MSA 6 Panel: Experimental/Visual/Concrete Poetry (5/7/04; MSA 10/21-24/04)
Modernist Studies Association 6th Annual Conference
Vancouver, B.C., Canada, 21-24 October 2004
EXPERIMENTAL/VISUAL/CONCRETE POETRY
Mallarm=E9's "Un Coup de D=E9s" (1897) is generally credited with
inaugurating a modernist tradition of visual poetry that encompasses
Apollinaire, Futurism, Dadaism, Joyce, Pound, Cummings, and the
Concrete Poetry movements of Brazil, Europe, and America. This kind
of poetry practices a poetic exploitation of typography and of the
plastic and phonetic properties of the word, often in a mimological
search for a concrete expression of the thing, as defined by G=E9rard
Genette in Mimologics. In their emphasis on the materiality of the
text, experimental/visual/concrete poets and writers anticipate many
of the ideas and concerns of such new media theorists as Jay David
Bolter and Richard Grusin.
What is the specificity of experimental/visual/concrete mimologics
for modernism? How do they constitute specifically modernist modes
of thinking and writing?
What is the importance of these writers for contemporary theorization
of the "text" and the "hypertext"?
What sorts of new approaches are possible today for the study of
experimental/visual/concrete poetry?
How have modernist innovations in the realm of the
experimental/visual/concrete been extended/transformed/challenged in
the postmodern era?
What are the implications of experimental/visual/concrete poetry for
our changing notions of language, text, mediation, and the real?
All approaches to the topic, including international-comparatist
ones, are encouraged.
Please send 250-word abstracts, together with paper title,
institutional affiliation, discipline or department and contact
information to John Pedro Schwartz at jpedro@mail.utexas.edu by
=46riday, May 7.
Conference theme: Other Modernisms/Modernism's Others. Conference info:
http://www.sfu.ca/conferences/msa/
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