- Page 1 and 2: TABOO: THE ACTUAL MODERNIST AESTHET
- Page 3 and 4: Christopher David Chapman practice.
- Page 5 and 6: CONTENTS PREFACE ..................
- Page 7: objectification, while titles are a
- Page 11 and 12: taboo, as the following remark indi
- Page 13 and 14: emind us too hastily only of Benjam
- Page 15 and 16: e renewed in philosophical contempl
- Page 17 and 18: the word “Title.” I do this out
- Page 19 and 20: where fate - the agent of nature‟
- Page 21 and 22: Cantos with Nancy Cunard. The final
- Page 23 and 24: come into their meaning through the
- Page 25 and 26: meaning in the words he appoints to
- Page 27 and 28: ―The Role of Language in Trauersp
- Page 29 and 30: God‘s genetic ―pure word,‖ re
- Page 31 and 32: conceived of as a pantomime where t
- Page 33 and 34: ensnared within post-lapsarian syst
- Page 35 and 36: aspects of his linguistic theory th
- Page 37 and 38: decision-making powers, we can demo
- Page 39 and 40: him to transpose arguments about th
- Page 41 and 42: Caesar‖ is an obvious case in poi
- Page 43 and 44: eath of this world, and from it the
- Page 45 and 46: magnanimity wins out in dire and pa
- Page 47 and 48: elegated to the setting in which th
- Page 49 and 50: Notes 1 In an early, unpublished, t
- Page 51 and 52: every locution being, in essence, e
- Page 53 and 54: CHAPTER TWO: LONG SERIES OF TRANSLA
- Page 55 and 56: dramatic monologue, a feat he would
- Page 57 and 58: 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
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E gradment li antichi cavaler roman
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that have not traditionally been co
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The library of the dukes of Milan w
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Rainey‘s disdain for bourgeois hi
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Bornstein, for example, is interest
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the meaning of Pound‘s text by co
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Do come, do come. I can see us at B
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the political implications of that
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the winners of its game (148). Beca
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iography and how he can be seen to
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to him is plain: ―News of Nancy?
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view of Pound‘s political beliefs
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which to describe the force of natu
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interrogation of that two-word theo
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elationships that they believed to
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commemoration is to writing (Derrid
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knowable “as a combination of ato
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new‖ emerges: ―it is a movement
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ejects any teleological argument fo
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Ontologies, such as those that belo
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this mystery could only be experien
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attention to the way names effect t
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Adorno acknowledges that Kant‘s w
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understanding how de-personalizatio
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Fate becomes a term that Benjamin i
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WORKS CITED Arkins, Bryan. ―Pound
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The New Age. 27.26, 1919. Ovid. The