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Unsteadily Marching On: The US South in Motion (2013), Ed. by Constante González Groba

 

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Call For Papers for Our Next Conference

"The Image and the Word"


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PANEL 13

13)"The Lyric Sensorium in American Poetry"
Panel Chair: Jeffrey Simons, Universidad de Huelva
E-mail: simons@uhu.es  

 

"Among twenty snowy mountains, / The only moving thing / Was the eye of the blackbird." So opens Wallace Stevens's "Thirteen Ways of Looking at a Blackbird" (1923), in a striking dimensional shift that goes from a vast expanse of twenty snow-covered mountains to the moving circle of a single blackbird's small dark eye. The dimensional shift and stark contrast show how lyric poetry draws on perception—a sort of lyric sensorium—to bring about its discursive effects. Later in the same poem, the speaker just as tersely says, "I know noble accents / And lucid, inescapable rhythms; / But I know, too, / That the blackbird is involved / In what I know." Here "I know" moves surely across the free-verse line, in an assertion of both knowing the sounds and rhythms of language and of including the blackbird in that knowing. Perception newly infuses the speaker's propositional claims.

Within the frame of the Conference title "The Image and the Word," this panel finds a place for the evolution of American poetry, as it evidences its singular lyric sensorium, taken to be a poetic faculty that sets the five senses, along with motion and kinesthesia, in relation to the thought and feeling of a lyric consciousness. We develop the lyric sensorium with phrases in Culler's Theory of the Lyric (2015), and see that it "entails a particular form of sensory apprehension" wherein "the subject is constituted as the subject of this sensory experience" (323). The result is an "affective organization of the perceptual realm" (327) that allows the lyric poet, in evolving historical circumstances, "to participate in a restructuring of the sensuous and affective domain of life" (330).

Panel papers might address, but are not limited to, such issues as:

• The role of perception in the work of specific American poets, both as a primary referential concern and as a secondary means of lyric argumentation

• The evolving nature of perception in American poetry

• The role in American poetry of the image and of sound

• The blending of sense modalities in lyric synaesthesia

• The presence of poetry in other forms of art

• The differences between perception in life and perception in poetry and art

 

GUIDELINES FOR PARTICIPANTS


Please submit all paper proposals directly to the Panel Chair using this form no later than October 15, 2018.

Panel Chairs will notify applicants of their acceptance/rejection no later than November 15, 2016.

For information on the Conference Venue see the Organizing Committee's website.

SAAS members, ASA members, and other scholars (not necessarily affiliated with any of these associations), are invited to submit proposals to the panel of their choice. Donwload this form, fill it out, and send it via email to the chair of your selected panel.

In order to present a paper, participants who are not SAAS, ASA, APEAA or HELAAS members will be required to pay a one year's membership fee (and enjoy the benefits for the following year) plus the conference fee.

Students have to become SAAS members (if they are not SAAS/ASA/APEEA/HELAAS members already) and pay 50 percent of the registration fee (60€ early bird/75€ late registration) if they wish to present a paper and/or attend the "Félix Martín" Doctoral Seminar.

Deadline: October 15, 2018

Further guideliness for participants can be found here.

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