As far as I can tell, the only audience Pound can really be said to know is himself--although since some of the allusions in the Cantos are done completely from memory while under armed guard, I don't know how fair that is.
The Revised Wasteland seems designed to obfuscate at least as much as clarify, as much as I can see.
The thing with Pound and Eliot, as I see it, is that they worked to make their audiences fit their art, rather than the other way around. (Suddenly feels very elitist--must be the prescriptivism kick.)
But as a response to Miriam's post, I do see her as describing a culture in which what she calls pastiche is very much not an option. Furthermore, I fear she might be right as to her description of that culture. I don't want to lump Miriam in with the people arguing that "plagiarism = unattributed use," though, even if I do think she's describing them in large part, because her position is clearly much more sophisticated.
no subject
The Revised Wasteland seems designed to obfuscate at least as much as clarify, as much as I can see.
The thing with Pound and Eliot, as I see it, is that they worked to make their audiences fit their art, rather than the other way around. (Suddenly feels very elitist--must be the prescriptivism kick.)
But as a response to Miriam's post, I do see her as describing a culture in which what she calls pastiche is very much not an option. Furthermore, I fear she might be right as to her description of that culture. I don't want to lump Miriam in with the people arguing that "plagiarism = unattributed use," though, even if I do think she's describing them in large part, because her position is clearly much more sophisticated.