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001 188563
003 IT-RoAPU
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008 220426t20211982txu fo d z eng d
020 _a9780292772892
_qPDF
024 7 _a10.7560/738287
_2doi
035 _a(DE-B1597)9780292772892
035 _a(DE-B1597)587290
035 _a(OCoLC)1286808826
040 _aDE-B1597
_beng
_cDE-B1597
_erda
072 7 _aLIT000000
_2bisacsh
084 _aonline - DeGruyter
100 1 _aGéfin, Laszlo K.
_eautore
245 1 0 _aIdeogram :
_bHistory of a Poetic Method /
_cLaszlo K. Géfin.
264 1 _aAustin :
_bUniversity of Texas Press,
_c[2021]
264 4 _c©1982
300 _a1 online resource (182 p.)
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
505 0 0 _tFrontmatter --
_tContents --
_tPreface --
_tIntroduction --
_tPart One. Toward a New Logic of Depiction --
_t1. From Metaphor to Vortex --
_t2. The Impact of Fenollosa --
_t3. The Poundian Ideogram --
_tPart Two. The Poem as Object --
_t4. Sincerity and Objectification --
_t5. Dr. Williams: Ideas in Things --
_tPart Three. The Open Field --
_t6. Projective Verse I: --
_t7. Projective Verse II: --
_t8. Ellipsis and Riprap: --
_tConcluding Note --
_tNotes --
_tSelect Bibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aThe ideogram changed the course of modern American poetry, and Ideogram is the first history of this important poetic tradition. In modern poetry the ideogram is an idea presented to the reader by means of the juxtaposition of concrete particulars, usually without connective words or phrases. The poem is therefore presented in precise images, usually very tersely, and free from conventional form and meter. The idea of presenting a concept in this manner derives in part from Ernest Fenollosa's essay "The Chinese Character as a Medium for Poetry," the Chinese written character itself being a juxtaposition of pictographs to form a new meaning. Ezra Pound's search for an alternative to traditional forms of verse composition resulted in his use of the ideogrammic method which, Laszlo K. Géfin asserts, became the major mode of presentation in twentieth-century American poetry. Two generations of avant-garde, experimental poets since Pound have turned to it for inspiration, evolving their own methods from its principles. Géfin begins by tracing the development of Pound's poetics from the pre-Imagist stage through Imagism and Vorticism to the formulation of the ideogrammic method. He then examines the Objectivist poetics of Louis Zukofsky, Charles Reznikoff, and George Oppen; the contributions to the ideogrammic tradition of William Carlos Williams; and the Projectivist theories of Charles Olson, Robert Duncan, and Robert Creeley. He concludes with an exploration of Allen Ginsberg's theory of the ellipse and Gary Snyder's "riprap" method. Throughout, Géfin maintains that the ideogrammic mode is the literary representation of the twentieth-century post-logical—even post-humanist—world view.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 26. Apr 2022)
650 7 _aLITERARY CRITICISM / General.
_2bisacsh
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.7560/738287
856 4 0 _uhttps://www.degruyter.com/isbn/9780292772892
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9780292772892/original
942 _cEB
999 _c188563
_d188563