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Distilling the terror imaginary: thinking poetry after 9/11. Apil 22-23, 2013. Proposal submission deadline Dec. 17
full name / name of organization:
Center for Comparative Studies, University of Lisbon.
This CfP is for a poetry section of the larger conference “Images of Terror, Narratives of (In)security: Literary, Artistic and Cultural Responses” from April 22-23 at the Centro de Estudos Comparatistas at the Universidade de Lisboa.
Those interested in participating should send 200 word proposals by Dec. 17, 2012 in response to the following CALL FOR PAPERS:
Distilling the terror imaginary: thinking poetry after 9/11
Contemporary poetry in its non-lyric facets often defies quantification, but we venture the idea that an apt starting point for the construction of an analytical poetic framework might be constructed in keeping with the notion that this genre distances itself from the discursive norms that usually ground themselves in logical description (Wolfe 2005, Perloff et al. 2009), moving towards a hightened sensitivity to sound and language. At present, we would like to contemplate this poetic function with regards to a moment which seems to mark a before and after in contemporaneity: the impact of the events of September 11, 2001 and subsequently their concentric mediatic and political spread. It is as if the mediatization present in a few minutes of that day carried imagistic representation to its breaking point.
We ask whether the hyperproliferation of the insecurity and fear paradigms, along with their necessary tendency towards uniform perspectives, can be perceived in poetic production. Do considerations such as the state of exception found in thinkers from Benjamin to Agamben come into play here? Are certain forms of poetic production perhaps well-equipped to function as sensitive medium with regards to a new sort of “globalized” aesthetic organization, due to the fact that poetry's governing mechanisms stem from the interplay between image and sound, signified and signifier, moving towards some aesthetic result? Might poetry offer a gauge which could serve not only as a representación or even a distillation of certain imaginaries, but as a pointing towards that which lies ahead—akin to what Attali (1977) has posited with regards to the “prophetic” logic underlying music—being anounced already in latent forms. If this were the case, what codes would we begin to discern?
We invite papers which probe the ideological positions, mediatic roles or new developments in poetic production seen through the following (or other) lenses.
-War on Terror