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

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Cunard, Nancy Clara. Letters to Ezra Pound. Bloomington: Lilly Library Special Collections, Ezra Pound MSS. Box 3. All ensuing letters belong to this file. Davie, Donald. Ezra Pound: Poet as Sculptor. New York: Oxford University Press, 1964. DeBiasi, Pierre-Marc and Ingrid Wassenar. ―What is a Literary Draft? Toward a Functional Typology of Genetic Documentation‖ in Yale French Studies, No. 89. Drafts, 1996. Deleuze, Gilles and Feliz Guattari. Anti-Oedipus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press, 1983. Deleuze, Gilles and Claire Parnet. Dialogues. Paris: Flammarion, 1977. Eagleton, Terry. Walter Benjamin, Or, Towards a Revolutionary Criticism. London: Verso Editions, 1981. Froula, Christine. To Write Paradise: Style and Error in Pound’s Cantos. New Haven: Yale University Press, 1984. Gibson, Roy K. Excess and Restraint: Propertius, Horace and Ovid’s Ars Amatoriae. London: Institute of Classical Studies, 2007. Hooley, Daniel M. The Classics in Paraphrase: Ezra Pound and Modern Translators of Latin Poetry. Selinsgrove, PA.: Susquehanna University Press, 1988. Hullot-Kentor, Robert. Things Beyond Resemblance: Collected Essays on Theodor W. Adorno. New York: Columbia University Press, 2006. Jackson, Virginia Walker. Dickinson’s Misery: A Theory of Lyric Reading. Princeton, N.J.: Princeton University Press, 2005. Janan, Micaela Wakil. The Politics of Desire: Propertius IV. Berkeley: University of California Press, 2001. Lowry, Martin The World of Aldus Manutius: Business and Scholarship in Renaissance Venice. Ithaca, N.Y.: Cornell University Press, 1979. Mages, M.J. ―He Do Propertius in a Modernist Voice – Pound Summary of the Amatory Theme from the ‗Elegies‘ of Propertius, Sextus.‖ Paideuma, 1993. McGann, Jerome J. The Textual Condition. Princeton, N.J.: Princeton University Press, 1991. Miller, Paul Allen. Subjecting Verses: Latin Love Elegy and the Emergence of the Real. Princeton, N.J.: Princeton University Press, 2004. 181
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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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y Piero della Francesca. Pound was
Page 139 and 140: E gradment li antichi cavaler roman
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
Page 157 and 158: iography and how he can be seen to
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
Page 169 and 170: commemoration is to writing (Derrid
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 and 188: Fate becomes a term that Benjamin i
Page 189: WORKS CITED Arkins, Bryan. ―Pound
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