{"id":3088,"date":"2017-09-15T21:47:48","date_gmt":"2017-09-15T21:47:48","guid":{"rendered":"http:\/\/courses.suzannechurchill.com\/eng394-f17\/?p=3088"},"modified":"2017-09-15T21:47:48","modified_gmt":"2017-09-15T21:47:48","slug":"royces-annbib","status":"publish","type":"post","link":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/2017\/09\/15\/royces-annbib\/","title":{"rendered":"Royce’s AnnBib"},"content":{"rendered":"

Royce Chen<\/span><\/p>\n

Dr. Churchill<\/span><\/p>\n

ENG 394 – The Avant Garde<\/span><\/p>\n

15 September 2017<\/span><\/p>\n

Annotated Bibliography<\/span><\/p>\n

Hamilton, Ian, and Clive Wilmer. \u201cPound’s Life and Career.\u201d <\/span>The Oxford Companion to Twentieth-Century Poetry in English<\/span><\/i>, Oxford University Press., www.english.illinois.edu\/maps\/poets\/m_r\/pound\/bio.htm.<\/span><\/p>\n

This source provides a general overview of Pound\u2019s life. It offers an interesting analysis of his persona and controversy, labeling him as a genius and a brilliant artist but also someone \u201ccondemned as an \u00e9litist, an obscurantist, and a charlatan\u2014a man deficient in self-knowledge, with no real understanding of the modern world despite his avant-gardiste posturing.\u201d It also details both his work and his personal life.<\/span><\/p>\n

Hanscombe, Gillian E., and Virginia L. Smyers. \u201cMina Loy.\u201d <\/span>Writing for Their Lives: The Modernist Women, 1910 – 1940<\/span><\/i>, Northeastern Univ. Press, 1989, pp. 112\u2013128, www.english.illinois.edu\/maps\/poets\/g_l\/loy\/bio.htm.<\/span><\/p>\n

This biography of Mina Loy covers her background, upbringing, and artistic influences. Its particularly salient details include a brief passage describing Loy\u2019s poetic \u201cinnovations\u201d in \u201cverbal and rhythmic rendering,\u201d which would draw Ezra Pound\u2019s praise. He notably labeled her technique \u201clogopoeia,\u201d defining it as \u201ca dance of the intelligence among words and ideas and modification of ideas and characters,\u201d thus expressing his admiration for her.<\/span><\/p>\n

\u201cImagism.\u201d <\/span>CPCW: The Center for Programs in Contemporary Writing<\/span><\/i>, University of Pennsylvania, <\/span>www.writing.upenn.edu\/~afilreis\/Alumverse\/imagism-def.html<\/span><\/a>.<\/span><\/p>\n

This source gives a definition of imagism and cites Ezra Pound, Amy Lowell, and others as pioneers of the genre. It offers one \u201cImagist manifesto,\u201d which share some of the goals of imagist poetry, which include clarity and hardness in writing.<\/span><\/p>\n

\u201cIntroduction to Modernist Poetry.\u201d <\/span>EDSITEment!<\/span><\/i>, National Endowment for the Humanities, edsitement.neh.gov\/curriculum-unit\/introduction-modernist-poetry.<\/span><\/p>\n

This source offers a very brief definition of modernist poetry, sharing its fundamental questions of \u201cself\u201d and how its elusive nature can often confuse readers. It offers the history of the genre as well as a few notable examples.<\/span><\/p>\n

Nicholls, Peter. \u201c’Arid Clarity’: Ezra Pound, Mina Loy, and Jules Laforgue.\u201d <\/span>The Yearbook of English Studies<\/span><\/i>, vol. 32, 2002, pp. 52\u201364. <\/span>JSTOR<\/span><\/i>, JSTOR, <\/span>www.jstor.org\/stable\/3509047<\/span><\/a>.<\/span><\/p>\n

In \u201c’Arid Clarity’: Ezra Pound, Mina Loy, and Jules Laforgue,\u201d Nicholls seeks to explain the exact way that poets Mina Loy, Jules Laforgue, and Ezra Pound influenced one another. For the sake of this project, I will focus on the connections between Loy and Pound. Nicholls acknowledges that most historians and literary theorists have either seen little overlap between Loy and Pound or made the relationship into a one-way one, wherein the eminent Pound is a type of mentor to the less established Loy. Pound famously classified Loy\u2019s writing as being characterized by a sort of \u201carid clarity,\u201d a description conventionally seen as critical and accusatory (55-6). However, Nicholls points to other statements Pound has made praising Loy and draws similarities between Pound\u2019s <\/span>Hugh Selwyn Mauberley<\/span><\/i> and Loy\u2019s work to demonstrate that Pound truly admired–and perhaps at times even strove to emulate–Loy\u2019s abstract, \u201cemotion[less]\u201d writing style (55). <\/span><\/p>\n

\u201cOn \u2018In a Station of the Metro.\u2019\u201d <\/span>University of Illinois English Department<\/span><\/i>, University of Illinois at Urbana-Champaign, <\/span>www.english.illinois.edu\/maps\/poets\/m_r\/pound\/metro.htm<\/span><\/a>.<\/span><\/p>\n

This source compiles various interpretations of Pound\u2019s most famous poem, \u201cIn a Station of the Metro\u201d by various different authors. It examines Pound\u2019s word choice and some of the background around the poem. Several writers comment on the \u201cineffable\u201d quality of Pound\u2019s poem, with Hugh Witemeyer writing, \u201c<\/span>the presentation of the Image involves the search for an equation that will approximate a beautiful but ineffable psychic adventure.\u201d<\/span><\/p>\n

Stock, Noel. \u201cEzra Pound.\u201d <\/span>Encyclop\u00e6dia Britannica<\/span><\/i>, Encyclop\u00e6dia Britannica, Inc., 12 Jan. 2017, <\/span>www.britannica.com\/biography\/Ezra-Pound<\/span><\/a>.<\/span><\/p>\n

This general reference article offers a large-scale look at Ezra Pound\u2019s life. It follows him from his early life in in Hailey, Idaho to his popular work while abroad in England, and cites him as a \u201cshaper of modern literature.\u201d It also shares about his disturbance over World War I, and the drier, more adult material that he subsequently began to produce.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Royce Chen Dr. Churchill ENG 394 – The Avant Garde 15 September 2017 Annotated Bibliography Hamilton, Ian, and Clive Wilmer. \u201cPound’s Life and Career.\u201d The Oxford Companion to Twentieth-Century Poetry in English, Oxford University Press., www.english.illinois.edu\/maps\/poets\/m_r\/pound\/bio.htm. This source… Read More<\/a><\/p>\n","protected":false},"author":188,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-3088","post","type-post","status-publish","format-standard","hentry","category-bibliography"],"jetpack_featured_media_url":"","_links":{"self":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3088","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/users\/188"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/comments?post=3088"}],"version-history":[{"count":1,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3088\/revisions"}],"predecessor-version":[{"id":3089,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/posts\/3088\/revisions\/3089"}],"wp:attachment":[{"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/media?parent=3088"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/categories?post=3088"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/courses.suzannechurchill.com\/eng394-f17\/wp-json\/wp\/v2\/tags?post=3088"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}