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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.

Abstract: This paper challenges the dominant historiographic narrative of the Statehood Generation of the 1950s, according to which the emergence of this poetry is a moment of rebellion and liberation — both from its poetic symbolistic predecessors and from nationalism and collectivity. Focusing on Nathan Zach's influential and authoritative critical writings on poetry, I argue that the two major poetic ideals of the Statehood Generation — individuality and concreteness — are not as consistent and complementary with one another as they usually seem, since the ideal of concreteness does not involve the subjective presence of the speaker, but is rather "dry" and impersonal, focusing on the object itself (following the model of the Anglo-American Imagist poets). I also point out that Zach posits concreteness as the poetic ideal, and yet his poetry itself — as well as most of Israeli poetry of the 1950s and 1960s — does not fulfill this ideal. In order to explain this tension between the two poetic ideals, and the historical process by which the concrete image is posited as an ideal but is not yet fulfilled, I propose to depart from the dominant historiographic narrative, whose major and only horizon is the nation, and to embrace a social-economic narrative, which also takes into account the development of capitalist society, as part of a modern global development. Following the books by Cohen-Lustig and Nir, I argue that the ideal of the Imagist image designates, in fact, a pursuit of autonomy — not only autonomy of the individual but also of the object — which is part of a process of autonomization as an element of capitalist social development. This narrative also explains why, in the 1950s, in which capitalism is still bound up with (and reined in by) nation-building, the ideal of concreteness emerges but cannot yet be fulfilled; while in the 1970s, in which capitalism becomes global and overcomes the state, autonomization that accelerates the Imagist ideal can be fulfilled, taking the shape of Hebrew Imagist poetry of different types.

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.

Frontmatter -- CONTENTS -- List of Illustrations -- Acknowledgments -- Abbreviations -- Introduction -- CHAPTER ONE The American School -- CHAPTER TWO The British School -- CHAPTER THREE A Really Big Question -- CHAPTER FOUR The Control Gap -- CHAPTER FIVE The Mystery of the State -- CHAPTER SIX What Have We Learned? -- CHAPTER SEVEN New Bridges? -- References -- Index