Collaborator: Ezra Pound, Translation, and Appropriation

This article discusses a number of Pound's poetic works, including Homage to Sextus Propertius, Hugh Selwyn Mauberley, and selected cantos, in relation to the practice of collaborative translation undertaken by numerous modernist authors. In Pound's case, such collaboration takes the form, in the main, of a creative partnership with poets central to his conception of the ‘Tradition’, for example, Homer and Propertius. In Pound's hands, the source text is ‘made new’ for a modernist target culture by means of strategies allied to his development of a poetics of appropriation, beginning with his composition of the Malatesta Cantos, in 1922–23. Pound's collaborative engagement with pre-existing texts, or ‘found materials’, is compared in detail to the notion of ‘translation as displacement’ developed in the recent conceptual writing of Kenneth Goldsmith, in particular, his multi-lingual Against Translation. This comparative reading, it is argued, assists in an appraisal of aspects of the politics of The Cantos, specifically the growing anti-capitalism of Pound's epic in the inter-war years.

O mito de Enéias e a Elegia de Propércio

This essay intends to stablish the myth of Aeneas as the reason of some dificulty that the elegiacs found to touch their very theme-love, as seen in the work of Sextus Propertius. Considering that his leaving Dido behind signifies the overcoming of Love’s vulnerability in the Roman civilization, it’s shown that once for all the higher designs of Jupiter are preferable and more important even when Love may come from a goddess, from so near a person to Aeneas as his mother Venus. Then it's shown that there’s a necessary link between the elegiac mode and peace as a atheme and as a manner of opposing to the epic war-like subjects. Naive as it may be, Love belongs to the divine sphere in which everything alive is preserved; this divinity, that the Romans received from the Greeks. Is what is most cared to by the elegiacs, in the person and figure of Venus, mother of Julia race.

Appropriating Images—Embodying Gods

This chapter examines a text by the Augustan poet Sextus Propertius, Propertius 4.2, which has a god speak about himself in the first person. This text analyzes the identity of god and image. On the one hand, the god—who introduces himself by the name of Vertumnus—claims an identity independent of situational appropriations and even of his image. He implicitly claims an identity within different material shapes, including statuettes and paintings. In the fiction of the speech, the god claims such an identity by remembering other and former images. However, he remains subject to them; he is bound to concrete appropriations. Similarly, Vertumnus's physical movements are located in the imagination of observers, where the manifestation of the “present” is extended into imagined sequences of actions.

Leitura do Poema II, 26 de Propércio

<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span>Breve tentativa de compreensão de um dos mais interessantes poemas do elegíaco latino Sexto Propércio. Pauta-se a leitura no recolhimento de recursos estilísticos pelos quais o poeta amplia a abrangência semântica da obra. Contudo, não se trata de propor uma interpretação para o poema, mas de fazer um apanhado de possibilidades.</span></p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><strong>Readings on Propertius’ Poem II, 26 </strong></p><p><strong>Abstract </strong></p><p><span>Brief comprehension attempt of one of the most interesting Latin elegiac poems of Sextus Propertius. The analysis of the poem is founded on a collection of stylistic features in which the poet broadens the semantic scope of his work. However, the aim of this paper is not to propose an interpretation of the poem, but present an outline of possibilities. </span></p><p><span><strong>Keywords:</strong> Elegy; Latin Literature; Propertius; shipwreck. </span></p></div></div></div><p><span> </span></p></div></div></div>