Re/Membering Place: Ideogrammic Memory in Ezra Pound’s "The Cantos"

Q4 Arts and Humanities
P. Guerrero
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引用次数: 0

Abstract

In the aftermath of twentieth-century wars writing was, perhaps, one of the very few means available to work through horror and misery. Because of its ability to configure imagined spaces, literature became a way out of reality as much as a door into its deepest waters. In writing, authors managed to dissect terror from the safety of imagination. They also contrived to replace ruins and wreckage with hope for the future and possibility. This is particularly true of poetry. In their retrieval of fragments of the past, poets like Ezra Pound, elicited an emotional response to what seemed an impossible situation; sought an answer and a form of representation to the illegibility of a discourse also shattered by war. Their poetry offered a way out of mourning and desperation; opened paths to social reconstruction. It could be said, thence, that, as a leading proponent of this type of modernist poetry, in his Cantos Pound develops a literary language that, despite being undoubtedly influenced by previous tradition – particularly by Fenollosa’s ideogram, produces a new understanding of memory and history. Pound elaborates a language that helps humanity overcome the boundaries of the written word that had potentially lost meaning, logic and sequence. He perceives historical deeds as experiences that can (and should) be retrieved in poetry and deems writing an act of memory. Pound’s fragment retrieval is both metaphorical and literal, seeking to recover hopeful instances of the past as he searches for the unifying constituent of diverse elements. This article examines the interaction of images and words as Pound’s new theory of the poetic image, through which the poet favors natural associations and tries to restore historical pasts. In the midst of outright destruction, Pound’s Cantos are said to construct landscapes that break linear chronologies to find the common threat of the present and the past. In so doing, he fills a shattered reality back with hope and light.
Re/Membering Place:庞德《诗歌》中的意象记忆
在20世纪战争之后,写作也许是为数不多的克服恐怖和苦难的手段之一。由于其配置想象空间的能力,文学成为了一条脱离现实的途径,就像一扇通往最深水域的门。在写作中,作者设法从想象的安全性中剖析恐怖。他们还设法用对未来和可能性的希望取代废墟和残骸。诗歌尤其如此。在检索过去的片段时,像埃兹拉·庞德这样的诗人对看似不可能的情况做出了情感反应;为同样被战争摧毁的话语的难以辨认性寻求答案和表现形式。他们的诗歌提供了一条摆脱悲痛和绝望的途径;为社会重建开辟了道路。因此,可以说,作为这类现代主义诗歌的主要倡导者,庞德在他的《诗歌》中发展了一种文学语言,尽管它无疑受到了以前传统的影响,尤其是费诺洛萨的表意文字,但它对记忆和历史产生了新的理解。庞德阐述了一种语言,它帮助人类克服可能失去意义、逻辑和顺序的书面单词的界限。他认为历史行为是可以(也应该)在诗歌中获得的经验,并认为写作是一种记忆行为。庞德的碎片检索既是隐喻性的,也是字面上的,他在寻找不同元素的统一组成部分时,试图恢复过去充满希望的例子。本文考察了意象与词的互动关系,这是庞德诗歌意象的新理论,诗人通过意象与词之间的自然联想,试图还原历史的过去。在彻底的破坏中,据说庞德的诗歌构建了打破线性年表的景观,以寻找现在和过去的共同威胁。在这样做的过程中,他用希望和光明填补了破碎的现实。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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