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D

Dadaists, 172

Dance, 125 -26, 127 , 157

Daniel, Arnaut, 47 , 52

Dante Alighieri, 18 , 56 , 68 -69, 85 , 93 ;

and Cantos, 49 , 152 , 154 , 181 ;

Duncan and, 138 , 141 , 143 , 144 , 153 -54, 155 ;

Eliot and, 46 ;

Levertov and, 194 , 198 ;

Olson and, 95 ;

Paradiso, 154 ;

Snyder and, 197

Davidson, Michael, 222 -23, 232 , 245 -46

Davie, Donald, 86 , 90 , 121

Dawson, Fielding, 77 , 241

de Born, Bertran, 85

De Certeau, Michel, 230 -31

Deconstruction, 115

de Gourmont, Remy, 117 , 192

Deleuze, Gilles, 231 , 243

Democracy, 70 , 71 , 85

Derivation, 48 -49;

Duncan and, 137 , 139 , 141 -42, 158 , 159 , 164 -65, 188 -89.

See also Influence

Derrida, Jacques, 28 , 143

de Ventadorn, Bernart, 152

Dialogic, 220 -21, 145 -46

Dichten = condensare,33

Dickinson, Emily, 2 , 46 , 47 , 48 , 71 , 238

di Cosima, Piero, 187

Dictionaries, 124 n, 185 , 186

Digression, in poetry, 230 -31

"Discursive formations," 12 -13, 231 , 248


268

Disruption, 240 -41, 249 -50

Dissolve, as poetic mode, 220 , 221 , 224 -25

"Donative" authors (Pound), 49 -50, 196

Donne, John, 57 , 194

Dorn, Edward, 1 n, 16 , 217 -36;

From Gloucester Out,218 ;

Geography, 218 , 222 , 223 , 231 ;

Hands Up!, 217 -18;

"Idaho Out," 218 , 223 , 226 -28, 230 -31, 232 ;

"Land Below," 226 ;

Language poetry and, 222 , 238 , 243 , 244 ;

Newly Fallen,217 ;

North Atlantic Turbine,223 -24, 231 ;

and Olson, 29 , 216 -31 passim, 236 ;

and postmodernism, 29 , 216 , 220 , 222 ;

and Pound tradition, 26 , 217 , 221 ;

"Pronouncement," 217 -18;

Slinger, 217 , 218 , 222 -36 passim, 243 ;

"Sousa," 226 ;

"What I See In The Maximus Poems, " 222 -23;

"World Box-Score of 1966," 231 ;

and Zukofsky, 77

Douglas, C. H., 117

Douglas, Gavin, 57

Drake, Sir Francis, 152

Drew, Elizabeth, 21

Duncan, Robert, 2 , 38 , 44 , 71 , 136 -90;

"After Reading BARELY AND WIDELY ," 66 ;

and anti-Semitism, 38 ;

"At the Loom," 184 -86;

Bending the Bow,158 , 163 , 176 , 181 , 184 , 185 ;

Bloom and, 138 -40, 189 , 240 ;

and Cavalcanti, 154 , 168 ;

and communal sense, 61 , 140 , 158 ;

and Creeley, 34 -35, 138 , 140 , 171 , 172 ;

death, 162 , 181 ;

Derivation,144 -45;

Dorn and, 217 , 221 , 222 ;

"Envoy," 185 ;

Fictive Certainties,66 , 136 ;

"Fire," 186 -88;

Ground Work:  Before the War, 159 , 160 -61;

and H. D., 3 , 137 -43 passim, 158 , 163 , 181 , 188 , 192 ;

H. D. Book,137 , 144 , 148 , 152 -53, 163 , 180 , 182 , 188 ;

Heavenly City, Earthly City,168 ;

Language poetry and, 188 n, 238 -44 passim, 250 , 251 ;

"Lasting Contribution of Ezra Pound," 175 ;

Levertov and, 138 , 140 , 171 , 190 -99 passim, 203 , 206 ;

"Maiden," 154 -55;

and musicality, 80 , 157 , 168 ;

and Objectivism, 3 , 78 -81 passim, 136 -61, 166 , 172 ;

"Often I Am Permitted to Return to a Meadow," 139 -40, 154 , 156 -58;

and Olson, 132 , 133 , 138 -49 passim, 158 , 164 , 165 , 171 -73, 179 , 185 -86;

Opening of the Field,139 -40, 147 -58 passim, 171 -79 Passim;

Passages, 158 -60, 163 , 165 -66, 181 , 183 -88;

"Persephone," 150 ;

"Poem Beginning with a Line by Pindar," 176 -79;

and poem as cell or collage, 15 , 141 , 164 -65, 166 , 174 , 189 , 250 ;

"Poetics of Music: Stravinsky," 168 ;

and postmodernism, 29 , 136 , 145 , 163 -64, 171 ;

and Pound tradition, 1 , 18 -24 passim, 33 , 36 , 38 , 71 , 137 , 143 -46, 150 , 172 ;

and Romanticism, 136 -61, 166 -67, 168 ;

Roots and Branches,158 ;

Snyder and, 196 , 198 , 209 ;

and somatic stimuli, 64 , 172 ;

"Spelling," 186 ;

"Structure of Rime," 157 , 166 ;

"Tribunals," 185 ;

"Truth and Life of Myth," 155 , 174 , 184 ;

"Variations upon Pound's essay Cavalcanti, " 168 ;

Venice Poem,168 -70, 176 ;

and Whitman, 66 -72 passim, 138 , 141 , 153 -58 passim, 171 -79 passim;

and Williams, 2 , 71 , 77 , 138 -40 passim, 146 -47, 157 -58, 163 , 171 -72, 181 ;

and Zukofsky, 2 , 66 , 79 -83 passim, 138 , 141 , 172


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