Published in 1938, Guide to Kulchur encapsulates Ezra Pound’s chief concerns: his cultural, historiographic, philosophical, and epistemological theories; his aesthetics and poetics; and his economic and political thought. In its fifty-eight chapters and postscript, it constitutes an interdisciplinary and transhistorical cultural anthropology that exemplifies his slogan for the renovation of ancient wisdom for current use—“Make It New.” Guide to Kulchur is paramount among Pound’s prose works. This is also to say that it is inescapable in any serious study of Pound, even if it is likely more often cited than read in its entirety. Wildly encyclopedic, allusive and recursive, the book is notoriously difficult. The Cantos’s prose twin, Guide can be as abstruse and mystifying as anything in Pound’s monumental poetic experiment.

A Companion to Ezra Pound’s Guide to Kulchur addresses the formidable interpretive challenges his most far-reaching prose tract presents to the reader. Providing page-by-page glosses on key terms and passages in Guide, the Companion also situates Pound’s allusions and references in relation to other texts in his vast body of work, especially The Cantos. Striking a balance between rigorous scholarly standards and readerly accessibility, the book is designed to meet the needs of the specialist while keeping the critical apparatus unobtrusive so as also to appeal to students and the general public. A long-needed resource, A Companion to Ezra Pound’s Guide to Kulchur joins Carroll Terrell’s landmark A Companion to The Cantos of Ezra Pound with the aim to make a lasting contribution to the growing number of editorial and critical studies on the work of one of the most influential and controversial literary figures of the twentieth century.

Imagism is often seen as the forerunner of Vorticism, a perception that has lasted for nearly a century. As such, critical attention to the relationship between the two aesthetic experiments has mapped a more or less smooth transition from one to the other. In The Pound Era, to cite a well-known study, Hugh Kenner states unequivocally that “The Imagist propaganda merged into the Vorticist,” illustrating this merger with the following excerpt from the Vorticist creed that appeared in the movement’s little magazine, Blast 1: “Every concept, every emotion presents itself to the vivid consciousness in some primary form.” Here, Kenner presumably has in mind Pound’s famous Imagist dictum, “An Image is that which presents an intellectual and emotional complex in an instant of time.” That this proverb-like aphorism is reproduced in Blast 1 under the heading “Ancestry” (and again under “The Primary Pigment”) suggests precisely the foundational kinship Kenner puts forth. Yet, Kenner also characterizes Imagism in no uncertain terms as an inferior precursor to the Vortex. Imagism, in his own words, “soon entailed negotiating with dim and petulant people: Fletcher, say, or Flint, or Aldington, and eventually Miss Lowell.” My paper seeks to show that far from breaking free from Imagism and Imagists, as the dean of Pound studies suggests, Pound’s collaboration with fellow Vorticists, including Wyndham Lewis, Gaudier-Brzeska, Ford (then-Hueffer), Sanders, and Dismorr, among others, was sustained by key elements of the Imagist aesthetic. It is not insignificant, then, to find Richard Aldington among the signatories of the Vorticist Manifesto in Blast 1. My discussion aligns itself with the idea proposed by Eliot, himself a one-time contributor to Blast, that Imagism may be seen as “the starting-point of modern poetry.” I will discuss the intersections of Imagist principles in close readings of less-known Vorticist poems published in the “War issue” of Blast in 1915. My purpose is to investigate the extent to which Imagist principles inform and perhaps complicate our reading of hitherto neglected specimens of Vorticist art.

This article examines T. S. Eliot’s review-essay of five seminal studies of Italian Fascism and critically interconnects the key arguments put forth in each book. Published in 1928 in the <i>Criterion</i>, the poet-critic’s influential literary magazine, the omnibus book review constitutes his most sustained, if skeptical, exploration of the radical political movement, still a rising phenomenon at the time. Although Eliot presents himself as politically naïve, he exhibits a surprisingly cogent and nuanced understanding of Fascism’s political economy, mass psychology, and mythico-heroic apparatus. Contrasting his Christian-inflected antifascist political and cultural thought with the Fascist commitments of Ezra Pound, his one-time collaborator and fellow American modernist poet, the present article argues that Eliot advocated a tradition-based separation of church and state as a hedge against all forms of totalitarian ideology.

En el ambiente general de totalitarismo que rodea la Guerra Civil sobresalen cuatro escritores que, cada uno a su modo, contribuyeron a la política cultural del momento y coincidían en el alto grado de intransigencia de sus posturas: Ernesto Giménez Caballero, José María Pemán, Ezra Pound y Virginia Woolf.

Por mucho que sus filosofías políticas se contrapusieron, juntos representaron una de las muestras más influyentes de la intelligentsia modernista. A su vez, también disfrutaron de un acceso privilegiado a las más altas esferas del poder en la España, Italia e Inglaterra del momento.

Este ensayo contrapone algunas obras de estos autores, que ocupan espacios liminares entre el arte y la propaganda. Considerando el fascismo como una hoja de ruta teórica y retórica, el libro realiza un estudio comparativo cuyo principal objetivo es examinar espacios tradicionalmente descuidados por el estudio literario del modernismo.

In January 1928, The Dial published T. S. Eliot’s review of Personae: The Collected Poems of Ezra Pound (1926). Even as he acknowledges his indebtedness to his fellow American poet-critic, Eliot seems bewildered by Pound’s belief system, which in his estimation is a heady mix of mysticism, occultism, pseudoscience, and Confucianism. With a touch of exasperation, he ends the review by asking provocatively, “what does Mr. Pound believe?” Although he would never give an answer that Eliot would find satisfying, Pound would revisit the question time and again in his prose and poetry. In the process, he reveals more about his eccentric set of creeds than even Eliot might have bargained for. Striving to synthesize a range of philosophical and polytheistic traditions, Pound would cast off the Presbyterianism of his early youth. From the 1930s onward, his deepening affiliation with Italian Fascism and near-cultic devotion to Mussolini would add yet another layer to his spectrum of beliefs. With Eliot’s query in The Dial functioning as a recurring point of reference, this essay examines Pound’s religious beliefs as a shifting panoply of mythico-theological, aesthetic, and political ideas. The picture that emerges is as complex as it is difficult to pin down, blurring the boundaries of what constitutes “faith” itself.

A insatisfação com a imagem corporal pode associar-se à adoção de diferentes práticas alimentares, no entanto, a evidência é escassa e foca-se em grupos específicos de indivíduos, tais como estudantes universitários, mulheres e adolescentes. OBJETIVOS: Avaliar a associação entre a (in)satisfação com a imagem corporal e o consumo alimentar e nutricional de adultos jovens. METODOLOGIA: Participaram neste estudo 111 adultos (18-35 anos, 67,6% mulheres), selecionados por conveniência. A perceção da imagem corporal foi avaliada através da Escala de Silhuetas de Stunkard et al. e categorizada em satisfação, insatisfação por défice (diferença negativa entre a imagem corporal real e a desejada) e insatisfação por excesso (diferença positiva entre a imagem corporal real e a desejada). O consumo alimentar foi avaliado através da administração direta de um Questionário de Frequência Alimentar validado para a população adulta Portuguesa. As associações foram avaliadas por regressão linear (coeficientes β̂ e respetivos intervalos de confiança a 95%-IC95%), após ajuste para idade, escolaridade e exercício físico e após estratificação por sexo. RESULTADOS: As mulheres mostraram-se mais insatisfeitas com a sua imagem corporal por excesso (57,3% vs. 30,6%, p=0,009), enquanto a insatisfação por défice foi mais reportada pelos homens (27,8% vs. 9,3%, p=0,009). Os homens insatisfeitos por défice (desejo de aumentar o tamanho corporal) apresentaram consumos mais elevados de pescado (

The advent of digital humanities now poses the primary historiographical challenge for contemporary and future historians of Islamic art. No longer simply tools to archive and exchange information, digital humanities technologies are evolving into analytical instruments often embedded with under-scrutinized theoretical assumptions. Without a critical mass of systematically developed databases of historical texts, translations, images and overlaying analytical tools, the way Islamic art history is written will increasingly diverge from the rest of art history. This paper makes the case that the pressing need to consider and apply new theoretical frameworks in Islamic art history is being superseded by the digital turn in humanities scholarship. The practice of Islamic art history now needs to actively participate in the design and development of databases and analytical instruments specifically geared toward the interests of Islamic art historians. At the same time, the digital shift presents an opportunity to confront the field’s archival legacies.

As the field of digital humanities grows, scholars are translating and adapting their investigative processes to suit the digital environs. Questions about how digital technologies will enhance and transform historical scholarly reading practices have arisen, but they have not been extensively considered from the perspective of visual culture historians and less so from those working on select non-Western cultures. This paper approaches these questions from an Islamic and South Asian art historical perspective, mapping out the particularities of reading historical texts when conducting visual cultural research and considering the implications for the development of future digital research tools.