\n\u201cThe Shock of the Now: The Sensual Experience of Time in the Modernist Avant-Gardes\u201d
\nChair: Julian Murphet
\n
![\"\"](\"https:\/\/amsn.org.au\/images\/mp3.jpg\")
<\/a><\/p>\nAssociate Professor Jonathan Flatley\u00a0(Department of English, Wayne State University) Professor Gail Jones\u00a0(Writing and Society Research Centre, University of Western Sydney) Professor Henry Sussman\u00a0(Visiting Professor, Department of Germanic Languages and Literatures, Yale University) <\/p>\n SESSION 1<\/strong><\/p>\n The Relationship Between Form and Feeling in Modernist Literature <\/p>\n SESSION 2<\/strong><\/p>\n Modernist Women Writers and Emotion Modernism and Performance <\/p>\n SESSION 3<\/strong><\/p>\n Virginia Woolf and Modernist Aesthetics Film and Modernism: Artistic Intimacies <\/p>\n SESSION 4<\/strong><\/p>\n Modernism and the Body James Joyce and Modernism <\/p>\n SESSION 5<\/strong><\/p>\n Marra:\u00a0Transferring Emotion Shame and Modernism Erica Johnson, \u201cSasha\u2019s Shame: Affective Memory in Jean Rhys\u2019s Good Morning, Midnight\u201d Naomi Milthorpe: \u2018\u201cToo, too shaming:\u201d Evelyn Waugh\u2019s Vile Bodies\u2019<\/p>\n <\/p>\n <\/p>\n SESSION 6<\/strong><\/p>\n Ugly Feelings and Modernism Australian Literary Modernisms <\/p>\n SESSION 7<\/strong><\/p>\n Modernism, Affect, and Understanding Marra:\u00a0Decorum or Intimacy? Karen Barker, \u201cVitalist Sexuality: D.H. Lawrence\u2019s Repudiation of Intimacy\u201d This webpage contains audio recordings of keynote and panel sessions presented at the \u2018Modernism, Intimacy and Emotion\u2019 symposium which was held at The Grace Hotel, Sydney on the 6-7 February, 2012. The intellectual content contained in these audio recordings remains under the copyright of the author\/speaker and must be acknowledged appropriately if referenced in another … Read moreAudio Recordings<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":16,"menu_order":8,"comment_status":"closed","ping_status":"closed","template":"","meta":{"jetpack_post_was_ever_published":false,"footnotes":""},"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/P7AhyS-4U","_links":{"self":[{"href":"https:\/\/amsn.org.au\/wp-json\/wp\/v2\/pages\/304"}],"collection":[{"href":"https:\/\/amsn.org.au\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/amsn.org.au\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/amsn.org.au\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/amsn.org.au\/wp-json\/wp\/v2\/comments?post=304"}],"version-history":[{"count":1,"href":"https:\/\/amsn.org.au\/wp-json\/wp\/v2\/pages\/304\/revisions"}],"predecessor-version":[{"id":1292,"href":"https:\/\/amsn.org.au\/wp-json\/wp\/v2\/pages\/304\/revisions\/1292"}],"up":[{"embeddable":true,"href":"https:\/\/amsn.org.au\/wp-json\/wp\/v2\/pages\/16"}],"wp:attachment":[{"href":"https:\/\/amsn.org.au\/wp-json\/wp\/v2\/media?parent=304"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\u201cLiking, Likeness, and the Color-Line in Andy Warhol\u201d
\nChair: Ann Vickery
\n<\/a><\/p>\n
\n\u2018\u201cGrowing small wings\u201d: Walter Benjamin, Lola Ridge and the political affect of modernism\u2019
\nChair: Lorraine Sim
\n<\/a><\/p>\n
\n\u201cTheory on the Fly: Critical Synthesis Under Conditions of Material Pirating and Borrowed Time: Benjamin\u2019s\u00a0Passagen-Werk\u201d
\nChair: Dimitris Vardoulakis
\n<\/a><\/p>\nDay 1: Monday 6th February 2012<\/h3>\n
\nChair:\u00a0Mark Byron
\nIain Bailey, \u201cBeckett, Tone and Distress\u201d
\nEric Sandberg, \u2018\u201cTo want and not to have\u201d: Desire and Form in Virginia Woolf\u2019s\u00a0To the Lighthouse\u2019
\nAnn Vickery, \u201cFond(s) of You: Reading Between Love and Sainthood in the Archive of Lesbia Harford\u201d
\n<\/a><\/p>\n
\nChair:\u00a0Patricia Juliana Smith
\nCaroline Webb, \u2018\u201cThe Only Real Person in a World of Human Flowers\u201d: Emotion and the Solitary Subject in Modernist Fantasy\u2019
\nMelissa Boyde, \u2018\u201cOut of her emotional depth\u201d: Gertrude Stein\u2019s Queer Demonstration\u2019
\nHelen Rydstrand, \u201cBrevity and Rhythm: Modernist Poetics in Katherine Mansfield\u2019s \u2018Prelude\u2019\u201d
\n<\/a><\/p>\n
\nChair:\u00a0Andrew Carruthers
\nCarolyn Burns, \u201cThe Representation of Reason and Desire in Adaptations of Thomas Mann\u2019sDeath in Venice\u201d
\nMichelle Duffy and Paul Atkinson, \u201cUnnatural movements: Modernism\u2019s shaping of intimate relations in Stravinsky\u2019s\u00a0Le sacre du printemps\u201d
\nBradley Wells, \u201cViolent Flesh: Incarnational Love in the Verse Drama of Charles Williams\u2014a very modern \u2018Inkling\u2019\u201d
\n<\/a><\/p>\n
\nChair:\u00a0Caroline Webb
\nYu-Yen Liu, \u201cUnsettling the Rhetoric of Modernism: Emotions, Aesthetics, and Woolf\u2019s Fiction\u201d
\nChristina Alt, \u201cSentiment-objects: Virginia Woolf and the emotion in things\u201d
\n<\/a><\/p>\n
\nChair:\u00a0Julian Murphet
\nJames Gourley, \u201cIntimate Time: The Limits of Temporality in Don DeLillo\u2019s\u00a0Point Omega\u201d
\nJason Tuckwell, \u201cThe Function of Limits\u201d
\nAnthony Uhlmann, \u201cModern Film in Coetzee\u2019s\u00a0In the Heart of the Country\u201d
\n<\/a><\/p>\nDay 2: Tuesday 7th February<\/h3>\n
\nChair:\u00a0Bronwen Levy
\nFiona Gregory, \u201cDeath, Fashion and Feeling: Reading Around\u00a0The Suicide of Dorothy Hale(1939)\u201d
\nAlix Baumgartner, \u201c\u2018O cant you see it, O cant you see it\u2019: Barely seeable bodies and the composite aesthetic in Jean Toomer\u2019s\u00a0Cane\u201d
\nPrudence Black, \u201cPractices of Intimacy: The Touch of the Cloth\u201d
\n<\/a><\/p>\n
\nChair:\u00a0John Attridge
\nMiri Jassy, \u201cCutting room flaw: assaying pleasure and perversion in the filmed intimacies ofFinnegans Wake\u201d
\nNicola Spunt, \u201cModernism and Intimacy: Between Ontology and Tropology in Joyce\u201d
\n<\/a><\/p>\n
\nChair:\u00a0Ivor Indyk
\nMark Byron, \u201cDispersed Passion in Beckett\u2019s\u00a0Watt\u201d
\nEmmett Stinson, \u201c\u2018Deadness\u2019, Affect and Laughter in Wyndham Lewis\u2019s\u00a0The Apes of God\u201d
\nDavid Large, \u2018\u201cThe power and purity\u201d: Sublimation and projection in Malcolm Lowry’sUltramarine\u2019
\n<\/a><\/p>\n
\nChair:\u00a0Sue Thomas<\/p>\n
\n<\/a><\/p>\n<\/a><\/p>\n
\nChair:\u00a0Anthony Uhlmann
\nAmy Parish, \u201cDisappointing Sons: Guilt, intimacy and estrangement in Franz Kafka\u2019s \u2018Letter to His Father\u2019 and J.M. Coetzee\u2019s\u00a0Summertime\u201d
\nLachlan Montgomery, \u201cAn Icon of Abjection: Cultural Anxiety and the Outcast in the Novels of Jean Genet\u201d
\nJohn Attridge, \u201cJealousy, contingency and telephones in\u00a0A la recherche du temps perdu”
\n<\/a><\/p>\n
\nChair:\u00a0Gail Jones
\nIvor Indyk, \u201cPatrick White\u2019s Calico Bag\u201d
\nJoy Wallace and John O\u2019Carroll, \u201cThe man without intimacy: The role of Gilbert in\u00a0The Little Company\u201d
\nBronwen Levy, \u201cIntimacy and Emotion in Elizabeth Jolley\u201d
\n<\/a><\/p>\n
\nChair:\u00a0Prudence Black
\nSusan Best, \u201cArt, intimacy and affect: The late works of Lygia Clark\u201d
\nCristina Silaghi, \u201cInner Process, Outer Form: Empathy, Representation and Abstraction in the Early Twentieth-Century Writings of Wilhelm Worringer\u201d
\nChristopher Oakey, \u201cIntimate Experiences: affect and understanding in H.D.\u2019s\u00a0Sea Garden\u201d
\n<\/a><\/p>\n
\nChair:\u00a0Ann Vickery
\nPatricia Juliana Smith, \u201cAll is Fair in Love and War: Intimacy, Deceit and Treason in Elizabeth Bowen\u2019s\u00a0The Heat of the Day\u201d
\nJessica Gildersleeve, \u2018\u201cA little point of darkness\u201d: The Anxiety of Intimacy in Elizabeth Taylor\u2019sAt Mrs Lippincote\u2019s\u00a0(1945) and\u00a0Palladium\u00a0(1946)\u2019<\/p>\n<\/a><\/p>\n
\n<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"