Bøger af Ernest Fenollosa

This Is A New Release Of The Original 1915 Edition.

First published in 1919 by Ezra Pound, Ernest Fenollosa's essay on the Chinese written language has become one of the most often quoted statements in the history of American poetics. As edited by Pound, it presents a powerful conception of language that continues to shape our poetic and stylistic preferences: the idea that poems consist primarily of images; the idea that the sentence form with active verb mirrors relations of natural force. But previous editions of the essay represent Pound's understanding-it is fair to say, his appropriation-of the text. Fenollosa's manuscripts, in the Beinecke Library of Yale University, allow us to see this essay in a different light, as a document of early, sustained cultural interchange between North Americaand East Asia.Pound's editing of the essay obscured two important features, here restored to view: Fenollosa's encounter with Tendai Buddhism and Buddhist ontology, and his concern with the dimension of sound in Chinese poetry.This book is the definitive critical edition of Fenollosa's important work. After a substantial Introduction, the text as edited by Pound is presented, together with his notes and plates. At the heart of the edition is the first full publication of the essay as Fenollosa wrote it, accompanied by the many diagrams, characters, and notes Fenollosa (and Pound) scrawled on the verso pages. Pound's deletions, insertions, and alterations to Fenollosa's sometimes ornate prose are meticulously captured, enabling readers to follow the quasi-dialogue between Fenollosa and his posthumous editor. Earlier drafts and related talks reveal the developmentof Fenollosa's ideas about culture, poetry, and translation. Copious multilingual annotation is an important feature of the edition.This masterfully edited book will be an essential resource for scholars and poets and a starting point for a renewed discussion of the multiple sources of American modernist poetry.

This important and much-disputed essay edited by Ezra Pound from the manuscript of Ernest Fenollosa (and published in Instigations, London, 1920) has since gone through several editions, despite the ridicule of such sinologists as Professor George Kennedy of Yale, who called it "a small mass of confusion."The old theory as to the nature of the Chinese written character (which Pound and Fenollosa followed) is that the written character is ideogrammic—a stylized picture of the thing or concept it represents. The opposing theory (which prevails today among scholars) is that the character may have had pictorial origins in prehistoric times but that these origins have been obscured in all but a few very simple cases, and that in any case native writers don’t have the original pictorial meaning in mind as they write.Whether Pound proceeded on false premises remains an academic question. Let the pedants rave. An important extension of imagist technique in poetry was gained by Pound’s perception of the essentially poetic nature of the Chinese character as it is still written."Scholarly edition that combines the first full publication of Fenollosa's essay as he wrote it, along with the 1919 version of the essay as altered by Ezra Pound."—The Chronicle of Higher Education"How can we come to a new understanding of Chinese classical literature when our inherited view of it is so powerfully shaped and conditioned by a 'strong misreading,' which is a vital part of our own poetic language? This question afflicts Haun Saussy in his extraordinary introduction to a new critical edition of The Chinese Written Character as a Medium for Poetry, which presents both the edited and original versions of Fenollosa's essay."—The Threepenny Review"Fenollosa's critical assessment of what could evolve from a blending of the East and West is perhaps more relevant today than when it was written."—Oyster Boy Review"This book—indispensable to anyone following modern poetics—reminds us that one of the four most influential modern essays on poetry (the others are T.S. Eliot's) was the product of a scholar-translator, writing in 1903, well before there was any modern poetry in English. Fenollosa's belief that the Chinese language is profoundly suited to poetry is well known, but because of Pound's editing, we had no way of knowing what Fenollosa made of the music of poetry. Least of all could we have imagined that he thought the music of this poetry was better preserved by Japanese phonics than by living Chinese speakers. Fenollosa was an idealistic advocate of Anglo-American empire fused with pan-Asian 'humanity,' by which he meant roughly what is covered by the term 'humanities.' He saw the approach of a peaceful east/west fusion, economic, military, and cultural, and sought to guide its arrival by elucidating the art of classical Chinese poetry, without any expectation that his essay would alter the ways that Anglo-American poets shape sentences. This handsome edition is a major contribution to the history of modern poetics. Until now we have known little of the intellectual, political, and religious context of this great essay on diction and syntax. Haun Saussy, Jonathan Stalling, and Lucas Klein reveal the range and growth of Fenollosa's still appealing conviction that modern poetry has to go far beyond national borders."—Robert von Hallberg, University of Chicago

This book has been considered by academicians and scholars of great significance and value to literature. This forms a part of the knowledge base for future generations. We have represented this book in the same form as it was first published. Hence any marks seen are left intentionally to preserve its true nature.

First published in 1919 by Ezra Pound, Ernest Fenollosa's essay on the Chinese written language has become one of the most often quoted statements in the history of American poetics. This edition of Fenollosa's important work is accompanied by the many diagrams, characters, and notes Fenollosa (and Pound) scrawled on the verso pages.