Discussion:
IMAGISM
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Arthur Neuendorffer
2018-03-17 03:16:18 UTC
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https://www.gutenberg.org/files/4217/4217-h/4217-h.htm

A Portrait of the Artist as a Young Man
by James Joyce
................................................................
The personality of the artist, at first a cry or a cadence or a
mood and then a fluid an[D] lambent narrative, finally refines
itself o[U]t of existence, impers[O]nalizes itself, so to s[P]eak.
The esthetic *IMAG[E]* in the dramatic form is life purified in
and reprojected from the human *IMAGINATION*.
.
[E.POUND] -19
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https://en.wikipedia.org/wiki/Imagism

<<Ezra Weston Loomis Pound (30 October 1885 – 1 November 1972) was an expatriate American poet and critic. His contribution to poetry began with his development of *IMAGISM*, a movement derived from classical Chinese and Japanese poetry. *IMAGISM* was a movement in early 20th-century Anglo-American poetry that favored precision of imagery and clear, sharp language. A characteristic feature of Imagism is its attempt to isolate a single image to reveal its essence. This feature mirrors contemporary developments in avant-garde art, especially Cubism. Although Imagism isolates objects through the use of what Ezra Pound called "luminous details", Pound's Ideogrammic Method of juxtaposing concrete instances to express an abstraction is similar to Cubism's manner of synthesizing multiple perspectives into a single image. The Imagists rejected the sentiment and discursiveness typical of much Romantic and Victorian poetry, in contrast to their contemporaries, the Georgian poets, who were generally content to work within that tradition. Imagism called for a return to what were seen as more Classical values, such as directness of presentation and economy of language, as well as a willingness to experiment with non-traditional verse forms. Imagists use free verse.>>
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Art Neuendorffer
nordicskiv2
2018-03-18 16:56:57 UTC
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On Friday, March 16, 2018 at 11:16:19 PM UTC-4, Arthur Neuendorffer (aka Noonedafter) wrote:

[...]
Post by Arthur Neuendorffer
The personality of the artist, at first a cry or a cadence or a
mood and then a fluid an[D] lambent narrative, finally refines
itself o[U]t of existence, impers[O]nalizes itself, so to s[P]eak.
The esthetic *IMAG[E]* in the dramatic form is life purified in
and reprojected from the human *IMAGINATION*.
.
[E.POUND] -19
Is the above your Pound offering, Art? If so, it's reminiscent of your earlier attempts to bait the Grand Master.
Post by Arthur Neuendorffer
https://en.wikipedia.org/wiki/Imagism
<<Ezra Weston Loomis Pound (30 October 1885 – 1 November 1972) was an
expatriate American poet and critic.
...and an unapologetic, outspoken fascist and anti-Semite who was arrested on charges of treason.
Post by Arthur Neuendorffer
His contribution to poetry began with his development of *IMAGISM*, a
movement derived from classical Chinese and Japanese poetry. *IMAGISM*
was a movement in early 20th-century Anglo-American poetry that favored
precision of imagery and clear, sharp language. A characteristic feature
of Imagism is its attempt to isolate a single image to reveal its essence.
This feature mirrors contemporary developments in avant-garde art,
especially Cubism.
What about Boobism, Art -- i.e., your demented notion that Shakespeare's works were written by someone else?
Post by Arthur Neuendorffer
Although Imagism isolates objects through the use of what Ezra Pound
called "luminous details", Pound's Ideogrammic Method of juxtaposing
But Art -- "juxtaposing" is an anagram of "Just aping Ox"!
Post by Arthur Neuendorffer
concrete instances to express an abstraction is similar to Cubism's
manner of synthesizing multiple perspectives into a single image. The
Imagists rejected the sentiment and discursiveness typical of much
Romantic and Victorian poetry, in contrast to their contemporaries,
the Georgian poets, who were generally content to work within that
tradition. Imagism called for a return to what were seen as more Classical
values, such as directness of presentation and economy of language, as
well as a willingness to experiment with non-traditional verse
But Art -- "non-traditional verse" is an anagram of "No tin trainloads, Vere".
Post by Arthur Neuendorffer
forms.
...and "non-traditional verse forms" is an anagram of

Art, insane moron, oft drivels

-- not that that is a particularly newsworthy disclosure.
Post by Arthur Neuendorffer
Imagists use free verse.>>
Congratulations upon having *finally* produced a post short enough that Google Groups didn't truncate it, Art!
Post by Arthur Neuendorffer
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Art Neuendorffer (aka Noonedafter)
Arthur Neuendorffer
2018-03-18 20:39:36 UTC
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Post by Arthur Neuendorffer
The personality of the artist, at first a cry or a cadence or a
mood and then a fluid an[D] lambent narrative, finally refines
itself o[U]t of existence, impers[O]nalizes itself, so to s[P]eak.
The esthetic *IMAG[E]* in the dramatic form is life purified in
and reprojected from the human *IMAGINATION*.
.
[E.POUND] -19
Lea wrote:

<<Is the above your Pound offering, Art? If so, it's
reminiscent of your earlier attempts to bait the Grand Master.>>

In for a penny in for a Pound.
Post by Arthur Neuendorffer
https://en.wikipedia.org/wiki/Imagism
<<Ezra Weston Loomis Pound (30 October 1885 – 1 November 1972) was an
expatriate American poet and critic.
Lea wrote:

<<...and an unapologetic, outspoken fascist and anti-Semite
who was arrested on charges of treason.
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Pound lost faith in Great Britain and blamed the carnage
of World War I on usury and international capitalism.

Deemed unfit to stand trial, Pound was incarcerated in St. Elizabeths
psychiatric hospital in Washington, D.C., for over 12 years.

(My daughter-in-law's parents worked at St. Elizabeths.)
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https://en.wikipedia.org/wiki/Ezra_Pound

<<Pound worked in London during the early 20th century as foreign editor of several American literary magazines, and helped discover and shape the work of contemporaries such as T. S. Eliot, James Joyce, Robert Frost and Ernest Hemingway. Angered by the carnage of World War I, Pound lost faith in Great Britain and blamed the war on usury and international capitalism. During World War II, he was paid by the Italian government to make hundreds of radio broadcasts criticizing the United States, Franklin D. Roosevelt and Jews, as a result of which he was arrested in 1945 by American forces in Italy on charges of treason. He spent months in detention in a U.S. military camp in Pisa, including three weeks in a 6-by-6-foot outdoor steel cage, which he said triggered a mental breakdown: "when the raft broke and the waters went over me". On 15 November 1945 Pound was transferred to the United States. An escorting officer's impression was that "he is an intellectual 'crackpot' who imagined that he could correct all the economic ills of the world and who resented the fact that ordinary mortals were not sufficiently intelligent to understand his aims and motives." He was arraigned in Washington, D.C., on the 25th of that month on charges of treason. The charges included broadcasting for the enemy, attempting to persuade American citizens to undermine government support of the war, and strengthening morale in Italy against the United States.

He was admitted to St. Elizabeths Hospital, and in June the following year Dorothy was declared his legal guardian. He was held for a time in the hospital's prison ward—Howard's Hall, known as the "hell-hole", a building without windows—in a room with a thick steel door and nine peepholes to allow the psychiatrists to observe him as they tried to agree on a diagnosis. Visitors were admitted for only 15 minutes at a time, while patients wandered around screaming and frothing at the mouth.

Pound's lawyer, Julien Cornell, whose efforts to have him declared insane are credited with having saved him from life imprisonment, requested his release at a bail hearing in January 1947. The hospital's superintendent, Winfred Overholser, agreed instead to move him to the more pleasant surroundings of Chestnut Ward, close to Overholser's private quarters, which is where he spent the next 12 years. It reached the point where he refused to discuss any attempt to have him released. Olga Rudge visited him twice, once in 1952 and again in 1955, and was unable to convince him to be more assertive about his release. She wrote to a friend: "E.P. has—as he had before—bats in the belfry but it strikes me that he has fewer not more than before his incarceration.">>
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https://en.wikipedia.org/wiki/Woodrow_Wilson

<<Several historians have spotlighted consistent examples in the public record of Woodrow Wilson's overtly racist policies and political appointments, such as segregationists he placed in his cabinet. According to scholars, Wilson believed that slavery was wrong on economic labor grounds, rather than for moral reasons. They also argue that he idealized the slavery system in the South, viewing masters as patient with "indolent" (lazy) slaves. Wilson's History of the American People (1901) dismissed lynchings committed by the Ku Klux Klan of the late 1860s as a lawless reaction to a lawless period. The President defended them, writing that "[the Klan] began to attempt by intimidation what they were not allowed to attempt by the ballot or by any ordered course of public action". By 1916, W. E. B. Du Bois opposed Wilson, charging that his first term had seen "the worst attempt at Jim Crow legislation and discrimination in civil service that [blacks] had experienced since the Civil War." During Wilson's term, segregation was ordered in the Washington offices of the Navy, the Treasury, and the Postmaster General, and photographs became required for all new federal job applicants. Under Wilson, racial segregation was quickly implemented at the Post Office Department, and many African-American employees were downgraded and even fired. Employees who were downgraded were transferred to the dead letter office, where they did not interact with the public. The few African Americans who remained at the main post offices were put to work behind screens, out of customers' sight.>>
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Post by Arthur Neuendorffer
His contribution to poetry began with his development of *IMAGISM*, a
movement derived from classical Chinese and Japanese poetry. *IMAGISM*
was a movement in early 20th-century Anglo-American poetry that favored
precision of imagery and clear, sharp language. A characteristic feature
of Imagism is its attempt to isolate a single image to reveal its essence.
This feature mirrors contemporary developments in avant-garde art,
especially Cubism.
Lea wrote:

<<What about Boobism, Art -- i.e., your demented notion
that Shakespeare's works were written by someone else?>>

Shakespeare's works were written by *MANY* folks...
(though not one of the was the illiterate Stratford boob).
Post by Arthur Neuendorffer
Although Imagism isolates objects through the use of what Ezra Pound
called "luminous details", Pound's Ideogrammic Method of juxtaposing
Lea wrote:

<<Art -- "juxtaposing" is an anagram of "Just aping Ox"!>>

INPNC= 2/11
Post by Arthur Neuendorffer
concrete instances to express an abstraction is similar to Cubism's
manner of synthesizing multiple perspectives into a single image. The
Imagists rejected the sentiment and discursiveness typical of much
Romantic and Victorian poetry, in contrast to their contemporaries,
the Georgian poets, who were generally content to work within that
tradition. Imagism called for a return to what were seen as more Classical
values, such as directness of presentation and economy of language, as
well as a willingness to experiment with non-traditional verse forms.
Lea wrote:

<<Art -- "non-traditional verse" is an anagram of
"No tin trainloads, Vere".>>

INPNC= 4/15

Lea wrote:

<<...and "non-traditional verse forms" is an anagram of
"Art, insane moron, oft drivels">>


INPNC= 3/24

-- not that that is a particularly newsworthy disclosure.
Post by Arthur Neuendorffer
Imagists use free verse.>>
Lea wrote:

<<Congratulations upon having *finally* produced a post short
enough that Google Groups didn't truncate it, Art!>>

I'm constantly adding to it, Dave.
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Art Neuendorffer

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