649 research outputs found
Touching Freud's dog: H.D.'s tactile poetics
No full text"Do not touch me", Frau Emmy warns Freud in 1889. "Do not touch", Freud echoes in 1933. This time, he is referring to his pet chow, Yofi, warning H.D. that "she snaps - she is very difficult with strangers". Examining the prohibition in light of work by Jacques Derrida and Jean-Luc Nancy, this article charts the withdrawal that always interrupts touch. Despite Freud's taboo, however, H.D.'s writing seeks to make contact in strange and unnerving ways. Developing Julia Kristeva's account of the semiotic, this paper proposes a literature of touch. Reading H.D.'s poems, alongside Tribute to Freud, and her letters, the author demonstrates that H.D.'s poetics are always haunted by the very (im)possibility of contact
Asphodel H.D.
No full textDESTROY, H.D. had pencilled across the title page of this autobiographical novel. Although the manuscript survived, it has remained unpublished since its completion in the 1920s. Regarded by many as one of the major poets of the modernist period, H.D. created in Asphodel a remarkable and readable experimental prose text, which in its manipulation of technique and voice can stand with the works of Joyce, Woolf, and Stein; in its frank exploration of lesbian desire, pregnancy and motherhood, artistic independence for women, and female experience during wartime, H.D.\u27s novel stands alone. A sequel to the author\u27s HERmione, Asphodel takes the reader into the bohemian drawing rooms of pre-World War I London and Paris, a milieu populated by such thinly disguised versions of Ezra Pound, Richard Aldington, May Sinclair, Brigit Patmore, and Margaret Cravens; on the other side of what H.D. calls the chasm, the novel documents the war\u27s devastating effect on the men and women who considered themselves guardians of beauty. Against this riven backdrop, Asphodel plays out the story of Hermione Gart, a young American newly arrived in Europe and testing for the first time the limits of her sexual and artistic identities. Following Hermione through the frustrations of a literary world dominated by men, the failures of an attempted lesbian relationship and a marriage riddled with infidelity, the birth of an illegitimate child, and, finally, happiness with a female companion, Asphodel describes with moving lyricism and striking candor the emergence of a young and gifted woman from her self-exile. Editor Robert Spoo\u27s introduction carefully places Asphodel in the context of H.D.\u27s life and work. In an appendix featuring capsule biographies of the real figures behind the novel\u27s fictional characters, Spoo provides keys to this roman à clef.https://digitalcommons.law.utulsa.edu/books/1017/thumbnail.jp
Modernist women's memoir, war and recovering the ordinary : H.D.'s The Gift
No full textA literary criticism of the book "The Gift," by H.D. is presented. The author discusses the contrast of war with everyday life in literature and the depiction of war by women authors. She comments how the book, a memoir of H.D.'s experiences during the bombing of London, England in World War II, illustrates H.D.'s concepts of creativity and psychological healing
Thought and Vision: A Critical Reading of H.D.\u27s Poetry
No full textThis book presents a chronological study of Hilda Doolittle\u27s poetic quest for a synthesis between objective reality and spirituality. The author demonstrates how H.D. shifts the viewpoint of familiar myths to create a new mythology of the self-transforming powers within women and goddesses--Excerpt from Choice book review
Η πρόσληψη του Ευριπίδειου έργου στην ποιητική της H.D.
No full textThis doctoral thesis seeks to unravel the breadth and depth of H.D.’s lifelong
engagement with the plays of the Athenian dramatist Euripides. Though he is by no means
the only classical Greek author H.D. studies and translates during her career, I argue that
his dramatic oeuvre becomes an essential, multivalent source that helps her construct her
own poetic platform. The classical Modernist tendency to return to the past and translate
from the wide-ranging repertory of the classics, becomes a systematic and continuous
practice for H.D. Through her translations of Euripides’ plays that cover the time span of
1915-1956, she produces highly experimental renderings of choral odes, fragments, and
entire plays written by the Attic playwright. Simultaneously, she extends his plays beyond
the given generic realms of lyric, drama, and epic, while functioning in similar ways the
Greek Classical poets themselves worked within their own tradition. Thus, Euripides’
avant-gardism engenders and nurtures her own transgressive poetics.
Working progressively with lyric poetry, the first period of H.D.’s involvement
with Euripides evolves from a series of experimental choral and dramatic translations into
a systematic quest into several territories of ancient Greek literature and mythology. As her
translations acquire the freedom to become creative renderings borrowing from several
mythological realms such as the cycle of the Trojan War to Hippolytus and Ion, territories
on love, identity and autocthony, H.D. is challenged by the Iliadic epic and Helen,
allegedly the Causa Belli and victim of the Trojan War. In this thesis, I demonstrate how
H.D. exploits systematically Euripides’ radical interpretations of myth, poetic tropes such
as image, voice, the polyphonic choral voice, and intertextuality. Key texts for my
exploration are her partial translations of Iphigeneia in Aulis, Hippolytus, Hecuba, Electra-
Orestes, and The Bacchae, including her versions of Hippolytus, Ion, and Helen. Using as
interpretive tools a variety of classical scholarship and H.D. studies, I show how H.D.
constructs her own avant-garde, cross-generic texts such as the choral poem, prose-choros,
the critical essay, and the prose captions / interludes and how she uses them in her long
poems Hippolytus Temporizes, Euripides’ Ion, and Helen in Egypt. These new hybrid texts
simultaneously embody and expand the Euripidean drama while furthering her own
poetics.331 σ
H.D.: The politics and poetics of the maternal body
Full text linkThis dissertation reads the work of modernist poet H.D. (Hilda Doolittle, 1886-1961) through the lens of the maternal body, which was systematically repressed and concealed in the first half of the twentieth century despite the very public nature of women\u27s reproductive issues in this period. H.D.\u27s era was one which saw the changing legal status of women, the medicalization of childbirth marked by its movement from the home to the hospital, the entry of women into the medical profession, the mainstream popularity of eugenics, the development of the psychoanalysis, and the rise of the technology of film. H.D.\u27s life and work provides a unique opportunity to bring together these major events of twentieth-century history with literary studies, not only because of H.D.\u27s connections to the Imagist movement, avant-garde cinema, and psychoanalysis, but also because of her personal experiences as a childbearing woman, a bisexual mother, and a patient of Freud. While her personal and social situation kept her on the fringes of modernist literary history throughout her lifetime, the variety of her pursuits positions her as a quintessential modernist figure. Through my sustained investigation of H.D., I argue that the childbearing woman, in all her functional physiological capacities, can be a central author figure. On the broadest level, my work interrogates the relationship between the medical and technological advances of the early twentieth century and the literature of the modernist period. By focusing primarily on H.D., I demonstrate how modernist literature grows out of an individual poet\u27s continual personal contact with the changing technologies and medical institutions of her time. This interface between poet and culture is very much informed by H.D.\u27s social and biological status as a woman. Each of my chapters takes as its theme a particular possibility of female reproduction: stillbirth, birth, abortion, and pregnancy and lactation. I not only demonstrate how the socio-historical situation of the poet-as-childbearing-woman shapes the production of H.D.\u27s modernist writing but also I reveal how these themes exist as pervasive anxieties in modernist culture
At War with the Classics. H.D.'s Rewriting of Euripides
No full textInternational audienceAmerican poet H.D., born Hilda Doolittle, spent a large part of her poetic career translating, revising and reinterpreting Ancient Greek literature, more particularly the plays of Euripides. Over the years, what started off as a congenial dialogue with the classic tradition infused with psychoanalysis gradually became a critique of warmongering epic poetry. In Hippolytus Temporizes (1927), H.D. imaginatively tries to bring to light the Ur-text of Euripides' play--namely, the lost tragedy Hippolytus Veiled in which Phaedra unabashedly confesses her lust to a bewildered audience, leading Hippolytus to cover his face--and with it the raw power of desire which the demands of decorum had silenced. By unearthing the roots of passion in Greek mythology, the author-cum-translator retrieves that force of the tragic psyche which has to do with fury, whether in love or vengeance, a force later eclipsed by Plato's emphasis on reason over desire. Thus, H.D.'s aim, if only as part of a dialectic process, is to break the bounds of what Plato termed "sophrosyne" (Charmides), i.e. the decency which one should observe with respect to one's gender, age and status. "Sophrosyne," a form of propriety and self-restraint coming from self-knowledge, is replaced by obscenity in H.D.'s revisionist rewriting as Phaedra voices her hate of the Greek ideals of measure and separation. The author's immersion in psychoanalysis led her to dissociate self-knowledge from mere repression and release the expressive force of desire within the language of tragedy, thereby recapturing a sense of urgency resulting in broken stress patterns. That gesture of recovery is not proper to psychoanalysis, as H.D.'s 1937 translation of Ion relies on metaphors drawn from archaeology to echo Walter Benjamin's concerns about redeeming the past. In her modern rendition interspersed with editorial comments, H.D. attempts to salvage and revive the "inviolable spirit" of places destroyed by religious zealots and natural disasters. After the Second World War, the same concern with restoration led her to write Helen in Egypt (1961), partly as a response to Pound's Cantos, partly to indict the male-centred epic tradition of warlike heroism. However, H.D.'s rewriting of Euripides' canon lays bare the crux of the problem when it comes to reassessing classical "fury"--how to appraise the violence of thumos (passion) and epithumia (appetite) without appearing to vindicate that sense of warlike frenzy embodied by Ares? From the Trojan War to World War II, Helen in Egypt examines conflict in the light of Greek tragedy, so that H.D.'s practice of rewriting becomes a way to enlarge the inner conflicts portrayed in her earlier poetry into a vision of war as the consequence of a male-dominated epic tradition. Thus, by rewriting Euripides, H.D. explores the palimpsestic layering of the unconscious highlighted in Civilization and its Discontents and uncovers the violent subtext informing the Greek ethos of self-restraint.Hilda Doolittle (H.D.) a passé une grande partie de sa carrière poétique à traduire et réinterpréter la littérature grecque classique, notamment les pièces d'Euripide. Au fil des ans, ce qui avait commencé comme un dialogue avec la tradition classique s'est mué en critique de la poésie épique belliqueuse. Dans Hippolytus Temporizes (1927), H.D. tente de mettre au jour le texte originel de la pièce d'Euripide, à savoir la tragédie perdue Hippolyus Veiled, où Phèdre exprimait ouvertement la puissance d'un désir que les exigences de la bienséance avaient passé sous silence. En revenant aux origines de la passion dans la mythologie grecque, l'auteur et traductrice renoue avec cette force du psychisme tragique en rapport avec la fureur amoureuse ou vengeresse, plus tard éclipsée par l'empire de la raison sur le désir. Ainsi, H.D. s'en prend à ce que Platon nomme "sophrosyne" (retenue, respect des convenances). Dans la réécriture de H.D., la "sophrosyne" fait place à l'obscénité lorsque Phèdre clame sa haine des idéaux grecs de mesure et de séparation. L'immersion de l'auteur dans la psychanalyse l'a conduite à dissocier connaissance de soi et refoulement, pour libérer la puissance expressive du désir dans le cadre de la tragédie, retrouvant ainsi une forme d'urgence traduite par des schémas rythmiques saccadés. Dans sa traduction de Ion (1937), H.D.use de métaphores archéologiques pour faire écho aux propos de Walter Benjamin sur la rédemption du passé. Dans sa version, elle tente de redonner vie à "l'esprit inviolable" des lieux détruits par les zélotes religieux et les catastrophes naturelles. Après la Deuxième Guerre mondiale, la même volonté de restaurer le passé l'a conduite à écrire Helen in Egypt (1961), en partie pour répondre aux Cantos de Pound, en partie pour condamner la tradition épique de l'héroïsme belliqueux. De la Guerre de Troie à la Deuxième Guerre mondiale, Helen in Egypt examine le conflit à la lueur de la tragédie grecque, si bien que la pratique de la réécriture devient une façon d'envisager la guerre comme conséquence d'une tradition épique masculine. En récrivant Euripide, H.D. explore la nature feuilletée de l'inconscient telle qu'elle est évoquée dans Le Malaise dans la culture, et expose le fonds de violence qui informe l'éthique grecque de la retenue
Η πρόσληψη του ευριπίδειου έργου στην ποητική της H.D.
No full textThis doctoral thesis seeks to unravel the breadth and depth of H.D.’s lifelong engagement with the plays of the Athenian dramatist Euripides. Though he is by no means the only classical Greek author H.D. studies and translates during her career, I argue that his dramatic oeuvre becomes an essential, multivalent source that helps her construct her own poetic platform. The classical Modernist tendency to return to the past and translate from the wide-ranging repertory of the classics, becomes a systematic and continuous practice for H.D. Through her translations of Euripides’ plays that cover the time span of 1915-1956, she produces highly experimental renderings of choral odes, fragments, and entire plays written by the Attic playwright. Simultaneously, she extends his plays beyond the given generic realms of lyric, drama, and epic, while functioning in similar ways the Greek Classical poets themselves worked within their own tradition. Thus, Euripides’ avant-gardism engenders and nurtures her own transgressive poetics. Working progressively with lyric poetry, the first period of H.D.’s involvement with Euripides evolves from a series of experimental choral and dramatic translations into asystematic quest into several territories of ancient Greek literature and mythology. As hertranslations acquire the freedom to become creative renderings borrowing from several mythological realms such as the cycle of the Trojan War to Hippolytus and Ion, territories onlove, identity and autochthony, H.D. is challenged by the Iliadic epic and Helen, allegedly the Causa Belli and victim of the Trojan War. In this thesis, I demonstrate how H.D. exploits systematically Euripides’ radical interpretations of myth, poetic tropes such as image, voice, the polyphonic choral voice, and intertextuality. Key texts for my exploration are her partial translations of Iphigeneia in Aulis, Hippolytus, Hecuba, Electra-Orestes, and The Bacchae, including her versions of Hippolytus, Ion, and Helen. Using as interpretive tools a variety of classical scholarship and H.D. studies, I show how H.D. constructs her own avant-garde, crossgeneric texts such as the choral poem, prose-choros, the critical essay, and the prose captions / interludes and how she uses them in her long poems Hippolytus Temporizes, Euripides’ Ion and Helen in Egypt. These new hybrid texts simulta neously embody and expand the Euripidean drama while furthering her own poetics.Στη διδακτορική μου διατριβή εξετάζω την ισόβια σχέση της H.D. με τον τραγικό ποιητή Ευριπίδη και την συμβολή του στην μορφοποίηση και εξέλιξη της ποιητικής της. Ο πολυσχιδής διάλογός της με τον Ευριπίδη εκτυλίσσεται αρχικά στον στίβο της δημιουργικής μετάφρασης, ενός χώρου δηλαδή, o οποίος παίζει καθοριστικό ρόλο στην συνεχή ανανέωση και πορεία της ποιητικής της εν γένει. Η σχέση της με τον Ευριπίδη διαρκεί πάνω από σαράντα χρόνια και συνεισφέρει σημαντικά στην πρόσληψη των Κλασικών έργων, έναν από τους απαραίτητους πολιτισμικούς και καλλιτεχνικούς στόχους των Μοντερνιστών του πρώιμου εικοστού αιώνα. Η εργασία μου αποδεικνύει πως το ενδιαφέρον της H.D. για τα έργα του Ευριπίδη εκτείνεται πολύ πέρα από μια επιφανειακή περιέργεια για την κειμενική, αισθητική ή θεματολογική τους αξία. Μέσα από την έρευνα των μεταφράσεών της πάνω στο έργο του Έλληνα δραματουργού δείχνω πως η H.D. υφαίνει ένα πολύπλευρο υπόδειγμα (pattern) πάνω στο οποίο συγκροτείται ένα διακριτό σχήμα.Μέσα από την μελέτη μου στα έργα του Ευριπίδη έφτασα στα εξής συμπεράσματα:o Η Η.D. επιλέγει την τραγωδία ως είδος για τις μεταφράσεις της κάνοντας χρήση της ειδολογικής ευελιξίας του δράματος.o Το δράμα έχει άμεση σύνδεση με την λυρική ποίηση και το έπος. Το δράμα επίσης γεφυρώνει τα λογοτεχνικά είδη μεταξύ τους και υποστηρίζει ειδολογικά υβρίδια όπως το Παλίμψηστο, την Παλινωδία και τα νεωτεριστικά σχήματα της H.D. όπως το πεζό-χορικό, την χορική ακολουθία, το πεζό κεφαλίδα (prose caption) ως εισαγωγικό σχόλιο, ανάλυση, και κριτική σε ποιητικό έργο (Ίων).o Από το δράμα του Ευριπίδη επίσης εξετάζει τις παραλλαγές των μύθων (για παράδειγμα οι Ατρείδαι, ο Τρωΐκός πόλεμος), τις θεότητες και την πρόσληψή τους αποπρογενέστερα κείμενα H Η.D. αφομοιώνει τις τραγωδίες του Ευριπίδη σε μεγάλο μέρος του ποιητικού της έργου και το πολύπλοκο αυτό εγχείρημα της επιτρέπει να προχωρήσει την ποιητική της πέρα από τον Ευριπίδη επεκτείνοντας ταυτόχρονα το δραματικό του έργο.o Ο Έλληνας δραματουργός της δίνει τα στοιχεία μέσα από το μύθο, την διακειμενικότητα, την ρητορική, τα χορικά και την σχέση τους με άλλα συγγενή είδη ποίησης. Το έργο του παρεισφρύει σε κάθε είδος με το οποίο πειραματίστηκε η H.D., αναγεννά και ανανεώνει τις πηγές της, και της δίνει το υλικό για να σχηματίσει την δική της –μεταφρασμένη- Ελληνικότητα
Author Co-Citation Analysis (ACA): a powerful tool for representing implicit knowledge of scholar knowledge workers
Full text linkIn the last decade, knowledge has emerged as one of the most important and valuable organizational assets. Gradually this importance caused to emergence of new discipline entitled ―knowledge management‖. However one of the major challenges of knowledge management is conversion implicit or tacit knowledge to explicit knowledge. Thus Making knowledge visible so that it can be better accessed, discussed, valued or generally managed is a long-standing objective in knowledge management. Accordingly in this paper author co- citation analysis (ACA) will be proposed as an efficient technique of knowledge visualization in academia (Scholar knowledge workers)
At War with the Classics. H.D.'s Rewriting of Euripides
No full textInternational audienceAmerican poet H.D., born Hilda Doolittle, spent a large part of her poetic career translating, revising and reinterpreting Ancient Greek literature, more particularly the plays of Euripides. Over the years, what started off as a congenial dialogue with the classic tradition infused with psychoanalysis gradually became a critique of warmongering epic poetry. In Hippolytus Temporizes (1927), H.D. imaginatively tries to bring to light the Ur-text of Euripides' play--namely, the lost tragedy Hippolytus Veiled in which Phaedra unabashedly confesses her lust to a bewildered audience, leading Hippolytus to cover his face--and with it the raw power of desire which the demands of decorum had silenced. By unearthing the roots of passion in Greek mythology, the author-cum-translator retrieves that force of the tragic psyche which has to do with fury, whether in love or vengeance, a force later eclipsed by Plato's emphasis on reason over desire. Thus, H.D.'s aim, if only as part of a dialectic process, is to break the bounds of what Plato termed "sophrosyne" (Charmides), i.e. the decency which one should observe with respect to one's gender, age and status. "Sophrosyne," a form of propriety and self-restraint coming from self-knowledge, is replaced by obscenity in H.D.'s revisionist rewriting as Phaedra voices her hate of the Greek ideals of measure and separation. The author's immersion in psychoanalysis led her to dissociate self-knowledge from mere repression and release the expressive force of desire within the language of tragedy, thereby recapturing a sense of urgency resulting in broken stress patterns. That gesture of recovery is not proper to psychoanalysis, as H.D.'s 1937 translation of Ion relies on metaphors drawn from archaeology to echo Walter Benjamin's concerns about redeeming the past. In her modern rendition interspersed with editorial comments, H.D. attempts to salvage and revive the "inviolable spirit" of places destroyed by religious zealots and natural disasters. After the Second World War, the same concern with restoration led her to write Helen in Egypt (1961), partly as a response to Pound's Cantos, partly to indict the male-centred epic tradition of warlike heroism. However, H.D.'s rewriting of Euripides' canon lays bare the crux of the problem when it comes to reassessing classical "fury"--how to appraise the violence of thumos (passion) and epithumia (appetite) without appearing to vindicate that sense of warlike frenzy embodied by Ares? From the Trojan War to World War II, Helen in Egypt examines conflict in the light of Greek tragedy, so that H.D.'s practice of rewriting becomes a way to enlarge the inner conflicts portrayed in her earlier poetry into a vision of war as the consequence of a male-dominated epic tradition. Thus, by rewriting Euripides, H.D. explores the palimpsestic layering of the unconscious highlighted in Civilization and its Discontents and uncovers the violent subtext informing the Greek ethos of self-restraint.Hilda Doolittle (H.D.) a passé une grande partie de sa carrière poétique à traduire et réinterpréter la littérature grecque classique, notamment les pièces d'Euripide. Au fil des ans, ce qui avait commencé comme un dialogue avec la tradition classique s'est mué en critique de la poésie épique belliqueuse. Dans Hippolytus Temporizes (1927), H.D. tente de mettre au jour le texte originel de la pièce d'Euripide, à savoir la tragédie perdue Hippolyus Veiled, où Phèdre exprimait ouvertement la puissance d'un désir que les exigences de la bienséance avaient passé sous silence. En revenant aux origines de la passion dans la mythologie grecque, l'auteur et traductrice renoue avec cette force du psychisme tragique en rapport avec la fureur amoureuse ou vengeresse, plus tard éclipsée par l'empire de la raison sur le désir. Ainsi, H.D. s'en prend à ce que Platon nomme "sophrosyne" (retenue, respect des convenances). Dans la réécriture de H.D., la "sophrosyne" fait place à l'obscénité lorsque Phèdre clame sa haine des idéaux grecs de mesure et de séparation. L'immersion de l'auteur dans la psychanalyse l'a conduite à dissocier connaissance de soi et refoulement, pour libérer la puissance expressive du désir dans le cadre de la tragédie, retrouvant ainsi une forme d'urgence traduite par des schémas rythmiques saccadés. Dans sa traduction de Ion (1937), H.D.use de métaphores archéologiques pour faire écho aux propos de Walter Benjamin sur la rédemption du passé. Dans sa version, elle tente de redonner vie à "l'esprit inviolable" des lieux détruits par les zélotes religieux et les catastrophes naturelles. Après la Deuxième Guerre mondiale, la même volonté de restaurer le passé l'a conduite à écrire Helen in Egypt (1961), en partie pour répondre aux Cantos de Pound, en partie pour condamner la tradition épique de l'héroïsme belliqueux. De la Guerre de Troie à la Deuxième Guerre mondiale, Helen in Egypt examine le conflit à la lueur de la tragédie grecque, si bien que la pratique de la réécriture devient une façon d'envisager la guerre comme conséquence d'une tradition épique masculine. En récrivant Euripide, H.D. explore la nature feuilletée de l'inconscient telle qu'elle est évoquée dans Le Malaise dans la culture, et expose le fonds de violence qui informe l'éthique grecque de la retenue
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