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Contributors
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- By Jane E. Adcock, Yahya Aghakhani, A. Anand, Eva Andermann, Frederick Andermann, Alexis Arzimanoglou, Sandrine Aubert, Nadia Bahi-Buisson, Carman Barba, Agatino Battaglia, Geneviève Bernard, Nadir E. Bharucha, Laurence A. Bindoff, William Bingaman, Francesca Bisulli, Thomas P. Bleck, Stewart G. Boyd, Andreas Brunklaus, Harry Bulstrode, Jorge G. Burneo, Laura Canafoglia, Laura Cantonetti, Roberto H. Caraballo, Fernando Cendes, Kevin E. Chapman, Patrick Chauvel, Richard F. M. Chin, H. T. Chong, Fahmida A. Chowdhury, Catherine J. Chu-Shore, Rolando Cimaz, Andrew J. Cole, Bernard Dan, Geoffrey Dean, Alessio De Ciantis, Fernando De Paolis, Rolando F. Del Maestro, Irissa M. Devine, Carlo Di Bonaventura, Concezio Di Rocco, Henry B. Dinsdale, Maria Alice Donati, François Dubeau, Michael Duchowny, Olivier Dulac, Monika Eisermann, Brent Elliott, Bernt A. Engelsen, Kevin Farrell, Natalio Fejerman, Rosalie E. Ferner, Silvana Franceschetti, Robert Friedlander, Antonio Gambardella, Hector H. Garcia, Serena Gasperini, Lorenzo Genitori, Gioia Gioi, Flavio Giordano, Leif Gjerstad, Daniel G. Glaze, Howard P. Goodkin, Sidney M. Gospe, Andrea Grassi, William P. Gray, Renzo Guerrini, Marie-Christine Guiot, William Harkness, Andrew G. Herzog, Linda Huh, Margaret J. Jackson, Thomas S. Jacques, Anna C. Jansen, Sigmund Jenssen, Michael R. Johnson, Dorothy Jones-Davis, Reetta Kälviäinen, Peter W. Kaplan, John F. Kerrigan, Autumn Marie Klein, Matthias Koepp, Edwin H. Kolodny, Kandan Kulandaivel, Ruben I. Kuzniecky, Ahmed Lary, Yolanda Lau, Anna-Elina Lehesjoki, Maria K. Lehtinen, Holger Lerche, Michael P. T. Lunn, Snezana Maljevic, Mark R. Manford, Carla Marini, Bindu Menon, Giulia Milioli, Eli M. Mizrahi, Manish Modi, Márcia Elisabete Morita, Manuel Murie-Fernandez, Vivek Nambiar, Lina Nashef, Vincent Navarro, Aidan Neligan, Ruth E. Nemire, Charles R. J. C. Newton, John O'Donavan, Hirokazu Oguni, Teiichi Onuma, Andre Palmini, Eleni Panagiotakaki, Pasquale Parisi, Elena Parrini, Liborio Parrino, Ignacio Pascual-Castroviejo, M. Scott Perry, Perrine Plouin, Charles E. Polkey, Suresh S. Pujar, Karthik Rajasekaran, R. Eugene Ramsey, Rahul Rathakrishnan, Roberta H. Raven, Guy M. Rémillard, David Rosenblatt, M. Elizabeth Ross, Abdulrahman Sabbagh, P. Satishchandra, Swati Sathe, Ingrid E. Scheffer, Philip A. Schwartzkroin, Rod C. Scott, Frédéric Sedel, Michelle J. Shapiro, Elliott H. Sherr, Michael Shevell, Simon D. Shorvon, Adrian M. Siegel, Gagandeep Singh, S. Sinha, Barbara Spacca, Waney Squier, Carl E. Stafstrom, Bernhard J. Steinhoff, Andrea Taddio, Gianpiero Tamburrini, C. T. Tan, Raymond Y. L. Tan, Erik Taubøll, Robert W. Teasell, Mario Giovanni Terzano, Federica Teutonico, Suzanne A. Tharin, Elizabeth A. Thiele, Pierre Thomas, Paolo Tinuper, Dorothée Kasteleijn-Nolst Trenité, Sumeet Vadera, Pierangelo Veggiotti, Jean-Pierre Vignal, J. M. Walshe, Elizabeth J. Waterhouse, David Watkins, Ruth E. Williams, Yue-Hua Zhang, Benjamin Zifkin, Sameer M. Zuberi
- Edited by Simon D. Shorvon, Frederick Andermann, Renzo Guerrini
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- Book:
- The Causes of Epilepsy
- Published online:
- 05 March 2012
- Print publication:
- 14 April 2011, pp ix-xvi
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11 - Radio broadcasts
- Edited by Ira B. Nadel, University of British Columbia, Vancouver
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- Book:
- Ezra Pound in Context
- Published online:
- 05 July 2014
- Print publication:
- 11 November 2010, pp 115-124
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Summary
In November 1939, only a few months after Germany invaded Poland, Ezra Pound set forth a propaganda plan for America, sharing it first with Cornelio di Marzio, editor of Meridiano di Roma (a fascist newspaper already publishing Pound's articles), and then with various representatives of the Italian government. The plan concerned a wide-ranging series of publications, but in pressing forward – Pound was politely rebuffed in December, then again more firmly in April – he shifted his emphasis from print to radio. This was not a surprising turn. The disruption of shipping made print an unreliable medium for reaching the USA, and Pound had come to believe (as he told an Italian functionary) that “the absolute predominance of Jews in the North American press…obstructs in an absolute fashion the possibility of making [Italy's] voice heard in the United States.”
Though no great lover of the radio (Pound thought it a “God damn destructive and dispersive devil of an invention” [SL, 342]), he had gained some small experience of the technology in preparing his operas for the BBC, and had developed an appreciation for the medium's political reach in considering the career of Father Coughlin. In 1936, offering The Listener a series of essays on what he would do as “minister of Kulchur in Utopia,” Pound was told by the editor, “If you want to be a Minister…you will have to broadcast” (quoted in EPRO, 196). By May of 1940, he had come to the same conclusion, working out “a lucid rhetorical scheme” for radio propaganda for the United States with numbered points grouped under the headings “scope” and “methods.” Eventually, Pound's perseverance paid off.
Emily Dickinson and the Battle of Ball's Bluff
- Benjamin Friedlander
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- Journal:
- PMLA / Publications of the Modern Language Association of America / Volume 124 / Issue 5 / October 2009
- Published online by Cambridge University Press:
- 23 October 2020, pp. 1582-1599
- Print publication:
- October 2009
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Emily Dickinson's response to the Civil War—once discounted as nonexistent or negligible, now embraced as part of the canon of Civil War writing—gives evidence of a conscious testing of alternatives. Among these alternatives, the most surprising, perhaps, is her potentially public positioning of herself as a war poet in works that celebrate military heroism. One such celebration, “When I was small, a Woman died—,” written in the aftermath of Ball's Bluff—a disastrous Union loss—revises the scenarios presented in two other Ball's Bluff poems and transforms the horrific death of a local soldier into a glorious ascent into the heavens, an uncharacteristically joyous response to an event that others (including Herman Melville) experienced as entirely mournful. Since the two other poems appeared in her local newspapers and since the soldier was Amherst's first casualty, Dickinson's poem is likely a carefully crafted bid for publication. Read in this way, moreover, “When I was small” reminds us that war presents a poet with unique rhetorical problems but also with opportunities, and that these opportunities can be tempting even for a writer as resistant to the literary marketplace as Dickinson.