H.D. and A.C. Swinburne: Decadence and Modernist Women's Writing

Laity, Cassandra

doi:10.2307/3177940

Cited by 7 publications

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“…drew strategically on the finde-siècle movement of Decadence in which statuary had served to articulate male-male desire. 17 In Paint It Today, H.D. describes Midget as a sister of Charmides, referring to Oscar Wilde's poem "Charmides" (1881) in which statue love comes to signal male homoeroticism.…”

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The Queer Materiality of History: H.D., Freud and the Bronze Athena

Funke

2019

Genders and Sexualities in History

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This chapter presents a new reading of the relationship between modernist author H.D. (Hilda Doolittle) and Sigmund Freud. It focuses on the bronze statuette of Athena that was part of the psychoanalyst’s collection of antiquities and played an important role in his analytical sessions with H.D. in 1933–34. The chapter demonstrates that the material qualities of bronze took on a specific meaning in H.D.’s writings, especially Tribute to Freud (1956). In contrast to white marble, which was linked to transcendence and abstraction, the materiality of bronze drew attention to the difficulties of reaching back to the past. H.D. and Freud shared a queer attachment to the partially damaged bronze statuette, which was associated with the inevitable losses of history as well as the possibility of anachronistic survival. As such, the ancient object facilitated dialogue between H.D. and Freud and their literary and scientific projects.

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The Queer Materiality of History: H.D., Freud and the Bronze Athena

Funke

2019

Genders and Sexualities in History

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“A Consciousness Disjunct”: Sex and the Writer in Ezra Pound's Hugh Selwyn Mauberley

Nicholls

1994

J. Am. Stud.

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Hugh Selwyn Mauberley occupies an odd place in the context of the poet's work as a whole, partly because it has produced a range of widely conflicting readings, but also because Pound himself seems to have gone to quite unusual lengths to authorise one particular interpretation of the poem. Take his notoriously unhelpful comment in a letter to Thomas Connolly, that “Mauberley buries E. P. in the first poem; gets rid of all his troublesome energies.” Pound seems to ignore the powerful elements of social critique in the first main section of the poem, insisting instead on the text's complete dissociation of the aesthete Mauberley from the “active” E. P. The same way of construing the poem as simple satire can be found in a 1935 letter to Basil Bunting where Pound observes:Mauberley: sure, the picture of ANY young man in England. Eviscerated, VOID of ALL creative impulse. EP done a picture of what ANY young educated bloke wd have SEEN, and all he would have done about it IF he had no guts, balls, viscera, PREcisely.While Pound's dismissive handling of the poem in his later years is closely bound up with his insistence that “I'm no more Mauberley than Eliot is Prufrock,” recent critical discussion has tended to emphasise connections between the two main “characters,” with Stephen Adams, for example, arguing convincingly that “There is…no necessary reason to summon a speaker other than ‘Pound’ at any point in Hugh Selwyn Mauberley.”

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Apes and familiars: Modernism, mimesis and the work of Wyndham Lewis

Nicholls

1992

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H.D. and A.C. Swinburne: Decadence and Modernist Women's Writing

Cited by 7 publications

References 0 publications

The Queer Materiality of History: H.D., Freud and the Bronze Athena

The Queer Materiality of History: H.D., Freud and the Bronze Athena

“A Consciousness Disjunct”: Sex and the Writer in Ezra Pound's Hugh Selwyn Mauberley

Apes and familiars: Modernism, mimesis and the work of Wyndham Lewis

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