Poetry, Translation, and the Circulation of Global Modernism: A Roundtable and Reading
Thursday, 12 November, 2020 (US): 6:00-8:00pm EST / 3:00-5:00pm PST / 11:00pm-1:00am GMT
Friday, 13 November, 2020 (Australia/Asia): 10:00am-12:00pm AEDT / 8:00-10:00am JST
Speakers: Emily Drumsta, Klara Du Plessis, Ariel Resnikoff, and Sho Sugita
Moderators: by Alys Moody and Stephen Ross
Global modernism exists only in translation. Its condition of possibility is the circulation of texts through time and space, across languages and in languages that are not the texts’ own. Historically speaking, the texts we think of as modernist are, almost without exception, the products of lively eras of translation in an expanded sense that reaches beyond the strict remit of textual translation between languages. In order to have global modernism, then, there must be translation and, necessarily, its distortions. Global modernism, by foregrounding this established problematic of translation in the context of an awareness of the unevenness of global exchange, highlights the centrality of language politics to modernist literary creation.
The study of global modernism, too, relies on active and continuous translation efforts. Contemporary translators, many of them themselves practicing poets or writers, are increasingly making available modernisms from around the world. In doing so, they underscore the extent to which modernists so often regarded translation as a primary creative act rather than secondary or derivative one.
This roundtable and reading features the work of four scholars and translators of modernist poetry who contributed original translations to the anthology Global Modernists on Modernism (Bloomsbury, 2020) and whose efforts shine illuminating cross-lights on the modernist labour of translation. As several of our participants are also practicing multilingual poets, the event will offer an occasion to listen to and reflect on the contemporary legacies of modernist poetics.
This conversation, held under the shared auspices of the Literature Program at Bard College and Concordia University’s Centre for Expanded Poetics, is the second of a three-part series exploring global modernism, in celebration of the anthology. It was preceded by a roundtable on “Editing Global Modernism” held on October 23rd and will be followed by a workshop on pedagogy and global modernism on Friday, 4 December, 1:30-4:30pm EST.
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NZMSC 2020 Symposium
New Zealand Modernist Studies Consortium
23 November 2020
The New Zealand Modernist Studies Consortium (NZMSC) Symposium will be held at Massey University’s Albany campus on Monday, 23 November 2020.
You can find the programme here.
Alix Beeston (Cardiff University), ‘Frozen in the Glassy, Bluestreaked Air: John Dos Passos’s Photographic Metropolis’
Writing and Society Research Centre, Western Sydney University, Parramatta, Sydney
26 April 2019
The experimental form of John Dos Passos’s first major novel, the episodic, multilinear Manhattan Transfer (1925), has long been understood in connection with the montage techniques of avant-garde cinema. But Dos Passos’s notes and drafts for the book reveal the ahistoricity of this analogy even as they offer up other spectatorial contexts for understanding its experimental form. I draw on new archival work in this paper, which interprets Manhattan Transfer’s serialised mode of narration and characterisation in line with the figuring of female bodies through the photographic apparatus of advertisement and celebrity ancillary to early-twentieth-century Broadway entertainments. By unpacking the image of Dos Passos’s central character, Ellen Thatcher, as a photograph, “frozen into a single gesture”, I account for Dos Passos’s critique of the dominations of the male gaze and the complicity of photographic technologies as mechanisms of social control in the modern city.
ALIX BEESTON is Lecturer in English at Cardiff University. This paper is drawn from her first book, In and Out of Sight: Modernist Writing and the Photographic Unseen, which was published in 2018 by Oxford University Press. Her work appears or is forthcoming in PMLA, Signs: Journal of Women in Culture and Society, Modernism/modernity, Arizona Quarterly, and elsewhere. She is also the author of Object Women, a digital art history project developed in partnership with the George Eastman Museum: www.instagram.com/objectwomen.
DATE: Friday 26 April
TIME: 11.00am – 12.30pm
LOCATION: Female Orphan School, conference room 1 (EZ.G.23), Parramatta South Campus, Western Sydney University
CHAIR: Lorraine Sim (WSRC)
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