poetry

Voyeurism functions in fiction in many ways: as state surveillance, as individual stalking, and even, arguably, in the acts of reading and writing. This panel will consider voyeurism through voyeur-tinged original fiction and critical papers both on voyeuristic works of fiction and on the voyeurism of the reader/writer/character relationship.

This panel explores the sense of place as part of the indigenous language of American artistic production of Modernism in the context of the European avant-garde. Though U.S. poets and artists were influenced by the formal techniques of Cubism, Futurism, Expressionism, Dadaism and Surrealism, they were also determined to search for the essence of an expressive language that defined its authenticity as opposed to European foreignness. One of their avenues of research was the exploration of the distinctive features of the American soil as a means of contributing novel aspects to modern aesthetics. The genuine character of the environment is closely linked to the strong attachment to rural or urban spaces and the value they acquire for the observer.

CALL FOR PAPERS

from undergraduat students

26th Annual St. Francis Writers’ Conference (formerly known as the ELL)

to be held at the

University of St. Francis

Joliet, IL

Saturday, November 18, 2017

featuring author and award-winning reporter/columnist

Maudlyne Ihejirika as keynote speaker

Please submit abstracts for proposed papers or samples of creative writing

by May 31, 2017, and completed papers (approx. 2000-3000 words or

1500-2000 words for AP and introductory students) or presentations no

The multi-media possibilities of the web, the optic flexibility of digital books, the ability to record image and sound cheaply and share that material quickly and widely over a variety of platforms, have drastically undermined poets' dependence on the page and print-based forms of distribution. Something has changed in the manner we encounter poetry. To what extent, though, have these technological changes transformed the forms and functions of poetry as such? Have they finally produced the necessary conditions for truly 'verbi-voco-visual' work, a one-time dream of the modernist avant-garde?  Have multimedia forms of poetry displaced more traditional forms and formats?