Bøger udgivet af Clemson University Digital Press

This is a three-volume project of readings of individual sections from the central modernist long poem, The Cantos of Ezra Pound. The project as a whole represents a landmark publication for modernist studies, bringing together, in a ground-breaking format, a number of critical readings of The Cantos by the world's leading Pound and modernist scholars. In each chapter a contributor approaches either a single Canto or a defined small group of Cantos in isolation, providing a clear, informative, and interpretive 'reading' that includes an up-to-date assessment of sources and an idea of recent critical approaches to the work. Most importantly, each essay offers guidance to those wishing to understand the works while contributing to the creation of a new manner of reading The Cantos as a remarkably diverse but coherent work. This first volume illuminates the gestation of the Cantos-technique and includes essays on the most important Cantos and groups of Cantos from the Ur-Cantos (early, discarded versions of the beginning of Pound's poem), A Draft of XVI Cantos (1924), A Draft of the Cantos 17-27 (1928), and Eleven New Cantos XXXI-XLI, also known as "Jefferson-Nuevo Mundo" (1934).

"The Fire that Breaks traces Gerard Manley Hopkins's continuing and pervasive influence among writers of the twentieth and twenty-first centuries. Not only do the essays explore responses to Hopkins by individual writers--including, among others, Virginia Woolf, T.S. Eliot, Elizabeth Bishop, Seamus Heaney, Geoffrey Hill, and Charles Wright--but they also examine Hopkins's substantial influence among Caribbean poets, Appalachian writers, and contemporary poets whose work lies at the intersection of ecopoetry and theology. Combining essays by the world's leading Hopkins scholars with essays by scholars from diverse fields, the collection examines both known and unexpected affinities. The Fire that Breaks is a persistent testimony to the lasting, continuing impact of Hopkins on poetry in English"--

Building on the long-standing image of Paris as the "Capital of the Nineteenth Century" and the "Capital of Modernity," this book examines the city's place in the imagination of Irish women writers in the long nineteenth century. By reasserting the centrality of Paris, this book draws connections between Irish and European writers, expanding the map of Irish Studies and forging new points of contact between Irish literature and canonical figures like Goethe, Balzac, and Zola through the shared interest in the socio-economic development of modernity.

"Yeats, Philosophy, and the Occult is a collection of essays examining the thought of the Irish poet W. B. Yeats and particularly his philosophical reading and explorations of older systems of thought, where philosophy, mysticism, and the supernatural blend. It opens with a broad survey of the current state of Yeats scholarship, which also includes an examination of Yeats's poetic practice through a manuscript of the original core of a poem that became a work of philosophical thought and occult lore, "The Phases of the Moon." The following essay examines an area where spiritualism, eugenic theory, and criminology cross paths in the writings of Cesare Lombroso, and Yeats's response to his work. The third paper considers Yeats's debts to the East, especially Buddhist and Hindu thought, while the fourth looks at his ideas about the dream-state, the nature of reality, and contact with the dead. The fifth essay explores Yeats's understanding of the concept of the Great Year from classical astronomy and philosophy, and its role in the system of his work A Vision, and the sixth paper studies that work's theory of "contemporaneous periods" affecting each other across history in the light of Oswald Spengler's The Decline of the West. The seventh essay evaluates Yeats's reading of Berkeley and his critics' appreciation (or lack of it) of how he responds to Berkeley's idealism. The book as a whole explores how Yeats's mind and thought relate to his poetry, drama, and prose, and how his reading informs all of them." --

In addition to being a major twentieth-century author, John Dos Passos painted, principally in watercolor, throughout his career. This book reproduces 68 examples of Dos Passos' art, almost all in full color, presented in two parts containing 13 sections. In Part One, each section is devoted to a similar kind of art work produced within a specific time frame; in Part Two, each section consists of work in a specific genre. The book also includes essays devoted to the history and nature of Dos Passos' work as a pictorial artist and to the relationship of this work to his novels. It concludes with a survey of Dos Passos' art collections, exhibitions, and previous published illustrations and paintings. The book as a whole seeks to demonstrate that Dos Passos' lifelong commitment to and practice of pictorial representation are vital aspects of his career because they confirm and manifest in both verbal and visual stylistics such modernist tendencies as Fauvism, Cubism, and Expressionism. Both the essays and illustrations in this book argue for the importance of Dos Passos' paintings as keys to fully understanding the writer's complex body of work and, in their striking compositions and vibrant colors, as challenging objects of visual pleasure in their own right.

The discovery of Gerard Manley Hopkins's poetry in the twentieth century was a revelation for postwar poets, who discovered in both Hopkins's style and subject matter a voice seemingly bottled for their own time. This influence has not faded in the twenty-first century; in fact, it has grown all the more pervasive as poets from many backgrounds and nations have found, in the voice of this nineteenth-century Jesuit, a revolutionary way of addressing contemporary concerns relating to human imagination, ecology, "green" ethics, the role of art, and individual spirituality. The poets collected in The World Is Charged: Poetic Engagements with Gerard Manley Hopkins engage with Hopkins in diverse ways. Some mention Hopkins or address some aspect of his life. Others channel his innovative poetics or address important Hopkinsian themes. All demonstrate the centrality of his influence in contemporary poetry. Unfortunately, critics have mostly neglected the importance of Hopkins as acontemporary model, instead pinning his influence to the early twentieth century. In a climate where high modernism, Whitmanic free verse, and the confessional lyric are often held up as contemporary poetry's dominant forerunners, this book proposes a more complex genealogy, tracing back to Hopkins and his influential early admirers current strands of emotional and spiritual openness, pleasure in word play and sonic textures, and veneration of the dynamic material world. \

Rewriting "The Hour-Glass" presents the complete prose text of Yeats's one-act morality play of 1903, the complete "mixed" poetry and prose text of 1913, and all variants between and after these as both states were maintained in his lifetime. As a breakthrough play for Yeats, The Hour-Glass was commended in his manifesto "The Reform of the Theatre" (1903) and became, with significant rewriting, his first play to employ masks, by analogy to the Renaissance-era court masque, prior to his own adaptation of Japanese form and Irish content in his "plays for dancers." Like any critical edition, this book engages with and acknowledges all of the relevant texts, including Yeats's own corrected copies of the play. Consequently, the book unpacks and unwinds convolutions of the notoriously dual presentations of prose and verse versions in the Variorum Edition, reversing the procedure of the latter and permitting a more linear presentation of first and last states of the play, much to the>Rewriting "The Hour-Glass" also traces the steps by which Yeats solved a problem. No sooner had he finished writing the play and prepared for its first performance and publication than he began to plan its revision. But he did not hit upon the solution until the play's most substantial rewriting in 1912. When finished, he had taken "the offence out of the old by a change of action so slight that a reader would hardly have noticed it" yet decided to keep the older version for playing in provincial towns and the newer one for himself and friends. Contemporary reviewers failed to notice.

Virginia Woolf and Her Female Contemporaries, seeks to contextualize Virginia Woolf's writing alongside the work of other women writers during the first decades of the twentieth-century. \ This volume not only expands our understanding of the unprecedented number of female writers but also helps us comprehend the ways that these writers contributed and complicated modernist literature. \ It explores how burgeoning communities and enclaves of women writers intersected with and coexisted alongside Virginia Woolf and emphasizes both the development of enclaves and specific female subcultures or individual writers who were contemporaneous with Virginia Woolf. \ The selected papers reflect the conference's diversity, both in themes explored and in the contributors. \ It includes known Woolf scholars such as Mark Hussey, Vara Neverow, Eleanor McNees, Leslie Kathleen Hankins, and Elisa Kay Sparks, as well as major scholars who do not generally write on Woolf, such as Melissa Zeiger, Kristin Bluemel, and Kimberley Ann Coates, and exciting new voices, such as Alyssa Mackenzie, Emily Rials, and Jessica Kim. \ The essays in the first section, "Who Are Virginia Woolf's Female Contemporaries," explore the boundaries of contemporaneity by considering women across nation, time, and class. \ The second section, "Cultural Contexts," explores Woolf's connections to early twentieth-century culture such as film and book societies. The two final sections, "Recovery and Recuperation," and "Connections Between Canonical Writers," illuminate the interlocking network of women writers and artists, the latter through women who have been bereft of scholarly attention and the former through women who have received more scholarly attention. \ One of the most enticing sections of the volume is the collection of essays presented during the conference's Jane Marcus's memorial. Three of Marcus' students celebrate the life, work, and influence of this unparalleled Woolf scholar.

A Winner of the 2016 Ezra Pound Society Book Award. In 1938, American poet Ezra Pound published Guide to Kulchur, a book so radically different from his earlier writing that readers might not have believed that it was written by the same firebrand aesthetician who had advocated in 1913 that poets go in fear of abstractions. But Guide to Kulchur was only the latest example of a new kind of prose that Pound had been writing-fiercely invested in politics and the mobilization of cultural heritage to its service. Pound's new modernism came as a direct effect of his investment in fascism. Since the last monographic treatment of Pound's fascism, scholars of literature, history, art history, urban design, and music have uncovered important aspects of the fascist regime's use of culture to foment Italian national identity. These studies reveal the cultural, mythical, rhetorical, and intellectual aspects of that regime-more than enough new knowledge to require a reappraisal of perhaps the most famous, certainly the most notorious, American inItaly in that era, and perhaps the entire twentieth century. Unlike previous discussions of Pound's adoption of Italian fascism, which focus mostly on his political and economic interests, this book reveals the importance of the cultural projects of Mussolini's fascist regime. By bringing Italian primary sources and new approaches to the cultural project of Mussolini's regime to bear on Pound's prose work (including unpublished material from the Pound Papers and untranslated periodical contributions), Paul shows how Pound's modernism changed as a result of involvement in Italian politics and culture. At the same time, it uses the familiar figure of Pound to provide an entry for scholars of Anglo-American modernism into the diverse and complex realm of Italian modernism.

"Bringing together leading scholars of modern and contemporary literature, this book examines the ways in which modernization has shaped Irish identity over the course of the past century."

"Originally issued as an exhibition title only, as The South Carolina Review 42.3 (Summer 2010), without distribution to libraries and individual subscribers"--Title page verso.