modernism rely on Futurism's own questionable record of F. T. Marinetti's visit to London in the spring of 1910 as the catalyst for an avant-garde revolution in Anglo-American literature that led through Roger Fry's revolutionary Post-Impressionist exhibition to Imagism, and onto Vorticism. New evidence presented here, however, supports the position advanced by a number of scholars that Marinetti did not visit until after Fry's exhibition. We can now quite precisely date Marinetti's important 'Futurist Speech to the English' to Tuesday 13 December 1910, rather than to the spring of that year as previously thought. Close examination of the content and context of this lecture, to an audience of Suffragettes at the Lyceum Club for Women, highlights the sheer extent of Marinetti's propaganda drive between 1908 and 1910, as he attempted to garner support for his movement and neutralise the satirical attitude of the mainstream English press. Moreover, Futurism, it appears, actively altered the historical record in order to genealogically prioritise itself. Such a process finds itself recursively working back into modernist studies, through a process in which theories of British historical and cultural decline or inferiority, alongside a presupposition of the continental avant-garde's guiding influence, tend to unconsciously take root in studies of literature of this period. In contrast and as illustration, we can find in one of Wyndham Lewis's early essays – previously considered imitative of, but now clearly an influence upon, Marinetti – the extent to which 'on or about December 1910' British society and culture was already in the process of radicalizing itself.

EZRA'S CAGE". BETWEEN POETRY AND POLITICSEzra Pound 1885–1975 was, next to Thomas Stearns Eliot, the most prominent American poet of modernist. He was considered the creator of vorticism and imagism — modern trends in art and world culture. In his works he reached to different eras and cultural trends. He was as well fascinated by medieval Provençal, Spanish and Italian literature, and Japanese art of haiku. On his work also had an impact scholasticism, Confucianism and Far East literature. In addition to poetry, Pound was also involved in literary criticism, painting and sculpture, he wrote historiosophical es­says and dramas. The greatest fame brought him, however, written for many years, "Canto". During his stay in the British Isles he also dealt with politics and economics. He was considered a supporter of the theory of Social Credit of Hugh Douglas Clifford, aBritish engineer and economic theorist. In the early twenties Pound went to Italy. Here he became fascinated with fascism and the person of Benitto Musollini. In his works including his poetic works appeared clear fascist and anti-Semitic accents. He criticized Jewish international financiers and banking critique of usury. During World War II he gave propaganda "talks" in the Italian radio. He praised the organization of the fascist state and fascism as an idea, and at the same time warned the threat from international Jewish conspiracy. His views meant that he was accused of collaboration and treason. He was arrested and imprisoned in the US prison camp near Genoa. He spent almost amonth in aclosed cage. During his stay in the camp he had nervous breakdown. After transportation to the United States for many years he was locked out in hospital for mentally ill. After leaving the hospital, he returned to public space. Still creative, he was nominated for the most prestigious literary awards. His works have been translated into many languages around the world, including Polish. He died in Italy in 1975.

The Art of the Modernist Body explores the fraught relationship between corporeality and the genesis of new language in modernist literature. The dissertation argues that the history of disability in the early twentieth century facilitates a revised account of Anglo-American modernism; specifically, the modernists' formal preoccupation with loss, deficiency, and absence, long regarded as a vital aspect of the movement, can be re-imagined productively through the heuristic of disability theory. The project likewise reveals that many of modernism's signature novelties, including free verse, Imagism, and the embrace of ordinary speech, are influenced by artists' attempts to represent physical deviance. Each text in question is generated out of repeated encounters with extraordinary figures or forms, and the artists openly challenge the conceptual, social, and political parameters that delimit the ideal human body. Their literature also reminds us that the modernist period is a remarkably inchoate time in terms of how the body is imagined. Two World Wars, the rise of the machine age, and advances in prosthetic and rehabilitative medicine are just a few of the phenomena that brought the human form to the forefront of British and American culture, with politicians, cultural critics, industrial scions, workers, artists, and soldiers all tussling over the social and economic value of imperfect bodies. Accordingly, many accounts from the period resist any entrenched, discrete notions of normality and abnormality, and acts of corporeal discipline, normalization, and rehabilitation are neither roundly condemned nor applauded. The confluence of multiple visions of corporeality not only alters the cultural landscape, but it also affects the very language through which the experience of physical difference is articulated. The novelists and poets herein record both processes, namely by producing what might be called a "contingency of corporeality:" they define the superlative modernist body as a hybrid entity, a form that registers the dueling forces of normalization and destabilization.

The paper focuses on the first stage in adaptation of the Japanese cultural tradition in American literature at the end of the 19th – the beginning of the 20th Century, represented by Lafcadio Hearn – a prolific American writer, translator, oriental culturologist and journalist, who is underevaluated in contemporary criticism. He was the first interpreter of Japanese and Anglophone culture for the East and for the West, representing the most important link between two disparate cultures. The paper outlines his main cultural, aesthetic and artistic discoveries of Japan with reference to how his nonfictional booksand translations of Japanese prose and poetry influenced the aesthetic climate of incipient literary modernism. The history of his critical reception is a combination of upsets and admirations provoked by his adoration of Japan – the country viewed as militaristic in the West. In his numerous writings he gives a panoramic interpretation of Japan and its culture, penetrating deeply into the totality of this living spirit of Japan. The analysis of Hearn's achievements in interpreting Japanese culture and in understanding the Japanese literature, provided in the paper, challenges the authoritative view of comparative literaryscholar Earl Miner who refuses Hearn the role of influential figure in the history of aesthetic climate of incipient literary modernism in the West. The main argument of the paper is that the English-language poets have much to learn from the Japanese discoveries made by Lafcadio Hearn.Keywords: Japanese poetry, modernism, imagism, Lafcadio Hearn, transnational phenomenon, interpretation, Kulturträger. ; Рассмотрен начальный этап освоения японской культуры в американской литературе начала ХХ ст., изучена малоизвестная у нас деятельность японского литератора и переводчика Лафкадио Хёрна – интерпретатора японской и англоязычной культуры на Востоке и Западе, ставшего связующим звеном между культурами двух стран. В истории литературы незамеченной осталась двунаправленность культуртрегерской активности Хёрна: он не только открывал культуру Японии Западу, но, являясь преподавателем английской литературы в Токийском императорскомуниверситете и в университете Васеда, знакомил Японию с западной культурой. Его культурологическая, литературная, переводческая деятельность, и прежде всего его интерпретация особенностей японского художественного мышления, обогащала почву, на которой зарождалась модернистская поэзия. Это происходило за счет кумулятивного эффекта многочисленных вживлений японской поэтики и эстетики, развития на этой литературной почве новых поэтических форм. Изучение роли Хёрна – остается одной из малоисследованных и актуальных проблем истории модернизма на Западе. Анализ работ Хёрна о культуре и литературе Японии дает основание подвергнуть сомнению мнение авторитетного компаративиста-литературоведа Э. Минера, который отказывает Хёрну в роли влиятельного культуртрегера, одного из немногих, кто представлял один из истоков «ориентального» модернизма на Западе. Для англо-американских поэтов-модернистов японские открытия Лафкадио Хёрна не прошли бесследно.Ключевые слова: японская поэзия, модернизм, имажизм, Лафкадио Хёрн, транцациональный феномен, интерпретация, Kulturträger. ; Розглянуто початковий етап освоєння японської культури в американській лі-тературі початку ХХ ст., вивчено маловідому у нас діяльність японського літератора і перекладача Лафкадіо Херна – інтерпретатора японської та англомовної культури на Сході й Заході, що став сполучною ланкою між культурами двох країн. В історії літератури непоміченою залишилася двоспрямованість культуртрегерської активності Херна: він не лише відкривав культуру Японії Заходові, але, будучи викладачем англійської літератури в Токійському імператорському університеті і в університетіВаседа, знайомив Японію із західною культурою. Його культурологічна, літературна, перекладацька діяльність, і перш за все його інтерпретація особливостей японського художнього мислення, збагачувала те підґрунтя, на якому зароджувалася модерністська поезія. Це відбувалося за рахунок кумулятивного ефекту численних імплантацій японської поетики й естетики, розвитку на цьому літературному підґрунті нових поетичних форм. Вивчення ролі Херна залишається однією з малодосліджених і актуальних проблем історії модернізму на Заході. Аналіз робіт Херна про культуру і літературу Японії дає підстави сумніватися щодо думки авторитетного компаративіста-літературознавця Е. Мінера, коли він відмовляє Херну в ролі впливового культуртрегера, одного з небагатьох, хто представляв один з витоків «орієнтального» модернізму на Заході. Для англо-американських поетів-модерністів японські відкриття Лафкадіо Херна не пройшли безслідно.Ключові слова: японська поезія, модернізм, імажизм, Лафкадіо Херн, транснаціональний феномен, інтерпретація, Kulturträger.

[ES] Este estudio investiga el impacto de la cultura visual moderna en la poesía vanguardista desde una perspectiva que tiene en cuenta los intercambios transatlánticos entre el modernismo europeo y norteamericano. A principios del siglo veinte las imágenes formaban parte de una sociedad influenciada por los avances tecnológicos y el consumismo. Sensible a los métodos empleados por la cultura de masas y la publicidad, los poetas modernistas recurrieron al potencial de la experiencia óptica no sólo para promover sus obras sino también para apelar al sentido de la vista como el medio más rápido y efectivo en provocar una reacción en el espectador. Movimientos como el cubismo, el futurismo, el dadaísmo, el expresionismo alemán y el surrealismo francés ejercieron influencia sobre el experimentalismo británico y norteamericano. En Gran Bretaña el imagismo y el vorticismo tomaron como referentes las disciplinas de la pintura y la escultura para articular un lenguaje poético que reprodujera los efectos de la cultura publicitaria. En Estados Unidos poetas y artistas tales como William Carlos Williams, Hart Crane y los precisionistas utilizaron la imagen visual para recrear la energía de la metrópolis norteamericana. Otros modernistas en la línea de Gertrude Stein, T.S. Eliot y Ezra Pound expresaron en París su extrañamiento respecto de su patria escribiendo una poesía épica que se asentaba en el collage pictórico con el fin de proporcionar una visión plural que enfatizara las perspectivas interculturales. Asimismo, la aparición del cine y la fotografía inspira la poesía de Marianne Moore y H.D., cuya imagen cinemática puede interpretarse en favor de la democratización y la expansión del arte. El estudio de la cultura visual contribuye a conectar formas populares como los medios de masa con la estética de las bellas artes y de la poesía. La interrelación de los géneros literarios con las artes plásticas, el cine y la fotografía nos invita a reflexionar acerca de la condición ontológica del sujeto u objeto presentado en la obra artística así como la tensión entre arte y verdad en la época moderna. La estética de principios del siglo veinte participa en estructuras visuales e incluye nuevos modelos que emulan la realidad publicitaria y los medios de masas. ; [En] This study investigates the impact of modern visual culture on avant-garde poetry from a perspective that considers transatlantic exchanges between European and American Modernism. My argument is at the brink of twentieth century images were part and parcel of a highly technologized and capitalist society. Sensitive to the methods employed by mass culture and the advertising industry, Modernist poets relied upon the potential of optical experience not only to promote their works but also to appeal to eyesight as the fastest and most effective way to provoke a reaction in the viewer. Therefore, I pay heed to Cubism, Futurism, Dadaism, German Expressionism and French Surrealism as a means of exploring the origin of avant-garde aesthetics and their bearing on the British and American experimentalism. In Great Britain, Imagism and Vorticism relied upon the disciplines of painting and sculpture to articulate a poetic language that reproduced the artifice of promotional culture. In the U.S. poets and artists such as Williams, Crane, Stevens and the Precisionists, utilized visual imagery to envision American city life and natural landscapes. Other Modernists such as Stein, Eliot and Pound conveyed their displacement from their homeland by engaging in an epic poetry that reproduced cross-cultural perspectives thanks to the collage effect. Likewise, the emergence of cinema and photography makes a direct impact on the poetry of Moore and H.D., whose mechanized image might be interpreted in terms of the democratization and expansion of art. The study of visual culture thus helps connect popular or low forms, such as media, with high forms in line with the fine arts and poetry. The interrelation of the literary genre with plastic and mechanical forms is significant because it invites us to think over the original thing and its duplicates as well as the tension between art and truth in modernity. All in all, early twentieth-century aesthetics participates in visual structures, opening up models that emulate the free circulation of commodities, whether they are tangible or intangible.