Professional Documents
Culture Documents
Full download Fragmentary Modernism: The Classical Fragment in Literary and Visual Cultures, c.1896 - c.1936 Goldschmidt file pdf all chapter on 2024
Full download Fragmentary Modernism: The Classical Fragment in Literary and Visual Cultures, c.1896 - c.1936 Goldschmidt file pdf all chapter on 2024
Full download Fragmentary Modernism: The Classical Fragment in Literary and Visual Cultures, c.1896 - c.1936 Goldschmidt file pdf all chapter on 2024
https://ebookmass.com/product/wisdom-in-classical-and-biblical-
tradition-michael-c-legaspi/
https://ebookmass.com/product/tombs-of-the-ancient-poets-between-
literary-reception-and-material-culture-nora-goldschmidt/
https://ebookmass.com/product/sydney-and-its-waterway-in-
australian-literary-modernism-1st-edition-meg-brayshaw/
https://ebookmass.com/product/cultures-of-diplomacy-and-literary-
writing-in-the-early-modern-world-tracey-a-sowerby/
eTextbook 978-0134382609 Starting out with Visual C#
(4th Edition)
https://ebookmass.com/product/etextbook-978-0134382609-starting-
out-with-visual-c-4th-edition/
https://ebookmass.com/product/etextbook-pdf-for-starting-out-
with-visual-c-5th-edition/
https://ebookmass.com/product/microsoft-visual-c-step-by-
step-9th-edition-john-sharp/
https://ebookmass.com/product/microsoft-visual-c-step-by-
step-10th-edition-john-sharp/
https://ebookmass.com/product/spain-the-united-states-and-
transatlantic-literary-culture-throughout-the-nineteenth-
century-1st-edition-john-c-havard-editor/
CLASSICAL PRESENCES
General Editors
.
CLASSICAL PRESENCES
Attempts to receive the texts, images, and material culture of ancient Greece and Rome
inevitably run the risk of appropriating the past in order to authenticate the present.
Exploring the ways in which the classical past has been mapped over the centuries
allows us to trace the avowal and disavowal of values and identities, old and new.
Classical Presences brings the latest scholarship to bear on the contexts, theory, and
practice of such use, and abuse, of the classical past.
Fragmentary Modernism
The Classical Fragment in Literary
and Visual Cultures, c.1896–c.1936
NORA GOLDSCHMIDT
Great Clarendon Street, Oxford, OX2 6DP,
United Kingdom
Oxford University Press is a department of the University of Oxford.
It furthers the University’s objective of excellence in research, scholarship,
and education by publishing worldwide. Oxford is a registered trade mark of
Oxford University Press in the UK and in certain other countries
© Nora Goldschmidt 2023
The moral rights of the author have been asserted
All rights reserved. No part of this publication may be reproduced, stored in
a retrieval system, or transmitted, in any form or by any means, without the
prior permission in writing of Oxford University Press, or as expressly permitted
by law, by licence or under terms agreed with the appropriate reprographics
rights organization. Enquiries concerning reproduction outside the scope of the
above should be sent to the Rights Department, Oxford University Press, at the
address above
You must not circulate this work in any other form
and you must impose this same condition on any acquirer
Published in the United States of America by Oxford University Press
198 Madison Avenue, New York, NY 10016, United States of America
British Library Cataloguing in Publication Data
Data available
Library of Congress Control Number: 2023942169
ISBN 978–0–19–286340–9
DOI: 10.1093/oso/9780192863409.001.0001
Printed and bound by
CPI Group (UK) Ltd, Croydon, CR0 4YY
Links to third party websites are provided by Oxford in good faith and
for information only. Oxford disclaims any responsibility for the materials
contained in any third party website referenced in this work.
For James, Clara, and Nina
Acknowledgements
Bits and pieces of this book have been on my mind for over a decade, and I have
benefitted from the conversation, encouragement, and expertise of several people
along the way. In London and Oxford, Miriam Leonard, Ingo Gildenhard,
Alessandro Schiesaro, Debbie Challis, David Ricks, Fiona Macintosh, and Oliver
Taplin inspired me to grow the project when it was just the seed of an idea. In
Durham, I benefitted from the help of several wonderful colleagues: Amy Russell
and Edmund Thomas tracked down elusive pieces of material culture; Anna
Judson was generous with her extensive knowledge of Knossos; Andrea Capra
kindly put me in touch with Luigi Lehnus who shared his expertise on Greek lyric;
Martina Piperno was a thoughtful respondent to a paper I presented at the Centre
for Visual Arts and Culture, and Christina Riggs a probing chair. I am especially
grateful to Tom Stammers, whose friendship, encouragement, and knowledge of
museums and collecting have been a genuine pleasure; to Jason Harding, who has
been nothing but encouraging across the disciplinary divide (down to reading a
full draft of the manuscript), and to Roy Gibson, who acted as my mentor and was
unstintingly supportive and astute while reading drafts of several chapters during
lockdown.
Initial research for this project was presented at a workshop in Durham
organized by John Nash and Jason Harding in July 2013 (the results have since
been published in Modernism and Non-Translation (Oxford: Oxford University
Press, 2019)). I am very grateful to the organizers and participants at the work-
shop, especially Danny Karlin, Rowena Fowler, and Scarlett Baron. An early run-
through was also presented as a keynote at ‘Fragmentation: Modernism and
After’, an international early career conference held at Princeton University in
September 2016, and I owe thanks to the organizers Talitha Kearey and Kay
Gabriel, and to the participants and audience members for their perceptive
comments.
As my research progressed, I benefitted from the expertise of several people
who very generously read drafts and helped me track down leads. Charles
Martindale and Liz Prettejohn commented on an early draft, and their incisive
and insightful feedback was crucial in the process of revision. Peter Agócs and
Elizabeth Vandiver were gracious and attentive readers of an earlier version of the
full manuscript. Roberta Mazza and Anna Uhlig kindly read a draft of my chapter
on papyrology. Iman Javadi and Ron Schuchard helped me to trace Eliot’s elusive
copy of Diels. Abigail Baker and Andrew Parkin talked to me about archaeology,
and Jim McCue helped me through bibliographical labyrinths with wit and good
humour.
viii
A significant part of the research for this book was conducted during the Covid
pandemic when archives were closed. I was exceptionally lucky in the kindness of
strangers working in archives all over the world, both those I was able to visit and
those which were closed to researchers. I am particularly grateful to Adrienne
Sharp at the Beinecke Rare Book and Manuscript Library at Yale University, to
Fiona Orsini at RIBA Drawings & Archives Collections, to Katherine Collett at
Hamilton College for providing me with Pound’s transcripts and clearing up other
obscure details, to Daniela Colomo at the Ashmolean Museum in Oxford for
details of Grenfell and Hunt (and to Nick Gonis for transcripts of Grenfell’s
lectures), to Nancy Fulford at the T. S. Eliot Estate, to Errin Hussey at the
Henry Moore Institute Archive, and to the archivists at the British Museum and
the Tate Gallery in London. I owe a debt of thanks, too, to those who helped get
the manuscript into print: the series editors, Jim Porter and Lorna Hardwick, my
editors at OUP, Charlotte Loveridge and Cathryn Steele, Sandra Assersohn and
Melissa Flamson, who provided expert help with securing permissions, and my
copy editor Christine Ranft.
None of this would have been manageable without the generous support of an
Arts and Humanities Leadership Fellowship which I held from 2020–22. The
AHRC award not only enabled me to write the book, but to hold two interdis-
ciplinary workshops in 2022 (‘Talking Fragments’). The stimulating conversations
we had – with Anna Uhlig, Peter Toth, Laura Swift, Edith Hall, Helen Eastman,
Josephine Balmer, Rory McInnes-Gibbons, John Chapman, Bisserka Gaydarska,
Lottie Parkyn, Pantelis Michelakis, Anna Garnett, Catrin Huber, and Carrie
Vout – replicated the kinds of interdisciplinary dialogues I talk about in the
book, and helped to confirm that I had put my finger on something real.
Of course, everything would have been completely impossible without James
Koranyi and our daughters, who make me whole, and whom I love more than
anything else in the world.
Contents
List of Figures xi
Abbreviations and Note on the Text xv
Introduction 1
1. Papyrus 17
2. Editions 45
3. Inscriptional Modernism 77
4. Modernism and the Museum: Making, Consuming, and
Displaying Sculptural Fragments in the British Museum 113
5. Archaeologisms 151
Postscript: After Modernism 183
Bibliography 189
Index 217
List of Figures
4.9 Head of a horse in Selene’s chariot from the east pediment and detail
from south metope. Graphite on paper, 23 14 cm. Musée National 138
d’Art Moderne, Paris (AM 3376 D (22)). Photograph © Centre
Pompidou, MNAM-CCI, Dist. RMN-Grand Palais/Hélène Mauri.
4.10 Head and leg of a horse from the Parthenon frieze. Graphite on paper,
23 14 cm. Musée National d’Art Moderne, Paris (AM 3376 D (41 a sup)).
Photograph © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand
Palais/Hélène Mauri. 139
4.11 Gaudier Brzeska, Torso I 1914. Marble on stone base, 252 98 77 mm.
Tate Gallery, London, transferred from the Victoria & Albert Museum in
1983. Photograph: Tate. 141
4.12 Torso III (c.1913–14), Seravezza and Sicilian marble, 27.3 8.9 8.9 cm.
Image courtesy of the Ruth and Elmer Wellin Museum of Art, Hamilton
College, Clinton NY (2005.6.1). Gift of Elizabeth Pound, wife of
Omar S. Pound, Class of 1951. Photograph: John Bentham. 142
4.13 Jacob Epstein, Marble Arms (1923). Marble, 94 cm. Black and white
photograph: Hans Wild, The New Art Gallery, Walsall. © The estate of
Sir Jacob Epstein/Tate. 147
4.14 From A. H. Smith, A Guide to the Sculptures of the Parthenon in the
British Museum, revised by C. H. Smith (London: Trustees of the British
Museum, 1908), p.117. 148
5.1 Constantin Brâncuși Torso (Coapsă), 1909–10. White marble, 24.4 cm.
Muzeul de Artă din Craiova/The Art Museum of Craiova.
© Succession Brancusi – All rights reserved. ADAGP, Paris and DACS,
London 2023. 155
5.2 From the ‘H. D. Scrapbook’. H. D. Papers. American Literature Collection,
Beinecke Rare Book and Manuscript Library, Yale University, YCAL MSS 24;
used by permission of Pollinger Limited on behalf of the Estate of
Hilda Doolittle. 160
5.3 The Calf-Bearer (Moschophoros) and the Kritios Boy shortly after
exhumation on the Acropolis, c.1865. Albumen silver print from glass
negative. Metropolitan Museum of Art, Gilman Collection, Gift of
The Howard Gilman Foundation, 2005. 162
5.4 The ‘Peplos Kore’, c.530 , discovered in four pieces in 1886. Parian
marble, 1.2 m. Acropolis Museum (679). © Acropolis Museum. Photograph:
Yiannis Koulelis, 2018. 163
5.5 Two male kouroi (‘Kleobis and Biton’). Delphi Museum (467, 1524 (statues);
980, 4672 (plinths)). Getty Images/Education Images. 165
5.6 Jacob Epstein, Girl with a Dove (1906–7). Pencil drawing. The New Art
Gallery, Walsall, Garman-Ryan Collection (1973.065.GR). © The estate of
Sir Jacob Epstein/Tate. 166
xiii
AP Anthologia Palatina
Cantos Ezra Pound, The Cantos, London: Faber & Faber, 1986;
references to this edition are given in the form of Canto
number/page number.
CIL Corpus Inscriptionum Latinarum, Berlin 1863–.
CP H. D.: Collected Poems, 1912–1944, L. L. Martz, ed., New York:
New Directions, 1983.
Eliot, CP The Complete Prose of T. S. Eliot: The Critical Edition,
R. Schuchard, gen. ed., Baltimore MD: Johns Hopkins
University Press, 2021, 8 vols.
EPHP Ezra Pound to His Parents: Letters 1895–1929, M. de Rachewiltz,
A. D. Moody and J. Moody, eds, Oxford: Oxford University
Press, 2010.
IMH T. S. Eliot, Inventions of the March Hare: Poems 1909–1917,
C. Ricks, ed., London: Faber & Faber, 1996.
Instigations Instigations of Ezra Pound: Together with an Essay on the
Chinese Written Character by Ernest Fenollosa, New York: Boni
& Liveright, 1920.
LSJ Liddell, H. G., R. Scott and H. S. Jones, A Greek-English Lexicon,
9th revised edn, Oxford: Oxford University Press.
Paige The Letters of Ezra Pound: 1907–41, D. D. Paige, ed., London:
Faber & Faber, 1951.
Pound, Gaudier-Brzeska Ezra Pound, Gaudier-Brzeska: A Memoir, London and New
York: John Lane, 1916.
Pound, LE The Literary Essays of Ezra Pound, edited with an instruction by
T. S. Eliot, New York: New Directions, 1954.
Pound, SP Selected Poems: Ezra Pound, edited with an introduction by
T. S. Eliot, London: Faber & Faber 1928, reprinted 1948.
Pound, SPr Ezra Pound: Selected Prose, 1906–1965, W. Cookson, ed.,
London: Faber & Faber, 1973.
PTSE The Poems of T. S. Eliot, C. Ricks and J. McCue, eds, London:
Faber & Faber, 2015, 2 vols.
Lobel-Page Lobel, E. and D. Page, eds. Poetarum Lesbiorum Fragmenta,
Oxford: Clarendon Press.
P. Oxy. The Oxyrhynchus Papyri.
Translations from Ancient Greek, Latin, and German are my own unless otherwise stated.
Introduction
Half-formed statues, lacunose poetry, novels with no clear beginning or end: the
fragment is so integral to the literary and visual cultures of modernism that it
borders on cliché. Scholars of modernism tend to explain the turn to fragmentary
modes in the period roughly covering the first half of the twentieth century as a
direct response to the pressures of modernity. In John Tytell’s words, the fragment
became ‘one of the calling cards of modernism’, largely because it corresponded to
‘a new sense of the universe that began to emerge as the nineteenth century
ended’.¹ The economies of industrialization made anonymous crowds a fact of
daily life. New technologies – from the typewriter to the machine gun – meant that
the modernist fragment was ‘symptomatic’, as Marjorie Perloff puts it, ‘of what we
might call the new technopoetics of the twentieth century’.² When, in the fall-out
of the First World War, ‘a botched civilization’ seemed to sever any reliable
continuities with the values of the past, the fragmented experience of modernity
found a stark correlation in the broken or absent bodies that became a visceral
part of everyday experience.³
The fragment is clearly entangled in the modernity of modernism, then. But for
the wide circle of modernists who spent their time ‘pawing over the ancients and
semi-ancients’, as Ezra Pound put it, the fragment was not only a marker of
present experience: it was a stark fact of the remains of the past.⁴ As the
Postclassicisms Collective has emphasized, our relationship to antiquity is predi-
cated on ‘a constitutive relationship to loss’.⁵ Recent studies have estimated that as
little as 1–5% of the literature of Greece and Rome before 200 has survived, and
the figure for material culture is likely to be even smaller.⁶ From the vantage point
of modernity, the classical past – despite its long-standing connections with an
Fragmentary Modernism: The Classical Fragment in Literary and Visual Cultures, c.1896–c.1936. Nora Goldschmidt,
Oxford University Press. © Nora Goldschmidt 2023. DOI: 10.1093/oso/9780192863409.003.0001
2
⁷ Tytell (1981), 4; cf. Fitzgerald (2022). ⁸ Montserrat (2007), 28. ⁹ Barber (1990).
3
¹⁰ For the expression ‘apotheosis of the fragment’ as applied to modernist literature, see Collecott
(1999), 15 (citing Pat Moyer) and Cambria, Gregorio, and Res (2018), 29.
¹¹ Yao (2019), xv.
¹² Aldington (1915); Ezra Pound, ‘The New Sculpture’, The Egoist I.4, 1914, p.68; Aldington (1915).
¹³ ‘Pegasus Impounded’, Letter to the Editor, Poetry: A Magazine of Verse (1919), April, 14.1,
pp.52–5 (55) = Hale (1919), cited in (e.g.) Scroggins (2015), 59; Culligan Flack (2015), 20, and Yao
(2019), xv–xvi.
¹⁴ Culligan Flack (2020). ¹⁵ Gregory (1997); Collecott (1999).
¹⁶ Culligan Flack (2015). ¹⁷ Koulouris (2011); Mills (2014); Worman (2018).
Another random document with
no related content on Scribd:
X
[Le 25.] — C’est bien fait pour l’écrire ! une lettre de ma chère
Marie, sur mon chevet, à mon réveil ce matin. Aurore d’un beau jour,
tant en moi qu’au dehors : soleil au ciel et dans mon âme : Dieu soit
béni de ces douces lueurs qui ravivent parmi les angoisses ! Je sais
bien que c’est à recommencer, mais on s’est reposé un moment et
on marche avec plus de force ensuite. La vie est longue, il faut de
temps en temps quelques cordiaux pour la course : il m’en vient du
ciel, il m’en vient de la terre, je les prends tous, tous me sont bons,
c’est Dieu qui les donne, qui donne la vie et la rosée ! Les lectures
pieuses, la prière, la méditation fortifient ; les paroles d’amitié aussi
soutiennent. J’en ai besoin : nous avons un côté du cœur qui
s’appuie sur ce qu’on aime ; l’amitié, c’est quelque chose qui se tient
bras à bras. Comme Marie me donne le sien tendrement, et que je
me trouve bien là ! Ainsi nous irons jusqu’à la mort : Dieu nous a
unies.