Ezra Pound and the Appropriation of Chinese Poetry pdf epub mobi txt 电子书 下载 2026
- 庞德
- 比較詩學
- EzraPound
- 海外漢學
- Poetry
- Transpacific
- 汉学
- Pound
- Ezra Pound
- Chinese poetry
- Appropriation
- Modernism
- Translation
- Poetry
- Eastern influence
- Literary criticism
- 20th century
- Aesthetics
具体描述
This book focuses on the relations between the translation and appropriation of classical Chinese poetry by Ezra Pound and some of his contemporaries and the development of Anglo-American Imagist poetry and poetics. It is concerned as much with critical aspects of this correlative relationship as with the question of historical influence and ascription. The author places the early work of Ezra Pound in the context of works of Chinese translation by other contemporary poet-translators such as Arthur Waley and Amy Lowell, and examines the whole notion of an "ideogrammic" poetry as advocated by Ernest Fenollosa and Ezra Pound against an appropriately reconstructed historical and critical context of poetic theory and practice. Closely linked to this is a discussion of Pound's use of personae and modulation of the elegiac in relation to the immediately preceding context of late Victorian elegiac lyricism and Brownigesque dramatic monologue. Through a series of close readings of translations from the Chinese, especially those by Pound, the author shows how the critical problem of what is involved in translating a Chinese poem into a new English poem is closely linked to the particulars of early Modernist literary history. In particular, through tracing the trajectory of a number of central issues and notions, such as absolute, free-floating, metaphor, metaphor as epiphanic image and its relation to syntax, metaphor and parallelism, experiments with rhythm and cadence, the book explores some of the reasons for Fenollosa's and Pound's emphasis on the visual image, the notion of "phanopoeia" and ideogrammic "verbal action" as the active perceiving of relations, and closely examines the genesis and significance of Pound's "ideogrammic" method, as well as the question of cultural misreading and vicarious envisagement, and provides a critical overview of Pound's general engagement with translation.
作者简介
目录信息
读后感
Emerson had said in "Poet":"Things admit of being used as symbols,because nature is a symbol,in the whole,and in every part."Or again,in language:the world is emblematic;parts of speech are metaphors,because the whole of nature is a metaphor of the human mi...
评分Emerson had said in "Poet":"Things admit of being used as symbols,because nature is a symbol,in the whole,and in every part."Or again,in language:the world is emblematic;parts of speech are metaphors,because the whole of nature is a metaphor of the human mi...
评分Emerson had said in "Poet":"Things admit of being used as symbols,because nature is a symbol,in the whole,and in every part."Or again,in language:the world is emblematic;parts of speech are metaphors,because the whole of nature is a metaphor of the human mi...
评分Emerson had said in "Poet":"Things admit of being used as symbols,because nature is a symbol,in the whole,and in every part."Or again,in language:the world is emblematic;parts of speech are metaphors,because the whole of nature is a metaphor of the human mi...
评分Emerson had said in "Poet":"Things admit of being used as symbols,because nature is a symbol,in the whole,and in every part."Or again,in language:the world is emblematic;parts of speech are metaphors,because the whole of nature is a metaphor of the human mi...
用户评价
这部作品无疑为我们理解庞德的诗歌创作提供了一个全新的、极具洞察力的视角。它并未止步于简单梳理庞德对东方文学元素的挪用，而是深入挖掘了这种“挪用”背后的哲学动机与美学驱动力。作者对庞德早期思想中“意象主义”与后来的“对华文化之迷恋”之间关联的探讨，尤为精彩。我尤其欣赏它对“翻译即改写”这一概念的精妙阐释，这不仅仅是对庞德翻译实践的描述，更是一种对现代主义诗人如何构建自身权威的深刻反思。书中对庞德如何将他所理解的“中国”符号化、碎片化，并将其融入其宏大的“儒家秩序”建构中的分析，丝丝入扣，令人拍案叫绝。它迫使读者重新审视那些看似已成定论的庞德诗篇，去探寻隐藏在那些精妙音韵之下的文化权力运作。对于任何想超越教科书层面去理解庞德艺术的严肃研究者来说，这本书提供了一把关键的钥匙，打开了通往复杂性的大门。其论证逻辑严密，材料组织得当，文字的密度和精度都达到了极高的水准，绝非泛泛而谈的导论式读物可以比拟。
评分要说这本书带来的震撼，很大程度上来自于其对“形式”与“内容”之间复杂纠缠关系的探讨。它不是一本关于中国诗歌的介绍，也不是一本关于庞德生平的传记，而是一份关于“跨文化审美实践的机制分析报告”。作者的笔触时而冷静得像一台精密仪器，剖析庞德如何将汉字意象嵌入到其英诗的韵律结构中，时而又变得极富感染力，描绘出庞德对东方“永恒性”的渴望与幻灭。我喜欢它在批判庞德对东方“想象的东方”的构建时，所采用的那种既批判又带着一丝理解的复杂情感。这种双重性使得阅读体验充满了张力，你既为作者的深刻洞见折服，又忍不住思考自己作为当代读者，在面对经典时是否也同样戴着有色眼镜。这种自我反思的邀请，是这部作品最宝贵之处，它让学术讨论不再是象牙塔内的自娱自乐。
评分这是一本需要多次翻阅的书，因为它不仅仅是在“解释”庞德，更像是在“解构”现代性对异质文化的吸收过程。作者的叙事风格呈现出一种巴洛克式的繁复美感，句子结构经常迂回曲折，充满了从句和精妙的转折，这本身似乎也模仿了庞德诗歌中那种不断寻求突破与重塑的张力。我特别关注了书中关于庞德如何“过滤”和“净化”他所接触的东方元素的章节，那简直是一场关于审美选择与意识形态过滤的精彩展示。它揭示了庞德的“发现”并非一种纯粹的艺术启示，而是一场精心策划的文化重组。这种批判性的反思，超越了以往许多仅关注其艺术成就的赞美之词。全书的学术厚度毋庸置疑，它敢于挑战某些既定的庞德神话，但挑战的方式是建立在无可辩驳的文献基础之上的，这才是真正的高级学术。
评分读完后我感到一种知识上的酣畅淋漓，这完全得益于作者那种近乎档案管理员般的细致与考古学家般的敏锐。评判一部关于二十世纪先锋派诗人的专著，最怕的就是流于空泛的理论术语堆砌，但本书完全避开了这种陷阱。它将焦点牢牢锁定在文本的细微之处，通过对庞德手稿、通信往来以及那些晦涩的早期刊物的深度挖掘，构建了一个令人信服的庞德形象——一个既是文化盗取者，又是激进的审美实验家的矛盾体。作者在处理跨文化张力时，展现出一种罕见的克制与审慎，没有简单地贴上“文化帝国主义”的标签，而是耐心地展示了庞德在那个时代语境下如何挣扎于有限的知识框架中去追求一种“普遍的美”。这种对历史情境的尊重，使得全书的论述显得沉稳有力，而不是肤浅的批判。对于那些习惯于宏大叙事的读者来说，这本书可能需要耐心，因为它要求你慢下来，去品味那些看似琐碎的注释和引文，但正是这些细节，构筑了其宏伟的分析大厦。
评分这本书的结构安排极具匠心，仿佛是按照庞德诗歌的创作脉络，从早期的“碎片积累”到后期的“史诗构建”，层层递进地展示了文化吸纳的复杂过程。我尤其欣赏作者在比较庞德的“中国蓝本”与他最终的诗歌产出时所使用的对比手法，这种对比不是简单的“A等同于B”，而是展示了中间地带的“损耗”、“增益”与“畸变”。行文流畅自然，尽管主题极其专业和深奥，但作者总能用精准而有力的动词和名词引导读者穿越迷雾。阅读过程像是在解开一个复杂的结，每拨开一层外壳，都能看到更核心的纤维。对于希望深入了解现代主义如何通过异域文化资源来实现自我革新，并最终建立起一套新的美学体系的读者来说，这本书提供了一个几乎无懈可击的分析框架。它不仅是研究庞德的必读书目，更是研究现代主义全球视野的典范之作。
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