Ezra Pound's Japan
Autor Andrew Houwenen Limba Engleză Hardback – 25 mar 2021
The first book to deal with the subject of Ezra Pound's relationships with Japanese literature as a whole, this book provides a wealth of new scholarship on this subject, including on the 19th-century Japanese contexts that led to Pound's interest in 'hokku' and Fenollosa's No translations on which Pound based his own; significant original research on Pound's Japanese friendships that enriched his understanding of Japanese literature; and an examination of all the explicit references to No in The Cantos in unprecedented depth. It demonstrates that the works for which Ezra Pound is most famous, such as 'In a Station of the Metro' and his epic poem, The Cantos, were shaped by his lifelong interest in Japanese literature.
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Specificații
ISBN-13: 9781350174306
ISBN-10: 1350174300
Pagini: 280
Ilustrații: 10 b/w illus
Dimensiuni: 156 x 234 x 23 mm
Greutate: 0.57 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:London, United Kingdom
ISBN-10: 1350174300
Pagini: 280
Ilustrații: 10 b/w illus
Dimensiuni: 156 x 234 x 23 mm
Greutate: 0.57 kg
Editura: Bloomsbury Publishing
Colecția Bloomsbury Academic
Locul publicării:London, United Kingdom
Cuprins
Acknowledgements
Abbreviations
Note on the Text
Introduction
1 Ezra Pound's Japan
Part 1: Pound and Hokku
2 Herbert Spencer's 'Minor Image', Masaoka Shiki, and the Meiji Reinvention of Haiku
3 Symphonies in White: Basil Hall Chamberlain and the Introduction of 'Hokku' into English
4 Pound's '"Metro" Hokku'
Part 2: Pound and No
5 'Nobody Thought No Would Rise Again': Umewaka Minoru and the Meiji Revival of No
6 Ernest Fenollosa's 'Single Image' and the Introduction of No into English
7 'One of the Great Arts of the World': Pound's First No Translations
8 'Growing Together': Pound's Japanese Friends, No, and the Genesis of The Cantos
9 'The Closest Parallel to My Thought': Pound's No Plays and Accomplishments
Part 3: No and The Cantos
10 'Grow with the Pines of Ise': Pound's Early Cantos and No
11 'A Treasure Like Nothing We Have in the Occident': Pound's Wartime Cantos and No
12 'The Light Sings Eternal': No's Place in the Paradiso of Pound's Later Cantos
Bibliography
Index of (Published) Works by Pound
Index of Names
Abbreviations
Note on the Text
Introduction
1 Ezra Pound's Japan
Part 1: Pound and Hokku
2 Herbert Spencer's 'Minor Image', Masaoka Shiki, and the Meiji Reinvention of Haiku
3 Symphonies in White: Basil Hall Chamberlain and the Introduction of 'Hokku' into English
4 Pound's '"Metro" Hokku'
Part 2: Pound and No
5 'Nobody Thought No Would Rise Again': Umewaka Minoru and the Meiji Revival of No
6 Ernest Fenollosa's 'Single Image' and the Introduction of No into English
7 'One of the Great Arts of the World': Pound's First No Translations
8 'Growing Together': Pound's Japanese Friends, No, and the Genesis of The Cantos
9 'The Closest Parallel to My Thought': Pound's No Plays and Accomplishments
Part 3: No and The Cantos
10 'Grow with the Pines of Ise': Pound's Early Cantos and No
11 'A Treasure Like Nothing We Have in the Occident': Pound's Wartime Cantos and No
12 'The Light Sings Eternal': No's Place in the Paradiso of Pound's Later Cantos
Bibliography
Index of (Published) Works by Pound
Index of Names
Recenzii
A detailed, thorough, complete and successful account of Pound's encounter with Japan rooted in primary sources. The book enlarges our understanding of Pound and Noh, 'Hokku' and Fenollosa not only in relation to The Cantos but to Pound's entire literary universe.
Ezra Pound and Japan gives readers a comprehensive and deeply learned account of the crucial, lifelong influence of Japanese poetry, drama, and friendship on Pound's poetics. Andrew Houwen argues that Pound's early experiments with Hokku were anything but mere poetic effect, instead realizing a genre first rejuvenated in the Meiji era and then subject to intensive translation in the later nineteenth century. Houwen draws on a range of historical material before and during Pound's Modernist moment and pays close attention to theories of poetics and translation, providing the definitive account of this most popular of Japanese forms and its entry into Anglophone poetics. Equally, the revival of no (?) in the Meiji era and its transformative effect on Modernist poetics is a familiar story, but in his careful reading of no texts such as Hagoromo, Aoi no ue, Kagekiyo, Kumasaka, and Genji, and their role in the development of Pound's Cantos, Houwen offers a foundational corrective to scholarly dismissal of this dramatic form on Pound's later poetics. Instead, such key images as the twin pines of Hagoromo function within Pound's text as structural principles, methods of orienting the wide range of historical and literary sources from the ur-Cantos of 1917 to the last glimpses of paradiso in Drafts & Fragments. This book gives sensitive account of existing scholarship and charts the full significance of Japanese literature in Pound's poetic career: it will be the standard reference for some time.
Ezra Pound and Japan gives readers a comprehensive and deeply learned account of the crucial, lifelong influence of Japanese poetry, drama, and friendship on Pound's poetics. Andrew Houwen argues that Pound's early experiments with Hokku were anything but mere poetic effect, instead realizing a genre first rejuvenated in the Meiji era and then subject to intensive translation in the later nineteenth century. Houwen draws on a range of historical material before and during Pound's Modernist moment and pays close attention to theories of poetics and translation, providing the definitive account of this most popular of Japanese forms and its entry into Anglophone poetics. Equally, the revival of no (?) in the Meiji era and its transformative effect on Modernist poetics is a familiar story, but in his careful reading of no texts such as Hagoromo, Aoi no ue, Kagekiyo, Kumasaka, and Genji, and their role in the development of Pound's Cantos, Houwen offers a foundational corrective to scholarly dismissal of this dramatic form on Pound's later poetics. Instead, such key images as the twin pines of Hagoromo function within Pound's text as structural principles, methods of orienting the wide range of historical and literary sources from the ur-Cantos of 1917 to the last glimpses of paradiso in Drafts & Fragments. This book gives sensitive account of existing scholarship and charts the full significance of Japanese literature in Pound's poetic career: it will be the standard reference for some time.