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庞德《第49诗章》源自日本艺术家《潇湘八景》册页的诗、画和湖湘教育家兼诗人曾宝荪的读解。在这部现代主义佳作中,庞德通过文字、图像和文化学之所谓“相关文化圈内人”三种媒介所认知的“潇湘八景”传统,用英文再现“潇湘八景”蕴涵的寂然世界,影射西方政治、经济、文化弊病。上世纪对该诗章的研究偏重于互文性,本世纪初的评论又集中于图像的影响。本文试图从以希利斯·米勒为代表人物的文化学理念切入,把作品置于图、文和“相关文化圈内人”的大氛围内,重新梳理庞德构思此作的过程。
Pound’s Forty-ninth Poetry “is a collection of poems and paintings of Japanese artist Xiaoxiang Eight Scenes and a reading by Zeng Baosun, a Hunan educator and poet. In this masterpiece of modernism, Pound through the text, images and culture of the so-called ”related cultural insiders “ recognized by the three media ”Xiaoxiang eight scenes “ tradition, in English reproduction ”Xiaoxiang eight "The silence of the world implies the western political, economic, cultural ills. The study of the poem in the last century focused on intertextuality and the comments of the beginning of this century focused on the influence of images. This article attempts to cut from the idea of cultural studies based on the works of Sir Milis Miller and put the works into the atmosphere of figure, .