"Oral Poetry Inc. and Offence in Comparative Literary History"
(Tuesday, April 26)
In spite of recent efforts to appropriately accommodate oral poetic discourse into recent histories of literatures in European Languages, it has proven remarkably difficult to achieve. Oral storytelling is, more often than not, relegated to antiquity through comparative examinations of ballad structure or through the comparative analysis of canciones de gesta in search of some “original” version. This paper proposes to approach the jesters’ oral storytelling phenomena from the perspective of phenomenological hermeneutics and examine what Hazard Adams’ The Offense of Poetry has described as the “carrying the word metaphorically from the body over into language itself” (96-7) and again from language over into the body. I will propose that this incorporation of “gesture in language,” (99) understood by Adams as the nucleus of poetry’s offense and by Marcel Jousse as the core of oral style, is what accounts for the stumbling block Literary History faces when it attempts to appropriately incorporate contemporary oral storytelling. I will offer a brief comparison of oral storytelling in Caribbean, Northern European, and South American contexts.
Bio-Bibliographical Note:
Professor of the Department of Spanish and Italian at Queen’s University. He offers courses on 20th-Century Spanish American narrative, Mexican oral narrative tradition, contemporary literary theory and narrative perspective, as well as courses in advanced Spanish language. He has published Narrative Perspective in Fiction: A Phenomenological Mediation of Reader, Text, and World with the University of Toronto Press along with numerous articles and chapters in Canadian and Mexican journals and editions that focus on Spanish American, European narrative. Professor Chamberlain was an Erasmus, Mundus Masters Visiting Scholar to the European Union in 2009-2010 and he is a delegate for New England and Eastern Canada to the Modern Language Association of America’s Delegate Assembly from January 2011 through the close of the January 2014 MLA convention. Currently he is engaged in research on oral literary tradition and literary history. Professor Chamberlain has acted as President of the Canadian Comparative Literature Association, as Secretary, Treasurer and as Vice President of the Coordinating Committee for Literary History in European Languages of the International Comparative Literature Association. He also acts as a member of editorial boards of Canadian and Mexican journals dedicated to the fields of Hispanic and Comparative Literature.
Professor of the Department of Spanish and Italian at Queen’s University. He offers courses on 20th-Century Spanish American narrative, Mexican oral narrative tradition, contemporary literary theory and narrative perspective, as well as courses in advanced Spanish language. He has published Narrative Perspective in Fiction: A Phenomenological Mediation of Reader, Text, and World with the University of Toronto Press along with numerous articles and chapters in Canadian and Mexican journals and editions that focus on Spanish American, European narrative. Professor Chamberlain was an Erasmus, Mundus Masters Visiting Scholar to the European Union in 2009-2010 and he is a delegate for New England and Eastern Canada to the Modern Language Association of America’s Delegate Assembly from January 2011 through the close of the January 2014 MLA convention. Currently he is engaged in research on oral literary tradition and literary history. Professor Chamberlain has acted as President of the Canadian Comparative Literature Association, as Secretary, Treasurer and as Vice President of the Coordinating Committee for Literary History in European Languages of the International Comparative Literature Association. He also acts as a member of editorial boards of Canadian and Mexican journals dedicated to the fields of Hispanic and Comparative Literature.
"De líricas sitiadas y sujetos translúcidos:
la poesía experimental catalana"
(Tuesday, April 26)
la poesía experimental catalana"
(Tuesday, April 26)
La poesía experimental catalana reciente puede percibirse como un sitio a la concepción convencional de la lírica como expresión unívoca de un yo reconocible y capacitado para un conocimiento que se origina en el fenómeno. Partiendo de un marco cronológico que se extiende desde los años setenta hasta la actualidad —y, por tanto, históricamente, en el tránsito del discurso resistencialista al de la normalización— mi contribución pretende analizar los frentes a menudo interconectados en los que tiene lugar ese sitio: el de la intermedialidad (desde las más tenues relaciones ecfráticas hasta la explosión de la poesía visual), el del asalto al discurso (descompuesto, disuelto o contaminado por tipologías textuales diversas) y el de las plataformas físicas de producción-difusión del objeto poético (desde el uso significante de materiales habitualmente ajenos a la transmisión literaria hasta los mecanismos alternativos —artesanales, a veces— de distribución). De este conjunto hetereogéneo de prácticas deriva la constitución de un sujeto translúcido: un sujeto que ha dejado de ser el filtro que transmite con literalidad lo real pero que ha abandonado también la creencia en la autonomía opaca de la consciencia, convirtiéndose en una entidad caracterizada no sólo por su capacidad de reflejo y deformación, sino también por la indisolubilidad de ambos procesos, que se presentan de modo simultáneo.
Bio-Bibliographical Note:
Professor of Catalan Literature and Literary Theory at the Universitat de les Illes Balears. Among other books, she is author of (Des)aïllats: narrativa contemporània i insularitat a les Illes Balears (2004, with Caterina Sureda) and Palma and Poesia insular de postguerra. Quatre veus dels anys cinquanta (1998), along with numerous chapters and articles in books and journals. Furthermore, she is co-editor of Poètiques de ruptura (2008) and Andreu Vidal, Obra poètica i altres escrits, (2007), as well as the editor of Textualisme i subversió: formes i condicions de la narrativa experimental catalana (1970-1985) and Joan Alcover, Miquel Costa i Llobera i els llenguatges estètics del seu temps (2007). She has been visiting professor of the Department of Hispanic Studies (Catalan Studies section) at Brown University. From 2006 to 2009 she has been head of the research project Teoria i pràctica de la narrativa experimental catalana (1970-1985): anàlisi i estudi contextual» (Ministerio de Educación y Ciencia, Plan Nacional de I+D+I, HUM2006-06108) and is currently head of the Research Group Literatura contemporània: estudis teòrics i comparatius sobre la textualitat (LiCETCT). Professor Pons is member of the editorial boards of Reduccions (2006 to the present) and Transfer. Journal of Contemporary Culture (Institut Ramon Llull).
Silvia Bermúdez:
"Amores que matan:
Love me tender de Ana Romaní y la Ley Contra la Violencia de Género"
(Wednesday, April 27)
"Amores que matan:
Love me tender de Ana Romaní y la Ley Contra la Violencia de Género"
(Wednesday, April 27)
El propósito de esta conferencia es evaluar una de las propuestas poéticas gallegas contemporáneas que con mayor ahínco se ha dedicado a renovar, expandir y transformar modalidades y fronteras líricas para impactar la esfera pública: me refiero a la producción artística de Ana Romaní, y en particular a su poemario Love me tender. 24 pezas mínimas para una caixa de música (2005). Me enfoco en este poemario por dos razones. Primero, porque debido a que los poemas de Love me tender se han difundido a través de una diversidad de medios—la red, leídos públicamente en performance, como libro distribuido gratuitamente por El Correo Gallego—los mismos nos permiten reflexionar sobre la poesía y medios de comunicación. Segundo, porque al enfocarse en la grave lacra social que es la violencia doméstica, los poemas de Romaní piden ser leídos a contraluz de la Ley Orgánica de Medidas de Protección Integral Contra la Violencia de Género de 28 de diciembre de 2004. Al proponer esta lectura a contraluz reconozco que Love me tender, por sus características, no puede tener el mismo impacto social que el que busca alcanzar la Ley de Protección Integral Contra la Violencia de Género —y constan las limitaciones de la misma. Sin embargo, argumento que ambos textos comparten objetivos políticos desde esferas discursivas específicamente distintas. Leídas a contraluz y desde sus inequívocas distinciones—uno es un texto legal-penal, el otro un texto literario—ambos nos ofrecen esferas desde las que trabajar para hacer frente a la violencia contra las mujeres.
Bio-Bibliographical Note:
Professor of the Department of Spanish and Portuguese at the University of California, Santa Barbara. She is the author of Las dinámicas del deseo: subjetividad y lenguaje en la poesía española contemporánea (1997) and La esfinge de la escritura: la poesía ética de Blanca Varela (2005), as well as the co-editor of From Stateless Nations to Postnational Spain/De Naciones sin estado a la España postnacional (2002). Her articles have appeared in critical collections in the U.S. and abroad and in Modern Language Notes, Revista de Estudios Hispánicos, Journal of Iberian and Latin American Studies, Journal of Spanish Cultural Studies, Siglo XX/Twentieth Century, and Anuario de Estudios Literarios Galegos. She recently served as Guest Co-Editor of the Special Issue “Spanish Popular Music Studies” for the Journal of Spanish Cultural Studies (June 2009) and her third book, Rocking the Boat: The Rhythms of Immigration in Spanish Pop Music, 1984-2000, is forthcoming. Professor Bermudez’ areas of research and teaching are Contemporary Spanish and Galician Literatures and Cultures, Transatlantic Studies, and Peruvian poetry. Her current work pays particular attention to how Spain’s new geopolitical position places this multilingual nation-state at the crossroads of the complex geographies and imagined communities that result from the circulation of peoples and cultures between Africa, Europe, and the Americas.
Professor of the Department of Spanish and Portuguese at the University of California, Santa Barbara. She is the author of Las dinámicas del deseo: subjetividad y lenguaje en la poesía española contemporánea (1997) and La esfinge de la escritura: la poesía ética de Blanca Varela (2005), as well as the co-editor of From Stateless Nations to Postnational Spain/De Naciones sin estado a la España postnacional (2002). Her articles have appeared in critical collections in the U.S. and abroad and in Modern Language Notes, Revista de Estudios Hispánicos, Journal of Iberian and Latin American Studies, Journal of Spanish Cultural Studies, Siglo XX/Twentieth Century, and Anuario de Estudios Literarios Galegos. She recently served as Guest Co-Editor of the Special Issue “Spanish Popular Music Studies” for the Journal of Spanish Cultural Studies (June 2009) and her third book, Rocking the Boat: The Rhythms of Immigration in Spanish Pop Music, 1984-2000, is forthcoming. Professor Bermudez’ areas of research and teaching are Contemporary Spanish and Galician Literatures and Cultures, Transatlantic Studies, and Peruvian poetry. Her current work pays particular attention to how Spain’s new geopolitical position places this multilingual nation-state at the crossroads of the complex geographies and imagined communities that result from the circulation of peoples and cultures between Africa, Europe, and the Americas.
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