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3 results

  • Chapter 5 - The Visual Field

  • from Part I - Pound’s Texts
  • Edited by Mark Byron, University of Sydney
  • Book:
    The New Ezra Pound Studies
    Published online:
    17 October 2019
    Print publication:
    07 November 2019, pp 72-87

  • Summary

    In the introduction to her recent study Reading Cy Twombly, Mary Jacobus sets her interpretation of the artist’s work against those of critics who read the names, titles and quotations in his paintings as, on the one hand, self-expressive (‘sighs, expressions of pleasure or regret’), and on the other, directed towards the creation of a repository of cultural memory. ‘As opposed to a high-humanizing reading of Twombly’s art’, she writes, ‘I want to sidestep the debate in order to recover the specifically twentieth-century avant-garde context for his practice of quotation and allusion – his anthology – by tracing its relation to American literary Modernism, and in particular, Ezra Pound’. Twombly briefly attended Black Mountain College, encountering Pound’s writings and ideas through Charles Olson, and Jacobus turns to Pound’s ABC of Reading (1934) as a particularly clarifying lens through which to read Twombly..

  • 24 - Henry James (1843–1916)

  • from V - Some major critics of the period
  • Edited by M. A. R. Habib, Rutgers University, New Jersey
  • Book:
    The Cambridge History of Literary Criticism
    Published online:
    05 February 2013
    Print publication:
    07 February 2013, pp 440-463

  • Summary

    This chapter offers a succinct account of avant-garde activity in Europe during the first decades of the twentieth century. In France, and especially in Paris, artistic innovation had been nurtured since at least the 1880s, under the aegis of Decadence, Symbolism and Impressionism. The war in Europe and the Bolshevik Revolution of 1917 brought a dramatic impetus to the Russian avant-gardists, who strove to assert their relevance to the contemporary situation. In fact, the pragmatic politics of the Bolsheviks set them an impossible challenge, pressurizing them to justify their art-making. Vorticism in England was a brief and rather self-conscious offshoot of Italian Futurism. The short-lived phenomenon known as Dadaism represents a case of an almost ubiquitous European avant-garde movement. One of Dadaism's defining characteristics was its antagonism to the narrow nationalism which underlay the conflicts of the First World War.