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The Chinese Written Character as a Medium for Poetry: A Critical Edition, by Ernest Fenollosa, Ezra Pound, Jonathan Stalling, Lucas Klein
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First published in 1919 by Ezra Pound, Ernest Fenollosa's essay on the Chinese written language has become one of the most often quoted statements in the history of American poetics. As edited by Pound, it presents a powerful conception of language that continues to shape our poetic and stylistic preferences: the idea that poems consist primarily of images; the idea that the sentence form with active verb mirrors relations of natural force. But previous editions of the essay represent Pound's understanding-it is fair to say, his appropriation-of the text. Fenollosa's manuscripts, in the Beinecke Library of Yale University, allow us to see this essay in a different light, as a document of early, sustained cultural interchange between North Americaand East Asia.Pound's editing of the essay obscured two important features, here restored to view: Fenollosa's encounter with Tendai Buddhism and Buddhist ontology, and his concern with the dimension of sound in Chinese poetry.This book is the definitive critical edition of Fenollosa's important work. After a substantial Introduction, the text as edited by Pound is presented, together with his notes and plates. At the heart of the edition is the first full publication of the essay as Fenollosa wrote it, accompanied by the many diagrams, characters, and notes Fenollosa (and Pound) scrawled on the verso pages. Pound's deletions, insertions, and alterations to Fenollosa's sometimes ornate prose are meticulously captured, enabling readers to follow the quasi-dialogue between Fenollosa and his posthumous editor. Earlier drafts and related talks reveal the developmentof Fenollosa's ideas about culture, poetry, and translation. Copious multilingual annotation is an important feature of the edition.This masterfully edited book will be an essential resource for scholars and poets and a starting point for a renewed discussion of the multiple sources of American modernist poetry.
- Sales Rank: #503951 in Books
- Published on: 2010-11-01
- Released on: 2010-08-16
- Original language: English
- Number of items: 1
- Dimensions: 7.90" h x .80" w x 9.00" l, 1.14 pounds
- Binding: Paperback
- 256 pages
Review
How can we come to a new understanding of Chinese classical literature when our inherited view of it is so powerfully shaped and conditioned by a 'strong misreading,' which is a vital part of our own poetic language? This question afflicts Haun Saussy in his extraordinary introduction to a new critical edition of The Chines Written Character as a Medium for Poetry, which presents both the edited and original versions of Fenollosa's essay.
Scholarly edition that combines the first full publication of Fenollosa's essay as he wrote it, along with the 1919 version of the essay as altered by Ezra Pound.
About the Author
ERNEST FRANCISCO FENOLLOSA (1853-1908) taught at the Imperial University of Tokyo. In 1890 he became Asian curator at the Boston Museum of Fine Arts.
EZRA POUND (1884-1972) was a leading Modernist poet and the driving force behind Imagism and Vorticism.
HAUN SAUSSY is Bird White Housum Professor of Comparative Literature at Yale University.His books include The Problem of a Chinese Aesthetic and Great Walls of Discourse and Other Adventures in Cultural China.
JONATHAN STALLING is Assistant Professor of English at the University of Oklahoma. He is a co-editor of The Chinese Written Character as aMedium for Poetry: A Critical Edition (Fordham).
LUCAS KLEIN is a graduate student in East Asian Languages and Literatures at Yale University.
Most helpful customer reviews
11 of 13 people found the following review helpful.
Presents Pound's own edited version of Fenollosa's essay including notes and plates
By Midwest Book Review
Influences on the foundation American poetics have long quoted Ernest Fenollosa's essay on the Chinese written language which was first published in 1919 by the legendary Ezra Pound. "The Chinese Written Character as a Medium for Poetry" newly re-edited by the team of Haun Saussy, Jonathan Stalling and Lucas Klein presents Pound's own edited version of Fenollosa's essay including notes and plates. This edition showcases two obscured but important views: Fenollosa's encounter with Tendai Buddhism and Buddhist ontology, and his concern with the dimension of sound in Chinese poetry. This technical style book, enhanced with the inclusion of photos, explanations, notes and discussion, includes the first full publication of Fenollosa's essay as he wrote it. A scholarly review of Fenollosa's essay as edited and originally presented is a especially recommended to the attention of scholars and poets. Also highly recommended for academic and private reference library collections on the multiple sources of American Modernist poetry, "The Chinese Written Character as a Medium for Poetry" is an impressive work of scholarship and an informative work commended to non-specialist general readers with an interest in the subject of Chinese writings and poetry.
4 of 4 people found the following review helpful.
Blurry ideograms in Kindle version
By Toph
Before downloading the kindle version, be sure to try a sample. I found the Chinese characters in the sample to be blurry and difficult to read. This problem needs to be addressed before the kindle version is worth buying.
1 of 1 people found the following review helpful.
Chinese characters: meanings or sounds?
By misteraaron
Anyone who has studied CJK orthography (Chinese, Japanese, old Korean writing systems) will likely enjoy reading this book. Fenollosa and Pound didn't quite get things right, about a century ago, by overemphasizing the form of the Chinese characters and what meanings were embedded. Well, they look pretty silly (moreso Pound's bombastic commentary) in a lot of what they wrote, but it is understandable: it is hard to not ascribe *meanings* to the characters (if you come from an alphabetical background). However, many of the modern linguists like George Kennedy and more recently Marshall J. Unger have seemingly made it their duty to attack any discussion on the semantic functions of the characters. Though I agree with Kennedy and Unger on the primacy of their phonetic function, I believe they overreact, and it is nice to see contemporary scholars like Saussy et al. revisiting Fenollosa's musings for what they are: a contemplative, incomplete draft on the nature of CJK writing.
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