Title

51ème Congrès
de la Société des Anglicistes de l'Enseignement Supérieur
Paris, 20 - 22 mai 2011

Atelier 14 - Poets and Poetry - Résumés
Mardi, 30 Novembre 2010 13:04


Dominique Delmaire (Lyon 2) – Cette adresse e-mail est protégée contre les robots des spammeurs, vous devez activer Javascript pour la voir.

“Indirection and meaning in the poems of George Mackay Brown”

Here is what, in Eliotian fashion, the contemporary Scottish poet George Mackay Brown declares about poetic composition: “very occasionally […] one's own directing will is hushed and laid asleep, and then words, images, rhythms, appear on the page that writer knows with joy beyond his own capacities”; and elsewhere:

He knew that a poem was stirring inside him, feeling ― though blind and inarticulate still ― its dazzling way through the darkness: a rhythm, an uncertain pulsing, like a late migrant bird lost now and bewildered for a moment, yet on the true course, unerring. It would find its way. The light grew a little, there was an image: the farm, horses, a harvest-field...

This description of the poem in the making could equally apply to the texture of the finished poem, where signification appears hesitant, tentative, retarded ― limping, and occasionally suspended, between accretions and setbacks, seeming to mature rather than to unfold, yet strangely bent on “seeking the silence” between, or beneath, words instead of moving forward.
Syntax (hyperbaton, apposition, dislocation, etc.) and rhythm conspire against the teleological progression of meaning in George Mackay Brown’s poetry. What is encouraged instead is a contemplative stasis which lets new, unexpected layers of signification gradually emerge from that welcomed in-betweenness.

 

Celia Galey (Paris 7) – Cette adresse e-mail est protégée contre les robots des spammeurs, vous devez activer Javascript pour la voir.

“Mutating Identities in the Mac Lowian Performance Poem”

The subject of any critical discourse that seeks to analyse Jackson Mac Low's poems constantly redefines itself as we try to grasp it. Not only do these poems challenge conventional categories of genre, style and aesthetics, they also call into question the very categorization we need to talk about them. The hybrid, polymorphic and mutable shapes of the Mac Lowian poem render any particular critical stance insufficient to encompass all its manifestations. A given poem, here, embodies itself through performances that are both simultaneous - all its possible actualizations are ideally coexistent within the text - and alternative - the matter and articulation of semiotic systems in each original performance cannot be reduced to a causal result of the written, nor be compared to other performances. The concept of identity is therefore to be explored through and reconciled with the processual dimension of these poems, resulting from the interplay at work between the written and the performed, the enactment of the poietic act in an unprecedented musical temporality.

 

Marie-Dominique Garnier-Gamiarchi (Paris 8) – Cette adresse e-mail est protégée contre les robots des spammeurs, vous devez activer Javascript pour la voir.

“‘She is raining’: Reading Word Rain (M. Gins, 1969)”

The full title of Madeline Gins’ volume Word Rain or A Discursive Introduction to the Intimate Philosophical Investigations of G,R,E,T,A, G,A,R,B,O, It Says ends with what appears to be an impersonal “subject”, with a subject endowed with many symptoms of what Deleuze and Guattari have called “becoming imperceptible”. The “subject” of such a book could be summed up in one of its final sentences which states that “the body is composed 98% of water” – in which body equally applies to living organism and to body of text, to the weather-bound collection of poems and poetic prose. I, in Gins’ book, literally “enters the m(i)st” , inhabits the evaporating core of mist, while the weather is approached as “not a closed subject”.
This essay proposes to follow Gins’ many threads in and out of the language of subjectivity, with a working corpus which stands at a critical distance from metaphor, in close poetic proximity with the “absorbing subject” of the weather – of “being” and the weather.

 

Armand Goulipian (Clermont Ferrand) – Cette adresse e-mail est protégée contre les robots des spammeurs, vous devez activer Javascript pour la voir.

Je vais dire 24 poèmes que je ne lirai pas. Depuis des années j'apprends des poèmes que j'aime (en français ou en anglais) et je les interprète pour des auditoires variés. J'ai dit recemment 25 poèmes de Jean Tardieu pour le cercle Amélie Murat de Clermont-Ferrand. En 2003 j'ai fait un récital de plusieurs poèmes à la Maison Française d'Oxford. En 2006 lors d'un colloque à Cerisy autour de l'oeuvre de J.B. Pontalis, celui-ci m'a écrit dans une dédicace : « Pour Armand Goulipian qui sait donner vie aux poètes que j'aime : Claude Roy, Jean Tardieu et d'autres... »
Il me semble qu'on pourrait discerner un fil qui relierait presque tous « mes poèmes » : celui du temps qui passe, ce temps dont le mystère continue d'intriguer les hommes, en particulier les philosophes, les théologiens, les poètes.
Je ne suivrai pas un ordre chronologique dans ce récital. Pontalis avait relevé une remarque de Roland Barthes qui estimait que pour l'enfance le temps n'existait pas ; l'enfance serait une utopie du temps, une « uchronie ». André Green parle, à propos du rêve, d'un « temps éclaté ». Pour Jankélévitch, « c'est l'homme tout entier qui est le temps incarné, un temps à deux pattes, qui va, qui vient, et qui meurt... » Tardieu a écrit une « Fable du temps » qui se termine ainsi : « …cette chose qui coule avec les larmes, avec le sang. »
Sonnets XII et LX de Shakespeare ; The Sonne de G. Herbert ; I Look into my Glass, The Darkling Thrush, After a Journey, Afterwards, de T. Hardy ; The Bright Field, de R.S. Thomas ; Mirror, de Sylvia Plath ; Nothing is Lost, de Anne Ridler ; Prayer before Birth, de MacNeice ; A Prayer to Time, et Microcosmos de Sassoon ; Time, de Joyce Grenfell ; What the Chairman Told Tom, de Basil Bunting ; Days, Triple Time, Ambulances, Money, The Old Fools, de Larkin ; Poem, de John Wain ; Let me die a Young Man's Death, de Mc Gough ; Ten Types of Hospital Visitor, de Charles Causley.

 

Christophe Lamiot Enos (Rouen) – Cette adresse e-mail est protégée contre les robots des spammeurs, vous devez activer Javascript pour la voir.

“What Is a Ghost: Ellipses In Recent Work From Cole Swensen”

Starting from a close reading of Swensen’s 2004 Goest, my paper aims at showing how ellipses work in the poet’s most recent work—including 1997 Noon, 2000 Oh, 2001 Such Rich Hour, 2005 The Book Of a Hundred Hands, 2007 The Glass Age, 2008 Ours, and 2010 Greensward—toward the evoking of her takes on the origins of language in ontogeny. My point is to show that 1) Swensen suggests an archeology of language from its ontogenic perspective, 2) concentrates, within such archeology, on a parting of ways between words on the one hand, and the real on the other, 3) calls her readers’ attention to blanks and other empty spaces as highly significant in reference to learning processes, and 4) in so doing defines poetry as both witnessing and learning related.
My critical references are Freud, Ferenczy, Stein, Lacan, Dolto, and Didier-Weill among others for psychoanalysis and the question of the origins of language from an ontogenic perspective.

 

Sarah Montin (Paris 4) – Cette adresse e-mail est protégée contre les robots des spammeurs, vous devez activer Javascript pour la voir.

“‘What is burned in the fire of this’: Subject and subjection in Isaac Rosenberg’s poetry”

“I am not interested in Poetry. My subject is war and the pity of war” claimed Wilfred Owen in the preface to his war poems, hinting at an ethical superiority in the choice of subject over poetic form. This proposition has become, for many, an axiom of war poetry.
Until his death in 1917, Isaac Rosenberg never ceased to resist this emphasis of subject over poetry. “I will not let war with all its powers for devastation master my poeting”, he wrote from the trenches as his production enacted the continual confrontation between poetry and its subject-matter.
Unlike his fellow war-poets, Isaac Rosenberg was not an officer but a private in the army, and, as such, felt more excruciatingly the objectification of body and mind that affected all soldiers in First World War. In order to avoid subjecting his voice further to circumstance, he tried to lessen the impact of war on his work by developing poetic strategies of deflection. In studying these mechanisms, I will show how Rosenberg combined a rarefied subject-matter with an elusive poetic Subject in order to create a space where Poetry could survive.

 

Anne Mounic (Paris 3) – Cette adresse e-mail est protégée contre les robots des spammeurs, vous devez activer Javascript pour la voir.

“The Poetic Voice, an Ethical Voice: the Question of Rhythm”

A poem is an ethical choice, the subject’s assertion and new birth, and it gives shape to time. In this perspective, I wish to discuss the relationship of ethics and aesthetics in creative writing, and examine the question of rhythm. First of all, I intend to study the visages of the I in the poem in its relations to the second and third persons, and to time and space as well, through several examples from different periods. Then I shall consider the notion of rhythm, or the arrangements of words, as regards the ethical choice and its aesthetic manifestation. Eventually, I shall discuss the consequences of such conception of the poem as far as the critical approach to poetry is concerned. 

 

John Sears (Manchester MU) – Cette adresse e-mail est protégée contre les robots des spammeurs, vous devez activer Javascript pour la voir.

“‘Generation in destruction’: Andrea Brady’s Wildfire

Andrea Brady’s Wildfire: A Verse Essay on Obscurity and Illumination (Barque Books 2010: interactive e-text) posits the poem as source and consequence of inspirational destructive fire. An inflammatory text, touching on pyrotechnic and scorched-earth histories and inscriptions, steeped in the flames of suffering and social procest, Brady’s poem reflects on its own generative destruction. It cites Mallarmé (‘The pure work disappears into words’ while apparently dismissing its own affective agency: ‘These are images / in a poem’. Poetry itself is revealed as (in Jean-Luc Nancy’s phrase) ’the thing made of making in itself’ (‘Making poetry’, in Multiple Arts: The Muses 11): Brady calls her poem ‘throughout a commentary on itself’. The poem presents a thing of burning words in which, in Wildfire, ‘decay is a recuperation the re- / verse likewise’. Making and destroying (the dialectic of fire) concerns the verse essay. The double, infinitely regressing self-reflexive potential of poesis permeates Wildfire; this paper will explore some of the effects and consequences of this text. (John Sears, December 2010)

http://www.krupskayabooks.com/wildfire/poem

 

 

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