Imagism: hilda doolittle, ezra pound

IMAGISM: HILDA DOOLITTLE, EZRA POUND
PLAN
Introduction 3
Chapter 1. Hilda Doolittle autobiography 4
1.1 Life and career 4
1.1 Dramatic and literary achievements 7

Chapter 2. The plays of Euripides 10

2.1 Hilda Doolittle, Ezra Pound 10
Conclusion 22
Bibliography 23



Introduction
The President signed the Education Law. It describes in detail the types of education and forms of education, clarifies the powers of government agencies and enshrines the rights of teachers, students and parents¹. President Shavkat Mirziyoyev signed the law “On Education” on 23 September. The document was passed by the Legislative Chamber on May 19 and approved by the Senate on August 7.It, in particular, defines the concept of “education” – a systemic process aimed at providing students with deep theoretical knowledge, skills and practical skills, as well as the formation of general educational and professional knowledge, skills and abilities, and the development of abilities. There was no conceptual framework in the 1997 law.
The Collected Poems of H.D. (1925 and 1940), Selected Poems of H.D. (1957), and Collected Poems 1912–1944 (1983) secured her position as a major 20th-century poet. She won additional acclaim for her translations (Choruses from the Iphigeneia in Aulis and the Hippolytus of Euripides [1919] and Euripides’ Ion [1937]), for her verse drama (Hippolytus Temporizes [1927]), and for prose works such as Palimpsest (1926), Hedylus (1928), and, posthumously, The Gift (1982). Several of her books are autobiographical—including Tribute to Freud (1956); Bid Me to Live (1960); and the posthumously published End to Torment (1979), a memoir of Pound, and Hermione (1981), a semiautobiographical bildungsroman, or perhaps more accurately a Künstlerroman (portrait of the artist’s development). Helen in Egypt (1961), a volume of verse, appeared shortly after her death.
Over the years H.D.’s sharp, spare, classical, and rather passionless style took on rich mythological and mystic overtones. Analyzed by Sigmund Freud, she was preoccupied with the interior journey. She was directly concerned with the woman’s role as artist, and she used myth not only to illuminate individual, personal experience but also, it has been pointed out, to reconstruct a mythic past for women. H.D. is sometimes considered first among the Imagists, the seminal 20th-century poetic movement in the United States, though her work goes far beyond Imagism. She also helped define what came to be called free verse and was among the early users of a stream-of-consciousness narrative. Ezra Pound and other important 20th-century poets considered themselves artistically indebted to her².