{"id":1051,"date":"2023-04-11T17:30:05","date_gmt":"2023-04-11T21:30:05","guid":{"rendered":"https:\/\/umaine.edu\/poetry\/?page_id=1051"},"modified":"2024-10-08T16:00:11","modified_gmt":"2024-10-08T20:00:11","slug":"volume-20-1-2","status":"publish","type":"page","link":"https:\/\/umaine.edu\/poetry\/volume-20-1-2\/","title":{"rendered":"Paideuma 20.1-2"},"content":{"rendered":"<style>.kb-row-layout-id1051_84b8d1-fd > .kt-row-column-wrap{align-content:start;}:where(.kb-row-layout-id1051_84b8d1-fd > .kt-row-column-wrap) > .wp-block-kadence-column{justify-content:start;}.kb-row-layout-id1051_84b8d1-fd > .kt-row-column-wrap{column-gap:var(--global-kb-gap-md, 2rem);row-gap:var(--global-kb-gap-md, 2rem);padding-top:var(--global-kb-spacing-sm, 1.5rem);padding-bottom:var(--global-kb-spacing-sm, 1.5rem);grid-template-columns:minmax(0, 1fr) minmax(0, 2fr);}.kb-row-layout-id1051_84b8d1-fd > .kt-row-layout-overlay{opacity:0.30;}@media all and (max-width: 1024px){.kb-row-layout-id1051_84b8d1-fd > .kt-row-column-wrap{grid-template-columns:minmax(0, 1fr) minmax(0, 2fr);}}@media all and (max-width: 767px){.kb-row-layout-id1051_84b8d1-fd > .kt-row-column-wrap{grid-template-columns:minmax(0, 1fr);}}<\/style><div class=\"kb-row-layout-wrap kb-row-layout-id1051_84b8d1-fd alignnone wp-block-kadence-rowlayout\"><div class=\"kt-row-column-wrap kt-has-2-columns kt-row-layout-right-golden kt-tab-layout-inherit kt-mobile-layout-row kt-row-valign-top\">\n<style>.kadence-column1051_5219f9-18 > .kt-inside-inner-col,.kadence-column1051_5219f9-18 > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column1051_5219f9-18 > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column1051_5219f9-18 > .kt-inside-inner-col{flex-direction:column;}.kadence-column1051_5219f9-18 > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column1051_5219f9-18 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column1051_5219f9-18{position:relative;}@media all and (max-width: 1024px){.kadence-column1051_5219f9-18 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.kadence-column1051_5219f9-18 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column1051_5219f9-18\"><div class=\"kt-inside-inner-col\"><style>.kb-image1051_7962df-b0 .kb-image-has-overlay:after{opacity:0.3;}<\/style>\n<figure class=\"wp-block-kadence-image kb-image1051_7962df-b0 size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"684\" height=\"1024\" src=\"https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/pai-20-1-2-684x1024.jpg\" alt=\"Thumbnail of cover for Paideuma volume 20.1-2\" class=\"kb-img wp-image-431\" srcset=\"https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/pai-20-1-2-684x1024.jpg 684w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/pai-20-1-2-201x300.jpg 201w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/pai-20-1-2-768x1149.jpg 768w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/pai-20-1-2-94x140.jpg 94w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/pai-20-1-2-317x474.jpg 317w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/pai-20-1-2-423x633.jpg 423w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/pai-20-1-2-634x948.jpg 634w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/pai-20-1-2-846x1266.jpg 846w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/02\/pai-20-1-2.jpg 887w\" sizes=\"auto, (max-width: 320px) 85vw, (max-width: 768px) 67vw, (max-width: 1024px) 62vw,684px\" \/><figcaption>Volume 20.1-2 \/ 1991<\/figcaption><\/figure>\n<\/div><\/div>\n\n\n<style>.kadence-column1051_9bc9c1-45 > .kt-inside-inner-col,.kadence-column1051_9bc9c1-45 > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column1051_9bc9c1-45 > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column1051_9bc9c1-45 > .kt-inside-inner-col{flex-direction:column;}.kadence-column1051_9bc9c1-45 > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column1051_9bc9c1-45 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column1051_9bc9c1-45{position:relative;}@media all and (max-width: 1024px){.kadence-column1051_9bc9c1-45 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.kadence-column1051_9bc9c1-45 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column1051_9bc9c1-45\"><div class=\"kt-inside-inner-col\">\n<p><strong>The Periplum<\/strong><\/p>\n\n\n\n<p>Massimo Bacigalupo, \u201cEzra Pound\u2019s Cantos 72 and 73: An Annotated Translation\u201d<\/p>\n\n\n\n<p>Alexander Schmitz, \u201cIdeogram-Audiogram\u201d<\/p>\n\n\n\n<p>Matthew Little and Robert Babcock, \u201c\u2018Amplius in Coitu Phantasia\u2019: Pound\u2019s \u2018Cavalcanti\u2019 and Avicenna\u2019s&nbsp;<em>De Almahad<\/em>\u201c<\/p>\n\n\n\n<p>Robert Spoo, \u201cPound\u2019s Cavalcanti and Cravens\u2019s Carducci\u201d<\/p>\n\n\n\n<p><strong>The Explicator<\/strong><\/p>\n\n\n\n<p>Eva Hesse, \u201cWhy Lucifer \u2018Fell\u2019 in North Carolina: An Alternative View\u201d<\/p>\n\n\n\n<p>John Glendening, \u201cEzra Pound and Ezra Pound\u2019s Blake: Method in Madness, Madness in Method\u201d<\/p>\n\n\n\n<p>David Gordon, \u201cFrom Cheop\u2019s Pyramid to Homer and Pound: The Golden Caesura\u201d<\/p>\n\n\n\n<p>Melvin D. McNichols, \u201cSurvivals and (Re)newals: Pound\u2019s \u2018The Seafarer&#8217;\u201d<\/p>\n\n\n\n<p>Donna C. Rudolph, \u201cFormulas for Paradise in Six Cantos of Ezra Pound\u201d<\/p>\n\n\n\n<p><strong>The Biographer<\/strong><\/p>\n\n\n\n<p>Jerome Kavka, M.D., \u201cEzra Pound\u2019s Personal History: A Transcript, 1946\u201d<\/p>\n\n\n\n<p>Ira B. Nadel, \u201cLetters from the \u2018Foreign Correspondent\u2019: Ezra Pound to Alice Corbin Henderson\u201d<\/p>\n\n\n\n<p><strong>The Vortext<\/strong><\/p>\n\n\n\n<p>Sam Thonet, \u201cYeats-Pound Conference Report\u201d<\/p>\n\n\n\n<p>Virginia Nees-Hatlen, \u201cA Teachers\u2019 Institute at the NPF Conference\u201d<\/p>\n\n\n\n<p><em>Conference Program<\/em><\/p>\n\n\n\n<p><em>Photographs<\/em><\/p>\n\n\n\n<p><strong>The Reviewer<\/strong><\/p>\n\n\n\n<p>Hugh Witemeyer (Jeffry Walker,&nbsp;<em>Bardic Ethos and the American Epic Poem: Whitman, Pound, Crane, Williams, Olson<\/em>)<\/p>\n\n\n\n<p>Reed Way Dasenbrock (Tim Redman,&nbsp;<em>Ezra Pound and Italian Fascism<\/em>)<\/p>\n\n\n\n<p>Timothy Materer (Bruce Fogelman,&nbsp;<em>Shapes of Power: The Development of Ezra Pound\u2019s Poetic Sequences<\/em>)<\/p>\n\n\n\n<p>Stefano Maria Casella (Ezra Pound,&nbsp;<em>Je Rassemble les Membres d\u2019Osiris<\/em>, ed. Jean-Michel Rabat\u00e9, trans. Jean-Paul&nbsp;Aux\u00e9mery, Claude Mini\u00e8re, Margaret Tunstill, Jean-Michel Rabat\u00e9, with articles by Massimo Bacigalupo and Jo\u00ebl-Peter Shapiro)<\/p>\n\n\n\n<p>David Gordon (William Cookson,&nbsp;<em>A Guide to&nbsp;<\/em>The Cantos of Ezra Pound)<\/p>\n\n\n\n<p>Ron Thomas (Daniel M. Hooley,&nbsp;<em>The Classics in Paraphrase: Ezra Pound and Modern Translators of Latin Poetry<\/em>)<\/p>\n\n\n\n<p>Paul Oppenheimer (<em>The Lyrics of the Middle Ages: An Anthology<\/em>, ed. James J. Wilhelm)<\/p>\n\n\n\n<p>James J. Wilhelm (<em>Ezra Pound and Margaret Cravens: A Tragic Friendship, 1910-1912<\/em>, ed. Omar Pound and Robert Spoo)<\/p>\n\n\n\n<p>\u2022<\/p>\n\n\n\n<p>The cover is a reproduction of a page from the Malatesta Cantos with a correction in Pound\u2019s hand, which was presented to the Biblioteca Malatestiana of Cesena on May 25, 1925. The background is a photograph of the Valmarecchia by Emilio Salvatori.<\/p>\n<\/div><\/div>\n\n<\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>The Periplum Massimo Bacigalupo, \u201cEzra Pound\u2019s Cantos 72 and 73: An Annotated Translation\u201d Alexander Schmitz, \u201cIdeogram-Audiogram\u201d Matthew Little and Robert Babcock, \u201c\u2018Amplius in Coitu Phantasia\u2019: Pound\u2019s \u2018Cavalcanti\u2019 and Avicenna\u2019s&nbsp;De Almahad\u201c Robert Spoo, \u201cPound\u2019s Cavalcanti and Cravens\u2019s Carducci\u201d The Explicator Eva Hesse, \u201cWhy Lucifer \u2018Fell\u2019 in North Carolina: An Alternative View\u201d John Glendening, \u201cEzra Pound and [&hellip;]<\/p>\n","protected":false},"author":2234,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-1051","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - 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