I am delighted to become affiliated with UBC’s Critical Studies in Sexuality. For information about the program, please see: http://grsj.arts.ubc.ca/undergraduate/critical-studies-in-sexuality/
My profile at CSIS: http://grsj.arts.ubc.ca/persons/judith-paltin/
at MSA 18, Pasadena, CA, November 2016
Images: Alfred Stieglitz
James Joyce Quarterly, issue not yet scheduled.
“With us, there is a house, a lamp, a plate of soup, a fire, wine and pipes at the back of every important work of art.” –Jean Cocteau[i]
This essay argues that particular qualities of music as a nonfigural art are crucial to the ways that experience, memory, identity, and affect are formalized for characters’ relief and psychic defense in Ulysses. Continental, British and Irish modernisms all became interested in experimenting with layered intermedialities, and, in particular, with their contributions to the complexity of possible signification. As a literary text which interprets visual arts, music and sounds, Ulysses may be a turning point in intermedial compositional practice, going beyond musical reference or mimetic transcription to reconfigure textual articulations of knowledge, sociality and emotion.
[i] Jean Cocteau, Coq et Arlequin (1918), at <https://archive.org/details/lecoqetlarlequi00coctgoog> (viewed 15 May 2015).
to be presented at the annual conference of the Joseph Conrad Society (U.K.) in June-July 2016 at U Edinburgh Napier.
Early crowd analysts assumed in the individual crowd-member a proportionate loss of rational judgment, stable emotion and self-acknowledgment of responsibility. This theoretical bias propped up a traditional understanding of crowd-membership as a relinquishment of a mythic autonomy. Conrad approached the problematic from another direction; he experimented with conceptualizing the crowd as prior to and constitutive of, the individual, as when he shows an unreliable narrator’s effort to construct Jim from outside perceptions and the residual of his social networks, or how the mass body absorbs Stevie’s death. This paper brings together recent work on mediated lives and the mass body to read a set of Conrad’s character biographies as social and collective centres of focus, and to generate some ideas about their effects.
Image:The Economist, December 17, 2011
Dublin’s crowds are strangely invisible in Ulysses and difficult to decipher in the Wake. Why so? In this paper, I will discuss some crowd actions and related events during and around the occasion of the Easter Rising, and compare them with several samples of formal and representational experiments in “Wandering Rocks” and in FW, in order to derive a set of questions about visualizing complexity and unpredictability, –questions such as how to integrate interacting quantitative and semantic phenomena.
“Crowd Actions, (Reverse) Design and Complexity”
Green College, UBC Tuesday, November 3, 2015 at 5 pm.
Paired with Ivan Beschastnikh, “What’s under the hood? Recovering specifications of software systems,” whose presentation follows mine.
Some prefer to view crowds as complex adaptive systems, in which case one might “reverse engineer” crowd actions to analyze the articulations and flux that changed too quickly to be captured in real time. There is a goodly amount of tension between theory and practice, though, neatly presented via another complex adaptive system: modernist narrative fiction. This presentation compares conventional analytical approaches to two famous crowd actions, the Irish Easter Rising (1916) and the London Battle at Cable Street (1936), to roughly contemporaneous fictional representations of crowd movements and collective mental states.
Image: Created by Wolfgang Beyer with the program Ultra Fractal 3; accessed from Wikimedia Commons 21 August 2015. <https://commons.wikimedia.org/wiki/File:Mandel_zoom_09_satellite_head_and_shoulder.jpg>.
MSA 17, Boston MA, Nov. 2015
Panel : Locating Popular Modernisms: Medium, Discipline, Place
Organizer: Paul Peppis
Analyzing three particularly rich—and neglected—cases of modernist encounters and exchanges with popular forms of cultural production during the first half of the twentieth century, our panel interrogates the critical categories and cultural boundaries that have for too long conditioned and limited understandings of relations between modernism and the popular. Together, our papers chart a vital and variegated cultural field in which cultural forms and producers “high” and “low,” modern and mass mingled and mixed promiscuously and productively, generating distinctive and important artworks and cultural products at once popular and modern.
…to be presented at NAVSA 2015, Honolulu Hawaii, this July.
Picture: Alexandre Socci / Barcroft Media
UBC Department of English Faculty Research Series
Friday, March 27, 2015
Buchanan Tower 599
Image source: <http://fromthevaultradio.org/home/2009/05/29/ftv-160-gay-pride-month-christopher-isherwood/>. 29 January 2014
MLA Session 156 (this talk to replace Charne Lavery’s “Looking Back in Victory: ‘Native Life,’ the Threat of Witness, and Narrative Perspectivism”)
Thursday, January 8, 2015, 7-8:15 p.m.
Vancouver Convention Centre, Room West 204
Panel arranged by
The Joseph Conrad Society of America