Abstract This article takes an interdisciplinary approach in order to show the artistic importance of the friendship between Ezra Pound and Constantin Brancusi. It refers to key moments in Pound’s late cantos that evidence his development of a specifically sculptural aesthetic technique. With reference to Pound’s critical writings on the visual arts as well as to his allusions to sculpture and the process of direct carving throughout The Cantos, Pound’s and Brancusi’s work is seen as exemplary of experiments in poetic and sculptural form during the first half of the twentieth century. More specifically, Pound’s invocation of ‘no slither’ and his reference to Brancusi’s Bird in Space (1924, etc.) in Canto CXVII are read as being connected to his struggle to ‘make it cohere’. While Harriet Zinnes and Rebecca Beasley have both analysed Pound’s work in relation to the visual arts, this article sees his interest in the work of Brancusi as something that not only influences the shape of his late cantos, but also is intrinsic to his fraught creative process and sculptural aesthetic.

中文翻译：

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埃兹拉·庞德（Ezra Pound）和君士坦丁·布朗库西（Constantin Brancusi）：雕塑形式和“使其融合”的斗争

摘要本文采用跨学科的方法来展示埃兹拉庞德与康斯坦丁·布朗库西之间的友谊的艺术重要性。它指的是庞德后期音乐中的关键时刻，这些时刻证明了庞特的雕塑美学技术的发展。参照庞德在视觉艺术方面的批判性著作，以及他对雕塑的典故和整个Cantos的直接雕刻过程，庞德和布朗库西的作品被视为二十世纪上半叶诗歌和雕塑形式实验的典范。世纪。更具体地说，庞德对Canto CXVII的引用“没有滑手”的引用以及他对Brancusi的《太空中的鸟》（1924年等）的引用被认为与他为“使其凝聚”而进行的斗争有关。