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Asignatura: Crítica anglosaxona, Profesor: Jose Alvarez, Carrera: Filologia/Estudis Anglesos, Universidad: UA
Tipo: Apuntes
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Unit 2 Modern times. Ezra Pound.
Two periods, from 1910 to 1914 we have the Period of aggressive dismantling of Victorianism. From 1920 to 1930 we have a Period of fullfillment, rightness, a period of fruits of Modernist art. This period gave the greatest English critics of English criticism, T.S.Eliot, I.A. Richards. F.R Leavis and William Empson were the greatest critics of the period, they contributions were prepared before the war by other critics. Ezra pound, T.E Hulme and Wyndham Lewis were the great critics of the first period. Three movements contributed at that time to sweeping away the last remains of Victorianism in England. -Imagism. Founded in 1912, three people participated on the foundation of it: Ezra Pound, H.D. (Hilda Doolittle) and Richard Aldington. Was a rebellion against Romanticism, a strong anti-romantic movement. The great break with Romanticism takes place in Imagism, not in the Victorian times. It was based on the aesthetic philosophy conducted by T.E. Hulme, which was anti-sentimental. An Imagist poem is short, they focused on the composition of very short poems, not like the long Victorian poems. The poems are composed by very short lines which are very musical and completely aliened to metrical regularity. They had a complete rejection of abstraction (Things that cannot be perceived with senses, love, happiness...) they thought it was enough to speak about these abstract things and wanted complete visuality in their poems, things that can be perceived by the senses. They thought poetry was the victim of rethoric, pomposity, an excess of words that hid the meaning of the poem. The devices used by imagism are images, metaphors, simils, any device that allows the poet to introduce visuality in the poem. -Vorticism. Founded in 1914 by Ezra Pound and Wyndham Lewis. The idea of Vorticism is to supply movement, energy, dynamism, violence and aggression to the idea of imagism that was basically static. They added new dimensions to the idea of image. Vorticism was articulated around a term, Blast, like their magazine which was called Blast: Te review of the great English Vortex. They only published 2 issues, between the publication of the first Blast and the second started the outbreak of WWI. This movement contributes dynamism to images, movement because they thought images of Imagism were too static, anti-sentimental movement, aggressive in a very hostile way and they wanted solidness, strength. Vorticism is not only poetic, but an artistic movement. Vorticism celebrates the machine, you can only love violence before real violence takes place. They established a curious dycothomy that makes art and nature incompatible, they opposed to the idea of the Romanticism in which they thought of art as a way of life.
Nature: Confined, Organic, Rounded, Imprecise. Art: Accurate, Mechanic, Anglular, Precise. Life must be eliminated from art, art and humanity should not be mixed up. La deshumanización del arte (Ortega i Gasset)
The differences between Imagism and Vorticism are that they are concrete and specific artistic movements of the beginning of the XX century in England, Modernism is a cover term, which has a very general meaning, Modernism refers to all the specific movements that at the beginning of the XX century contributed to sweeping away Victorianism and the XIX century thinking. Refers to a group of ephimeral movements like Vorticism, Imagism or Cubism that made an effort to 'destroy' Victorianism and Romanticism. Also to differentiate them, Imagism and Vorticism were ad hoc movements (created in a particular period of time to accomplish a particular purpose, with some rules). All these authors were very arrogant, with strong personalities, would have refused to be called collectivelly Modernists. That's why the term Modernism can only be used retrospectively.
Ezra Pound He was an innovator, from the artistic point of view and personal point of view, his motto was 'Make it new', so he was an innovator, his critical writings were unconventional, innovative and intransferible.He's characterised for being unacademic. He wrote a lot of criticism, but even that, he considered criticism a very low second class activity. Unlike Matthew Arnold he thought that creation was over criticism. 'The value of criticism in proportion to actual making is less than one to one hundred' But he thought that the criticism made by artists, those who have the secret of artistic creation, were more valid, also these criticism should be aimed to make good poetry 'The only critical formulations that rise above this level are the specifications made by artists who later put them into practice and achieve demonstration.' He attributes to functions to criticism, one is an a priori function (before creation) that is to teach young people how to write poetry well. The a posteriori function (after creation) that is to discriminate which poem is good or bad. 'In the end the critic can only say 'I like it' or 'I am moved' or something of that sort' Ezra Pound's criticism is a collection of recipes so that young people can try better and in order to discriminate what's good and what's bad. According to the first function of his criticism the critic is like a teacher, and according to the second the critic is like an anthologyst. Ezra Pound hated academic critics because they were influenced by other academic critics and rely too much on previous opinions, so they couldn't be originals and think for themselves. 'The only really vicious criticism is the academic criticism of those who [...] refuse to say what they think, if they do think, and who quote accepted opinions; these men are the vermin, their treachery to the work of the past is as great as that of the false artist to the present.'
Pound is completely indifferent on three things: -History of criticism.