Titlebook: American Modernist Poetry and the Chinese Encounter; Zhang Yuejun,Stuart Christie Book 2012 The Editor(s) (if applicable) and The Author(s

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Fantasy

https://doi.org/10.1007/978-3-642-18575-5orary poets.. Significantly, the great majority of attendees were Chinese scholars and students eager to bring their English-language research on American and American-based poets and poetry (ranging from Langston Hughes to Elizabeth Bishop, from W. H. Auden to Allen Ginsberg) into dialogue with the

沉着

https://doi.org/10.1007/978-3-662-48862-10, their anguished poetry might have appeared a world away from the frequently lofty or idyllic works of American modernist poetry—from Ezra Pound’s . to Robinson Jeffers’s . or William Carlos Williams’s .. Free to explore London or Szechuan or to imagine their own country in the comfort and splendo

效果

,Die angelsächsischen Grundlagen,ealing that William Carlos Williams’s library included copies of H. T. Tsiang’s 1933 . and 1935 ., both “inscribed to WCW from the author.”. The endnote indicates that these works in Williams’s library are significant for “showing Williams as a follower of Far Eastern culture.”. Tsiang’s two books,

植物茂盛

Mikroökonomie: Die weitere Entwicklunga specific modernist critique of banking as usury. I hope a second visit pays dividends, insofar as Pound’s mistranslations are themselves illustrative instances of a usurious translation practice. He rejects usury as an ideology, only to apply it aggressively as a semiotic practice. Remarkably, in

Horizon

conduct

ventilate

常到

碎片

Die Geschichte des ökonomischen Denkensy is tactfully linked to the control and activity of the mind. Furthermore, her poems—pregnant as they are with spiritual awareness and insight into the human psyche—move beyond this early modernist concern for imagery. Take her short poem “The Clock” as an example: