poetry workshop
poetry workshop
Date: Sat, 29 Jan 2005 23:15:24 -0600
From: Camille Martin
Subject: CFP for MLA'05: Source Texts in Contemporary Experimental Poetry
Pastiches and Palimtexts: The Use of Source Texts in Contemporary
Experimental Poetry
This special session proposed for the 2005 MLA Convention will investigate
the use of source texts by contemporary experimental poets in the
composition process. I am using as a springboard Michael Davidson's term
"palimtext," by which he emphasizes "the intertextual - and
inter-discursive - quality of postmodern writing as well as its
materiality."
Examples - to name only a handful of myriad possibilities of such
intertextuality - include "erasures" of source texts (as in Igor
Satanovsky's "Shakespeare's sonnets revis[it]ed); homolinguistic
translations (such as Robert Kelly's _Unquell the Dawn Now_ and Lisa
Cooper's _& Calling It Home_); collaged texts using popular media (as in
Karen Mac Cormack and Alan Halsey's _Fit to Print_, Hannah Weiner's
_Weeks_, and Kenneth Goldsmith's _Day_); and the use of historic texts as
sources (as in Susan Howe's _Eikon Basilika_ and many of Robin Blaser's
poems).
In addition, journals of contemporary poetry regularly highlight
intertextual work. For example, _POM2_ asks submitters to borrow from or
somehow transform poems published in previous issues. And _Chain_ recently
published an issue surrounding the theme of borrowed texts.
The focus in this session will be the theorizing of such intertextuality:
the social and philosophical implications of avant-garde intertextuality
for communal language and the blurring of authorial boundaries.
One example of such exploration would be the dialogical relationship
between source text(s) and resulting text - in other words, the process by
which a poet mediates the cultural and historical legacy of a source text
and the position(s) of the resulting poem (ironic, complicit, critical) in
relation to the source. As Jen Bevin has it in her introduction to her book
of "erasures" of Shakespeare sonnets: "When we write poems, the history of
poetry is with us, pre-inscribed in the white of the page." What effect
does the cultural baggage of the source text have on the resulting work?
Email a 350-word abstract by March 1 to.
Works Consulted
Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction."
In _Illuminations_. Trans. Harry Zohn. New York: Harcourt, Brace & World,
1968.
Bervin, Jen. _Nets_. Brooklyn: Ugly Duckling Presse, 2004.
Davidson, Michael. "Palimtexts: Postmodern Poetry and the Material Text."
In _Postmodern Genres_. Edited by Marjorie Perloff. University of Oklahoma
Press, 1989.
Dworkin, Craig. _Reading the Illegible_. Chicago: Northwestern UP, 2003.
Camille Martin, Ph.D.
City College
Loyola University
6363 St. Charles Avenue
New Orleans, LA 70118
office: (504) 865-3530
home: (504) 865-7821
http://epc.buffalo.edu/authors/martinc/
--
Date: Sat, 29 Jan 2005 23:15:24 -0600
From: Camille Martin
Subject: CFP for MLA'05: Source Texts in Contemporary Experimental Poetry
Pastiches and Palimtexts: The Use of Source Texts in Contemporary
Experimental Poetry
This special session proposed for the 2005 MLA Convention will investigate
the use of source texts by contemporary experimental poets in the
composition process. I am using as a springboard Michael Davidson's term
"palimtext," by which he emphasizes "the intertextual - and
inter-discursive - quality of postmodern writing as well as its
materiality."
Examples - to name only a handful of myriad possibilities of such
intertextuality - include "erasures" of source texts (as in Igor
Satanovsky's "Shakespeare's sonnets revis[it]ed); homolinguistic
translations (such as Robert Kelly's _Unquell the Dawn Now_ and Lisa
Cooper's _& Calling It Home_); collaged texts using popular media (as in
Karen Mac Cormack and Alan Halsey's _Fit to Print_, Hannah Weiner's
_Weeks_, and Kenneth Goldsmith's _Day_); and the use of historic texts as
sources (as in Susan Howe's _Eikon Basilika_ and many of Robin Blaser's
poems).
In addition, journals of contemporary poetry regularly highlight
intertextual work. For example, _POM2_ asks submitters to borrow from or
somehow transform poems published in previous issues. And _Chain_ recently
published an issue surrounding the theme of borrowed texts.
The focus in this session will be the theorizing of such intertextuality:
the social and philosophical implications of avant-garde intertextuality
for communal language and the blurring of authorial boundaries.
One example of such exploration would be the dialogical relationship
between source text(s) and resulting text - in other words, the process by
which a poet mediates the cultural and historical legacy of a source text
and the position(s) of the resulting poem (ironic, complicit, critical) in
relation to the source. As Jen Bevin has it in her introduction to her book
of "erasures" of Shakespeare sonnets: "When we write poems, the history of
poetry is with us, pre-inscribed in the white of the page." What effect
does the cultural baggage of the source text have on the resulting work?
Email a 350-word abstract by March 1 to
Works Consulted
Benjamin, Walter. "The Work of Art in the Age of Mechanical Reproduction."
In _Illuminations_. Trans. Harry Zohn. New York: Harcourt, Brace & World,
1968.
Bervin, Jen. _Nets_. Brooklyn: Ugly Duckling Presse, 2004.
Davidson, Michael. "Palimtexts: Postmodern Poetry and the Material Text."
In _Postmodern Genres_. Edited by Marjorie Perloff. University of Oklahoma
Press, 1989.
Dworkin, Craig. _Reading the Illegible_. Chicago: Northwestern UP, 2003.
Camille Martin, Ph.D.
City College
Loyola University
6363 St. Charles Avenue
New Orleans, LA 70118
office: (504) 865-3530
home: (504) 865-7821
http://epc.buffalo.edu/authors/martinc/
--
posted by susan at 9:26 PM
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