For a moment in time, a generation ago, apostrophe became for some scholars the embodiment of the lyric gesture itself. In Jonathan Culler’s words, apostrophe signals “not a moment in a temporal sequence but a now of discourse, of writing,” typified by the poetic “O.” Long the neglected step-sibling of lyric apostrophe, chiasmus (“a crosswise placing” from the Greek letter chi) embodies the boustrophedonic turns of repetition and reversal, which also might be seen at the heart of the lyric. Where apostrophe involves a turning away to address an absent person, thing, or idea, chiasmus seems to turn inward—to sound, form, image.
NeMLA 48, Baltimore, Maryland, March 23-26, 2017
Modernist Forms of Fidelity
“One must turn back to Shakespeare then, for Shakespeare was androgynous; and so were Keats and Sterne and Cowper and Lamb and Coleridge[…] Some collaboration has to take place in the mind between the woman and the man before the art of creation can be accomplished. Some marriage of opposites has to be consummated” (Woolf, A Room of One’s Own).
** Deadline extended: 10/7/16 **
"South Asia and Latin America: Intellectual Junctures and Affinities" -- paper abstracts are invited for a roundtable panel at the 48th Annual NeMLA Convention (March 23-26, 2017, in Baltimore, Maryland, U.S.A.).
While studies of the Global South and South-South connections are of more recent vintage, unconventional intellectual exchanges of this type have long been occurring "off the grid." Specifically, such exchanges were occurring between South Asia and Latin America long before talk of BRICs and 'third world solidarity'. This session examines such intellectual junctures and affinities.
NeMLA Annual Convention - Baltimore, MD 23-26 March 2017
In contemporary studies of the Middle Ages, questions of visuality have increasingly dominated analyses of artistic production, in part because of the central role of vision in medieval theological and scientific discourse. This session seeks to broaden the conversation around medieval visuality by asking not only what it meant to see in the Middle Ages, but also what it meant to be seen, and how these networks of viewership could be depicted in the pictorial arts, literature, architecture, music, and drama.
Lowell himself left us some well-known misgivings about his accomplishments: the mere “snapshots” of his “threadbare art” in “Epilogue”; the “memorized . . . tricks” that “somehow never [left] something to go back to” in “Reading Myself,” which I’ve played on in my own title. He was nevertheless the dean of American poets when he died, suddenly and far too young, in 1977. Through the last decade of the 20th century, though, and since, it seems, at least arguably, that his star has been declining. For our conference in his centennial year (and even in the month of his birth), this session proposes at least a modest reassessment of Lowell’s career and achievement. It seems like a good time.
Textual dialogues – dialogical textuality
Department of English Literature and Literary Linguistics, Faculty of English, Adam Mickiewicz University Poznań
2-3 December 2016
In cooperation with:
Institute of German Studies
Institute of Romance Languages and Literatures
Institute of Russian Studies
A reviewer of Claudia Rankine's Citizen writes, "One problem with writing poetry about political or historical issues is that poetry proves a terrible method for transmitting information." This is an assertion we have encountered before. Regarding Ezra Pound's Cantos, Donald Davie writes, "Whatever more long-term effect Pound's disastrous career may have on American and British poetry, it seems inevitable that it will rule out (has ruled out already, for serious writers) any idea that poetry can or should operate in the dimensio of history, trying to make sense of the recorded past by redressing our historical perspectives. . . .