TABOO: THE ACTUAL MODERNIST AESTHETIC, MADE REAL A ...

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and titles become reactive cinders of performative contradiction; indiscernible, one from the other, titles that hit home like names entertain the risk of becoming consumables in the marketplace, rather than in the careful apparatus of intricate de-personalized self- unmaking that Benjamin theorized as the role of nature in history and Pound practiced in acts of antiquarian virtuality. 179
WORKS CITED Arkins, Bryan. ―Pound's Propertius: What kind of Homage? Paideuma 17.1 Spring 1988, 29-44. Benjamin, Walter. The Arcades Project. Translated and Edited by Rolf Tiedemann. Cambridge, Mass: Belknap Press, 1999. Benjamin, Walter. The Origin of German Tragic Drama. Translated by John Osborne. New York: Verso, 2003. Benjamin, Walter. Selected Writings. Volume One, 1913- 1916. Translated by Edmund Jephcott. Edited by Howard Eiland and Michael W. Jennings. Cambridge, Mass.: Belknap Press, 2006. Blasing, Mutlu Konuk. Lyric Poetry: The Pain and Pleasure of Words. Princeton, N.J.: Princeton University Press, 2007. Bornstein, George. Material Modernism: The Politics of the Page. New York: CUP, 2001. Bourdieu, Pierre. The Rules of Art: Genesis and Structure of the Literary Field, Tr. Susan Emanuel. Stanford: Stanford University Press, 1996. Brooke-Rose, Christine. A ZBC of Ezra Pound. Berkeley: University of California Press, 1971. Buck-Morss, Susan. The Origin of Negative Dialectics: Theodor W. Adorno, Walter Benjamin and The Frankfurt Institute. New York: Free Press, 1977. Bush, Ronald. ―Excavating the Ideological Faultlines of Modernism: Editing Ezra Pound‘s Cantos‖ Representing Modernist Texts, Ed. George Bornstein. Ann Arbor: The University of Michigan Press, 1991. Bush, Ronald. The Genesis of Ezra Pound‘s Cantos. Princeton, N.J.: Princeton University Press, 1976. Cameron, Sharon. Impersonality: Seven Essays. Chicago: University of Chicago Press, 2007. 180
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TABOO: THE ACTUAL MODERNIST AESTHET
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Christopher David Chapman practice.
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CONTENTS PREFACE ..................
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objectification, while titles are a
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ACKNOWLEDGMENTS I would like to ack
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taboo, as the following remark indi
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emind us too hastily only of Benjam
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e renewed in philosophical contempl
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the word “Title.” I do this out
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where fate - the agent of nature‟
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Cantos with Nancy Cunard. The final
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come into their meaning through the
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meaning in the words he appoints to
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―The Role of Language in Trauersp
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God‘s genetic ―pure word,‖ re
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conceived of as a pantomime where t
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ensnared within post-lapsarian syst
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aspects of his linguistic theory th
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decision-making powers, we can demo
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him to transpose arguments about th
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Caesar‖ is an obvious case in poi
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eath of this world, and from it the
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magnanimity wins out in dire and pa
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elegated to the setting in which th
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Notes 1 In an early, unpublished, t
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every locution being, in essence, e
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CHAPTER TWO: LONG SERIES OF TRANSLA
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dramatic monologue, a feat he would
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terms that this chapter wishes to c
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structural factitiousness that the
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is implicit to baroque criticisms o
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meaning of the poems it collects. P
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Pound's fragments as commentary on
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Few critics read these poems in the
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a diorama booth in which his hero a
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the genetic milieu into which it be
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In fact, two complaints can be hear
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while keeping lines that praise Bro
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Cantos deliver a poetic condition i
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Quia Pauper Amavi, and, after McGan
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George Steiner uncovers the ramific
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to register history differently to
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commitment to past modes of critica
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modern poet. Pound exhorted Barry t
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the case, is deliberately making ou
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Pound's genius was to see Propertiu
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delineate Pound's portrayals as fai
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presence of a continuous patina of
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described by Christine Brooke-Rose.
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10) of their rows over fidelity. Fo
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obsessive desire most critics find
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passing from hand to hand, becomes
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Propertius as Propertius once had C
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saw no viable future for his own ex
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then, these imaginary aesthetes wer
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‗persona,‘ an impersonation of
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difference between his intention an
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itself a Western bourgeois assumpti
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subject. Deleuze's 1977 discussion
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his subjectivity as a blend of fact
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eak occurs in the poet's mind as th
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dogmatic binding and over which to
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Pound‘s impersonality, to use the
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Mill, Jackson notes, finds the conc
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apostrophe to ‗Misery‘ performa
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―Mauberley,‖ the poem‘s narra
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to posit a fictional author being n
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neither Rainey‘s Institutions of
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Page 141 and 142: that have not traditionally been co
Page 143 and 144: The library of the dukes of Milan w
Page 145 and 146: Rainey‘s disdain for bourgeois hi
Page 147 and 148: Bornstein, for example, is interest
Page 149 and 150: the meaning of Pound‘s text by co
Page 151 and 152: Do come, do come. I can see us at B
Page 153 and 154: the political implications of that
Page 155 and 156: the winners of its game (148). Beca
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Page 159 and 160: to him is plain: ―News of Nancy?
Page 161 and 162: view of Pound‘s political beliefs
Page 163 and 164: which to describe the force of natu
Page 165 and 166: interrogation of that two-word theo
Page 167 and 168: elationships that they believed to
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Page 171 and 172: knowable “as a combination of ato
Page 173 and 174: new‖ emerges: ―it is a movement
Page 175 and 176: ejects any teleological argument fo
Page 177 and 178: Ontologies, such as those that belo
Page 179 and 180: this mystery could only be experien
Page 181 and 182: attention to the way names effect t
Page 183 and 184: Adorno acknowledges that Kant‘s w
Page 185 and 186: understanding how de-personalizatio
Page 187: Fate becomes a term that Benjamin i
Page 191: The New Age. 27.26, 1919. Ovid. The
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