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Pound set out to rescue these figures from what he saw as the compromised and compromising conditions of their native milieux and install them in what he considered to be \"the best governed state in Europe where the goddam shits least bother one,\" so that they might profit by what he felt to be the energy and dynamism of Mussolini's emergent fascist regime, and, in the process, provide Il Duce with a \"corte liteterariď in-waiting.2 As Arrington's study valuably emphasizes, these men were joined in, and, in some cases, led to Rapallo by a group of women whose contributions to this Poundian coterie (and to late Modernism at large) have been consistently overlooked by literary historians. With the acknowledged exception of Bunting, these women - particularly Dorothy Pound and George Yeats - are admirably given their due in The Poets of Rapallo, which pays close and rewarding attention to their intellectual achievements and administrative and organizational abilities, both in relation to, and independently from, their more widely canvassed spouses.3 Arrington's approach to this feminist historiographical work is commendable in both its dedication and its intellectual honesty, demonstrating the significance and influence of each woman's critical and creative endeavours, while, at the same time, refusing to sanitize or exalt the figures involved: as Arrington makes clear, the women of Rapallo could be just as enamoured of fascism's most malign features as the men in their lives, and The Poets of Rapallo is stronger for acknowledging this so forthrightly. Arrington tells the story of Pound's Rapallo circle in six thematically clustered, broadly chronological chapters: \"The Roads to Rapallo,\" which catalogues the various factors, personal, political, and aesthetic, that drew the text's dramatis personae to the small Italian town and into Pound's orbit; \"Shell-Shocked Walt Whitmans,\" which explores the titular poets' varied responses to the Great War and the debates over poetic form to which it gave rise; \"Primavera 1928,\" which analyzes the format, contents, and intellectual legacy of Pound's short-lived little magazine, The Exile, and charts his increasingly \"totalitarian\" critical and editorial approach; \"Singing School,\" which examines the Rapallo poets' efforts to cultivate a \"demotic\" (but, in several cases, far from democratic) voice in their verse, and documents their experiments with the ballad form; \"Making Living History,\" which situates the work of the Rapallo circle in relation to Italian fascist aesthetic and political philosophy, with a particular emphasis on the hitherto under-examined impact of Dorothy Pound's engagement with fascist architecture and painting on her art and her husband's writing; and \"Accounting for Rapallo,\" which takes stock of the significance of Rapallo as an incubator of late modernism and interrogates the often highly selective ways in which those who joined Pound there retrospectively discussed its impact on their life and work. Arrington's approach, which attends to politics and poetics in equal measure, allows her to trace the origins and circulation of certain images and phrases between and among the Rapallo poets, such as the veritable smorgasbord of \"eaten hearts\" surveyed in Chapter Two, or the references to \"plasticity\" (a somewhat nebulous buzz-word favoured by Mussolini and his acolytes, denoting a paradoxically robust mode of aesthetic flexibility rooted in a fluid fusion of past and present) which recur throughout Yeats's and Pound's critical writing and personal correspondence in the 1920s and '30s, explored in Chapter Five.

The academic field of literary criticism or literary theory has long taken advantage of the covert connection between literature and psychoanalysis, as this study did when it employed a psychoanalytic technique to analyze a literary work. Psychoanalysis is one of the contentious and unappreciated literary criticism philosophies among many readers (Hossain, 2017, p. 41). The persona or the character of the literary work is one of the literary methods. This study seeks to identify the late persona in D.H. Lawrence's final three collections of poetry, which were composed near the time of the author's death due to extremely poor health. The study of a writer's unintended message is referred to as psychoanalytical critique. The investigation's main point of interest is the author's biographical background. The main goal is to look at the unconscious components of a literary work in the context of the author's upbringing. It is a technique for correctly and critically understanding the literary material. Additionally, it is a type of psychoanalytic reading. We can understand literary texts better by using psychoanalytical thinking. We can swiftly master the subject matter thanks to the manipulation of the literary text and the sharper picture it produces. Psychoanalytical critique is one of the most fundamental reading strategies for comprehending the psyche (Ahmed, 2021, p. 2).

A poem is presented.

Lucy McDiarmid creates a new kind of literary history, telling an illuminating tale of the curious occasion of the 'peacock dinner,' when W. B. Yeats and Ezra Pound led four lesser-known poets to the home of Wilfrid Scawen Blunt to eat a peacock.

This essay analyses how since the early twentieth century war novels and memoirs have reflected the challenges which modern warfare poses to narrative. Mechanized warfare, I argue, resists the narrative encoding of experience, creating a crisis of narrative that is frequently made explicit in the assertion, on the part of novelists and memoirists, that the actual experience of combat cannot be narrated. Thus, for instance, the nature of warfare on the Western Front 1914–1918, characterized by the fragmentation of vision in the trenches and the exposure of soldiers to a continuous sequence of acoustic shocks, had a disruptive effect on perceptions of time and space, and consequently on the rendering of the chronotope in narrative accounts of the fighting. Since then, modern military technology has increasingly generated a sense that wars have acquired a dynamic of their own. The “cinematic” nature of technological warfare and the resulting loss of individual agency have suspended the order-creating and meaning-creating function of narrative, leading, in extremis, to the representational impasse emphasized by trauma theory. In my discussion of selected war writings, I shall show how the “cognitive narratology” of modern warfare can be applied to the analysis of aesthetic manifestations in war literature and the “crisis of language” underlying (literary) modernity and postmodernity.

This dissertation analyzes the political capacity of feeling in American women’s autobiographical and semi-autobiographical writing from and about their work during the First World War. Women produced emotionally complex accounts that resist easy categorization, and I argue that attending to feeling clarifies not only their emotional experiences with war work but their social and political projects. This dissertation closely examines portrayals and rhetorics of feeling, considering the intersections of gender, class, race, and labor in impacting how feelings are depicted, negotiated, and conveyed. While British women were more compelled to perform and convey feeling according to a rigid class system, white American women experienced more flexibility in expressing less desirable feelings. Black American women, however, had to conduct more complex negotiations of feeling so as to advocate for themselves as Black and as women. This dissertation builds upon work on affect by scholars such as Sara Ahmed, Sianne Ngai, bell hooks, and Lauren Berlant while considering gender and race interventions in war studies by scholars like Christine Hallett, Jennifer Keene, Mark Whalan, Santanu Das, and Claire Tylee, among others.Considering texts in and around the canon by Ellen La Motte and Mary Borden as well as the more marginalized memoir of Addie Hunton and Kathryn Magnolia Johnson, this dissertation centers life writing, whether presented as autobiographical or loosely fictionalized. Chapter one interrogates the political capacity of disgust in La Motte’s The Backwash of War to illuminate and deconstruct war propaganda. Chapter two examines the temporal gap in Mary Borden’s The Forbidden Zone, as well as competing feelings of ease and unease, to locate Borden’s relationship to trauma within the text. Chapter three examines the efficacy of Hunton and Johnson’s rhetoric of love in Two Colored Women with the American Expeditionary Forces, arguing, identifying both the shortcomings and the social advantages of this love. I conclude by applying my argument to contemporary portrayals of war in new media to argue for affect as a means of understanding the experience of war, both past and present. The conclusion also proposes affective labor as an area of inquiry within war studies. This dissertation suggests that the study of war and feeling is not only relegated to the past but bears repeating in the present moment. More simply, examining feeling in women’s literature from the First World War informs how

Many believed the arts should be in the forefront of the struggle to create an egalitarian society; the alternative was to eschew politics and create works of art in one's ivory tower, 'art for art's sake'. According to Lawrence Mitchell the couple had their portrait painted by Gertrude Powys, recently arrived from art school in Paris to reside in Chydyok. The setting is the stone landscape of Aran where the struggle with nature takes on a mythic quality: 'The sky had a big grey crack in it in the east, as if it were going to burst in order to give birth to the sun.'The wife sees the sowing as a ritual setting the pattern for their life to come, but the husband is stiff and tense, aware that watching neighbours will pass judgement on his performance. The prose has the clarity of a naturalistic painting pierced with psychological realism: 'She became suddenly afraid of that pitiless, cruel earth, the peasant's slave-master that would keep her chained to hard work and poverty all her life until she would sink again into its bosom.'

For the duration of her writing career, Marianne Moore maintained a system of clippings files inspired by early twentieth century clipping bureaus. Her files confirm scholarly observations about her proclivity for quotation and assemblage, and her devotion to unliterary, anonymous sources, but they also show an alternative to the narrative that Moore's interest in collage stemmed from the visual arts. Moore's clippings files and the phenomenon of clipping bureaus anticipates yet-undeveloped digital technologies and redefines the purpose and use of printed text. Moore's clipping files are a pre-digital database searchable by metadata categories and available for micro as well as macro readings. The influence of clipping bureaus and her personal clipping files on Moore's poetics demonstrates the profound impact of mass print on the modernists. The clippings files also show how Moore—and the American public—grappled with mass print management strategies in the early twentieth century and re-envisioned the status of the book.

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