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Lyrik "made in USA"

Vermittlung und Rezeption in der Bundesrepublik

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Agnes C. Mueller

This is the first book to analyze fully the West German mediation and reception of American poetry following World War II. Contrary to expectations, it shows that, despite some serious and thoughtful attempts by German authors at mediating contemporary US-poetry to a West German audience shortly after the war, a broad reception was only successful in the late 1960s, concurrent with the student protests and the discovery in Germany of the beat generation. This development is surprising when compared to Germany's much earlier and enthusiastic reception of American prose, film, and mass culture.
The study explores some of the cultural, political, and literary reasons for the delay in poetry mediation and reception - especially in the reception of William Carlos Williams's poems. It describes how poets such as Robert Creeley, Charles Olson, Gregory Corso, Allen Ginsberg, Lawrence Ferlinghetti, and especially Frank O'Hara, Ted Berrigan, Anne Waldman, and John Giorno had and continue to have a significant impact on contemporary German writers and audiences following successful mediation in anthologies by Hans Magnus Enzensberger (1960), Walter Höllerer (1961), and especially Rolf Dieter Brinkmann (1968).
The book will be of interest to Germanists in both Germany and the US because it is the first study of an important but neglected aspect of German literary history between 1945 and 1989. Additionally, the author conducted interviews with significant figures of Germany's contemporary literary scene (Hans Magnus Enzensberger, Peter Hamm and Michael Krüger) which are transcribed and attached in the Appendix. This study will be equally important for scholars and students of Comparative Literature, since it not only deals with two national literatures, but is especially concerned with cross-literary and cross-cultural relations. Finally, the book should also be well received by scholars of American Studies both in Europe and in the US, since it adds significantly to our understanding of the USA in its global context.

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Peter Davidson

Ezra Pound and Roman Poetry is an examination of a crucial phase in the development of Pound as translator and, therefore, of creative translation in the twentieth century. The book provides a survey of Pound's attempt to appropriate the poetry of Classical Rome, by tracing the histories of the poet's involvement with Horace, Virgil, Catullus, Ovid and Propertius, in order to express his own marginal position within London during the First World War. No extensive critical discussion is attempted, but attention is given to Pound's critical writings on the Latin poets as well as his translations from their work. Dr Davidson also treats other aspects of Pound's problematic relation to the Classical Tradition: the use and abuse of dictionaries; Laforgue and Baudelaire as a third term haunting Pound's translations; the difficult monolith of English classicism; the invention of an oppositional romanitas. It is hoped that this work may encourage others to produce the comprehensive survey which Pound's sustained and Protean relationship to the classical languages would appear to demand. Pound's readings of Latin poetry are inevitably readings also of English poetry, in the context of England, and particularly London, in the first two decades of the twentieth century.

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Edited by Richard A. Taylor and Claus Melchior

The papers included were selected from those given at the 14th international Ezra Pound Conference held at Brunnenburg, Tirolo di Merano, 16-18 July 1991. The guiding principle for organizing the volume was thematic coherence and quality of thought as well as presentation. The articles are gathered under five headings: General Impressions, Traditional Affiliations, Contemporary Connections, Constructing Continuities, and Specific Texts. The exhibitions accompanying the conference are represented and Pound's involvement with Europe is reflected in studies of his relationship with traditional authors as well as his contemporaries. Larger considerations and analysis is offered in Section Four and Cathay, Cantos LXXIII, and Drafts and Fragments are given individual attention.