All the suggested avenues are worth thinking about.
I might also add that, in connection with cubist
influence on Cantos form, someone might
investigate a possibly direct link between Cantos
form and Wyndham Lewis's Vorticist paintings.
==Dan

At 08:29 AM 07/02/2002 -0700, you wrote:
>        I don't know, Professor Pearlman; in fact, this
>is a very important question, because we can trace
>Pound's style in The Cantos IF we get such a strong
>connection between it and the cubists.
>       I am inclined to think the cubists not only
>flattened space but they included time in the
>composition, as you pointed out in Duchamp's example.
>If we take Picasso's paintings (mostly portraits)we
>can see he portraits different poses in only one
>picture, which I think, obliges us to consider a
>compression of time, analogous to that practised by
>Pound in the Cantos. When Pound writes, in the fourth
>Canto: "Then Actaeon: Vidal", he strikes a composite
>figure in our minds. And there's inevitably the
>question of time.
>       Some say we have to consider it under
>ideological analysis, pointing to the fact that
>immobilism in history is obviously conservative; on
>the other hand, we can think Pound is always proposing
>Ovid's method of intervening transformation. Then we
>finally have the Chinese aspect, i.e., to propose
>composite figures as an ideogram, a cultural ideogram
>which strengthens the force of presentation in poetry.
>       What do you think?
>
>
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