Transnational Poetics: Aestheticism and Decadence at the Fin de Siècle

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The Modern and Contemporary Colloquium is very pleased to announce its co-sponsorship of a one-day symposium, to be held at NYU Liberal Studies and Department of English on Monday May 14th, starting at 10am on the 6th floor of 726 Broadway (NY 10003), entitled ‘Transnational Poetics: Aestheticism and Decadence at the Fin de Siècle.’

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Works-in-progress session: on conditions at the boundary

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On Tuesday March 27th at 4pm the Modern and Contemporary Colloquium and Cordilleras will co-host an NYU graduate student works-in-progress session. The work in this session meditates on conditions at the boundary: the liminal, the littoral, the coast; windows, passages and passing; the border, the nation, the human. The session will feature three panelists:

Kat Addis, “From ‘civill’ ‘Sapies’ to ‘negros of small price’: the Spaces of Enslavement in John Hawkins’ trans-Atlantic Voyages.”

Mercedes Trigos, “From the Border(lands): The Window in Nella Larsen’s Passing.”

Zane Koss, “Coastal Flows: Situating Vancouver Poetry in the Americas.”

Please join us! All are welcome, and wine will be provided. If you have any queries about this event please direct them to richard.porteous@nyu.edu.

Guest lecture: Rachel Blau DuPlessis

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On Thursday March 22nd at 6.30pm the Modern and Contemporary Colloquium will host its first guest speaker of the Spring 2017 semester, Rachel Blau DuPlessis, Professor Emerita at Temple University. The lecture will take place in the Event Space (Room 106) of 244 Greene St., New York NY 10003. The lecture will be entitled ‘Writing Over: Beginning Modernism All Over Again.’ We are very grateful to the NYU Cultures of War working group for co-sponsoring this event.

Professor Blau DuPlessis is both a poet and a critic. Her talk will discuss the challenges facing authors and interpreters of long poems in the aftermath of modernism, drawing on her background as a critic to highlight the problems she confronted in Drafts.

The talk will be followed by responses from the scholars Michael Golston (Columbia), Diana Hamilton (Baruch), Josh Schneiderman (CUNY), and Mark Scroggins (Florida AU).

Wine will be provided. If you would like a copy in advance of Rachel Blau DuPlessis’s ‘Draft 61,’ which responds explicitly to Ezra Pound’s Cantos, and/or a copy of two relevant short essays from her collection Blue Studios, please email richard.porteous@nyu.edu.

Guest lecture: Joshua Bennett

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On Thursday October 5th at 6.30pm the Modern and Contemporary Colloquium, in collaboration with the Post-Colonial, Race & Diaspora Studies Colloquium, will host its first guest speaker of the Fall 2017 semester, Joshua Bennett of the Harvard Society of Fellows. The lecture will take place in Room 102 of 19 University Place, New York NY10003. The lecture will be entitled Revising the Wasteland: black anti-pastoral and the end of the world.’

Dr. Bennett’s talk will explore the continuities in 19th and 21st century black poetics, paying special attention to the work of James Monroe Whitfield and Philip B. Williams. The talk will be followed by responses from scholars Kesi Augustine, Kate McIntyre, Sonya Posmentier, and Simone White. It is the first of two events co-hosted by MACC and PCRDC this autumn.

If you have any questions about this event please email david.hobbs@nyu.edu.

Guest lecture: Alex Murray

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On Thursday April 20th at 6.30pm the Modern and Contemporary Colloquium (MACC) will host its second guest speaker of the Spring 2017 semester, Dr. Alex Murray. The lecture will take place in Room 106 of the NYU Department of English at 244 Greene St. It is entitled ‘Decadent Lexicography’.

Click here for a link to Dr. Alex Murray’s bio and research interests at Queen’s University, Belfast. He is currently editing two books: Decadence: A Literary History (Cambridge University Press), and with Kate Hext Decadence in the Age of Modernism (Johns Hopkins University Press).

Wine and nibbles will be provided. If you have any questions about this event please email Richard Porteous (richard.porteous@nyu.edu).

About the lecture:

The term ‘decadence’ is notoriously difficult to define. Within literary studies it refers to a specific set of formal developments and thematic concerns that emerged in French literature of the Second Empire, and then in British literature of the 1880s and 1920s. Yet the same word has also circulated since the seventeenth century to express anxieties that a society, people or cultures are entering into a period of irrevocable decline. Over the course of the twentieth century its dominant use has become as a banal synonym for sex, luxury and excess, used to sell perfume, chocolate, or erotic novels. Critics of decadence regularly lament the sad state of affairs, and usually reach for the Oxford English Dictionary’s definition of the term. While that definition is routinely regarded as lacking the nuance to describe the flowering of the transgressive and experimental literature of the 1880s and 1890s, it is still invoked as some sort of lexicographic authority. The publication of the first two volumes of the OED (A-B, C-D, 1884-1894) were coterminous with the scandalous success of aestheticism and decadence, and Murray’s paper maps the politics of defining these and other affiliated terms in the period, arguing that the OED’s processes for defining these terms suggests a hostility to progressive art lurked behind the ‘objective’ facade of the OED’s methodology. The paper proposes that within the debates over the term ‘decadence’ in the period 1880-1920 we see its meaning shift from a moralizing critique of contemporary society to a complex synonym for the dynamic process of evolution, a meaning denied both by the OED’s definition of the word and by the historicizing practices of literary studies.

The image on the poster is an adaptation of a work by British book illustrator E.J. Sullivan (1869-1933). Thank you to Dr. Murray for the suggestion.

Guest lecture: Peter Robinson

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On Friday March 3rd at 6pm the Modern and Contemporary Colloquium (MACC) will host its first guest speaker of the Spring 2017 semester, Professor Peter Robinson. The lecture will take place in Room 106 of the NYU Department of English at 244 Greene St. It is entitled ‘Sound Sense and the Composition of Poetry’.

Professor Robinson has very kindly shared with us the first chapter from his forthcoming new book,  The Sound Sense of Poetry, which attendees are invited – though not obligated – to read in advance of the lecture. To ask for a .pdf of the chapter, or if you have any queries about the event, please email Richard Porteous (richard.porteous@nyu.edu)

The Sound Sense of Poetry is to be published by Cambridge University Press in the coming year. Its project is to explore the relationship between the compositional attunements of poetic composition, called here the ‘sound sense’ of a poem, and the process of reading techniques that enable this sound sense to be incorporated in reception. In the course of discussing such much-used binaries as meter and rhythm, sound and sense, reason and rhyme, and thought and feeling, this discussion reassesses the roles of writer and reader agencies, their selves and subjects, reevaluating, too, the place of promissory activity and of ‘uptake’ in speech act theory when applied to the poetic art.

In his lecture, Peter Robinson will review the sources of his new book’s convictions in his experiences of composing poetry. At the heart of the discussion will be the impulse and motivation in the evaluation and revision of draft texts, and the principles involved in deciding that a work is completed.

Click here for a link to Professor Peter Robinson’s bio and research interests at the University of Reading, England.

Guest lecture: Peter Boxall

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The Modern and Contemporary Colloquium (MACC) of the Department of English at NYU is delighted to announce its second guest lecture of the Fall 2016 semester. On Wednesday November 10th at 6pm in Room 306 of 244 Greene St., Professor Peter Boxall (University of Sussex) will give a lecture entitled ‘Starveling Prose: History, tautology and biomatter in the later fiction of Don DeLillo.’ The lecture will last approximately 50 minutes, at which point attendees will be invited to participate in a seminar-style discussion of the lecture with Professor Boxall.

Click here for a link to Peter Boxall’s bio and research interests on the website of the University of Sussex, where he is the Deputy Head of the School of English and a Professor of English in the Centre for Creative and Critical Thought.

The lecture is open to all. Wine and nibbles will be provided. If you have any questions about the event please email Richard Porteous (richard.porteous@nyu.edu).

About the lecture:

This paper suggests that DeLillo’s later prose, from The Body Artist to Zero K, develops a singular formal mechanism for tracing the relationship between history and the embodied subject – one that derives from a forensic, minimalist attention to the work of tautology.

DeLillo has been interested in tautology from his earliest writings, an interest that is particularly manifest in the Wittgensteinian poetics of End Zone, and this interest has always turned around the possibility that tautology might give us access to a kind of latent historical force, one which cannot find expression by other means. But in his later work, the paper will suggest, the tautology, or more precisely the incomplete, assymetrical tautology, assumes an increasingly central importance. From the odd repetitive clauses crafted by Mr Tuttle in The Body Artist (a character whose very name carries an echo of the tautology), to similar enclosed and self-referring speech acts that run through Point Omega and ‘The Starveling’, these late fictions fall repeatedly into the strangely evacuated space of the tautology. In doing so, they enact a kind of exhaustion, perhaps, a kind of failure of expression that is a familiar constituent of late aesthetics. But the paper will suggest that these oddly unbalanced structures do not simply perform a vacuity or failure of reference, but contain the possibility of a new way of thinking about the pressure that history exerts on the body – a new way of thinking about the relationship between history, aesthetics, and contemporary biomatter.