Chapter

/ Patterned Harmony: Buddhism, Sound, and Ernest Fenollosa's Poetics of Correlative Cosmology

Jonathan Stalling

in Poetics of Emptiness

Published by Fordham University Press

Published in print May 2010 | ISBN: 9780823231447
Published online January 2012 | e-ISBN: 9780823241835 | DOI: http://dx.doi.org/10.5422/fordham/9780823231447.003.0004

Series: American Literatures Initiative

/  Patterned Harmony: Buddhism, Sound, and Ernest Fenollosa's Poetics of Correlative Cosmology

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This chapter looks into distinct set of cultural engagements within Fenollosa's transpacific imaginary, which surface in the lost half of Fenollosa's “The Chinese Written Character as a Medium for Poetry.” When Ezra Pound published Fenollosa's short essay in 1936, he revised and published only one half of Fenollosa's original essay. The second half deals largely with the sounds of Chinese formal prosody and theories of how to translate and transliterate these sounds into English poetry. This finding is important because critics have long censured Fenollosa for his choice to ignore sound in his discussion of Chinese poetry. This chapter, therefore, explores Fenollosa's ideas of Chinese prosody and, by extension, examines how his theories of translation and transliteration extend from his understanding and triangulation of Western Romanticism, traditional Chinese philosophy, poetics, and his Japanese Buddhist investments (the elements of Fenollosa's hybrid Hegelian Tendai Buddhism).

Keywords: Chinese formal prosody; English poetry; Chinese poetry; Western Romanticism; Japanese Buddhist investments

Chapter.  13197 words.  Illustrated.

Subjects: Literary Studies (Poetry and Poets)

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