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Ezra Pound discussion list of the University of Maine <[log in to unmask]>
"Robert E. Kibler" <[log in to unmask]>
Sat, 9 May 1998 20:26:40 -0400
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Robert E Kibler <[log in to unmask]>
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On Sat, 9 May 1998 13:24:04 -0400 wrote...
>In the spirit of getting something other that "hey, I didn't
>get the message that said he didn't get the message about the
>message she didn't get" in my mailbox today...
Since so much of what you mention could be explained as the result of more
obvious influences on Pound (primitivism identified in work of Frazer and Levy
Bruhl, Blast-Futurist link, Chinese language theory and aesthetics based on
Chinese linguistics, what specifically in the Cantos might come exclusively
from Pound's interaction with the Russian avante garde, and writers such as
Khlebnikov?  And who is Khlebnikov?
Wasn't Kandinsky russian? Brancusi was a russian-influenced Slav who worked
with folk traditions. Both pretty avante garde, both important to early Pound.
>Does anybody have any knowledge of Pound's historical interaction
>with the early 20th century (1905-1930) Russian avant garde? It
>seems as if one might compare some of Pound's lyric poetry in the
>personnae to the experiments of the neoprimitivists (e.g./ linguistic
>experiments, "folk" and pseudo-academic etymologies in his treatment
>of Chinese characters, his word coining (kenning) in his interactions
>with Old English texts (The Seafarer, e.g.).) And the Cantos themselves
>seem to share a lot of their ideology with neoprimitivist/futurist
>writers such as V. Khlebnikov. While the question of their aesthetic
>relationships is probably a cloudy one, I wonder if there's anything
>lying around the Pound archives to suggest that he read/met with/
>corresponded with some of the big folk in Russia at the time.
>-- Simon DeDeo
Robert E. Kibler
Department of English
University of Minnesota
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                fortunatus et ille, deos qui novit agrestis,
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