内容简介

First published in 1919 by Ezra Pound, Ernest Fenollosa's essay on the Chinese written language has become one of the most often quoted statements in the history of American poetics. As edited by Pound, it presents a powerful conception of language that continues to shape our poetic and stylistic preferences: the idea that poems consist primarily of images; the idea that the sentence form with active verb mirrors relations of natural force. But previous editions of the essay represent Pound's understanding - it is fair to say, his appropriation - of the text. Fenollosa's manuscripts, in the Beinecke Library of Yale University, allow us to see this essay in a different light, as a document of early, sustained cultural interchange between North Americaand East Asia. Pound's editing of the essay obscured two important features, here restored to view: Fenollosa's encounter with Tendai Buddhism and Buddhist ontology, and his concern with the dimension of sound in Chinese poetry. This book is the definitive critical edition of Fenollosa's important work. After a substantial Introduction, the text as edited by Pound is presented, together with his notes and plates. At the heart of the edition is the first full publication of the essay as Fenollosa wrote it, accompanied by the many diagrams, characters, and notes Fenollosa (and Pound) scrawled on the verso pages. Pound's deletions, insertions, and alterations to Fenollosa's sometimes ornate prose are meticulously captured, enabling readers to follow the quasi-dialogue between Fenollosa and his posthumous editor. Earlier drafts and related talks reveal the development of Fenollosa's ideas about culture, poetry, and translation. Copious multilingual annotation is an important feature of the edition. This masterfully edited book will be an essential resource for scholars and poets and a starting point for a renewed discussion of the multiple sources of American modernist poetry.

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豆瓣评论

  • Manchild
    我基本不赞同庞德类似于解(字)谜的症状式的阅读是汉字诗歌的精髓,也不认为纽约客体主义诗歌流派跟汉字书写本身有本质上的关联。大家也都意识到了这是东方主义,中国诗歌不只有意象、自然、秩序等等。可取之处也许在于其表演性。03-30
  • 野次馬
    很可以想见当年庞德君喜逢知己时的雀跃之情。不过这真是典型的误读然后为己所用啊…如:芳:plants over knife引申为疯长的必须被根除的东西——杂草 || 不过F君对中文动词性的论述还是颇得要领,可惜庞德没往这头深究,一个劲研究正名和用象形字直捣所指能指任意性的老巢去了…10-07
  • 安静的暴风雨
    Fascinating. 03-19
  • 阿莫西奥
    批评语言课最近在做的research, 汉字艺术传媒。11-08
  • Baristina
    看完只能说……庞德你个傻逗比……07-28

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