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The objectivist poets were a loose-knit group of second-generation Modernists who emerged in the 1930s. They were mainly American and were influenced by, amongst others, Ezra Pound and William Carlos Williams. The basic tenets of objectivist poetics as defined by Louis Zukofsky were to treat the poem as an object, and to emphasise sincerity, intelligence, and the poet's ability to look clearly at the world. While the name of the group is similar to Ayn Rand's school of philosophy, the two movements are not affiliated in any way, and are, in fact, radically different. The core group consisted of the Americans Zukofsky, Williams, Charles Reznikoff, George Oppen and Carl Rakosi, and the British poet Basil Bunting. Later, another American poet, Lorine Niedecker, became associated with the group. A number of other poets were included in early publications under the Objectivist rubric without actually sharing the attitudes and approaches to poetry of this core group. Although these poets generally suffered critical neglect, especially in their early careers, and a number of them abandoned the practice of writing and/or publishing poetry for a time, they were to prove highly influential for later generations of writers working in the tradition of modernist poetry in English. ==Roots== The period 1909 to 1913 saw the emergence of Imagism, the first consciously ''avant garde'' movement in 20th century English-language poetry. Pound, who was Imagism's prime mover, served as foreign editor of Harriet Monroe's magazine ''Poetry''. In October 1912, he submitted three poems each by H.D. and Richard Aldington under the label ''Imagiste''. Aldington's poems were printed in the November issue, and H.D.'s appeared in the January 1913 issue. The March 1913 issue of ''Poetry'' also contained Pound's ''A Few Don'ts by an Imagiste'' and F. S. Flint's essay ''Imagisme''. This publication history meant that this London-based movement had its first readership in the United States. It also meant that Imagism was available as a model for American Modernist poets of the next generation. Zukofsky was one such poet. He published a poem in ''Poetry'' in 1924 and introduced himself to Pound in 1927, when he sent the older poet his "Poem beginning 'The,'". Pound published the poem in his magazine ''The Exile'', and a long correspondence and friendship between the two began. This relationship was strengthened by Zukofsky's 1929 essay on Pound's long work in progress ''The Cantos''. Pound also provided an introduction to William Carlos Williams, a physician and poet who had been a classmate of Pound's while at the University of Pennsylvania and who lived in Rutherford, New Jersey, not far from Zukofsky. Zukofsky and Williams quickly became close friends and were to be literary collaborators for the rest of Williams's life. Another of Zukofsky's literary mentors at this period was Charles Reznikoff, a New York poet whose early work was also influenced by Imagism. By 1928, the young American poet George Oppen and his wife Mary Oppen had become friendly with Zukofsky and Reznikoff. Another young American poet, Carl Rakosi, started corresponding with Pound around this time, and the older poet again recommended him to Zukofsky. The final member of the core group, Basil Bunting, was an English poet who came from a Quaker background and who had been imprisoned as a conscientious objector during World War I. In 1923, Bunting met Pound in Paris and the two men developed a close literary friendship, with Bunting living near Pound at Rapallo from 1931 to 1933. In 1930, Bunting published his first collection of poetry, ''Redimiculum Matellarum'', and Pound introduced him to Zukofsky. The term 'Objectivist' developed because Harriet Monroe insisted on a group name for the February 1931 issue of ''Poetry: A Magazine of Verse'', which Monroe had allowed Zukofsky to guest edit, at Pound's urging.〔http://www.poets.org/viewmedia.php/prmMID/5669〕 Zukofsky recounts the occasion with Monroe in ''Prepositions'': "Harriet Monroe at the time insisted, we'd better have a title for it, call it something. I said, I don't want to. She insisted; so, I said, alright, if I can define it in an essay, and I used two words, sincerity and objectification, and I was sorry immediately. But it's gone down into the history books; they forgot the founder, thank heavens, and kept the terms, and, of course, I said objectivist, and they said objectivism and that makes all the difference. Well, that was pretty bad, so then I spent the next thirty years trying to make it simple."〔http://www.poets.org/viewmedia.php/prmMID/5669〕 It also seems that the core group did not see themselves as a coherent movement but rather as a group of individual poets with some shared approach to their art. As well as the matters covered in Zukofsky's essays, the elements of this approach included: a respect for Imagist achievement in the areas of ''vers libre'' and highly concentrated language and imagery; a rejection of the Imagists' interest in classicism and mythology; for Reznikoff, Zukofsky, Rakosi and Oppen, a shared Jewish heritage (which, for all but Oppen included an early childhood in which English was not their first language); generally left-wing, and, in the cases of Zukofsky, Rakosi, and Oppen at least, Marxist politics. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Objectivist poets」の詳細全文を読む スポンサード リンク
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