[Msa-discuss] CFP: Poetry after Collage (MSA14 Las Vegas)
miayou at gmail.com
Sat Mar 24 12:07:51 EDT 2012
CFP: Poetry after Collage
MSA14 Las Vegas (October 18-21, 2012)
2012 marks the centenary of Picasso and Braque’s experimentations with
Cubist collage—experimentations that both offered an interventionary
compositional technique for painting and produced a new theoretical
paradigm for the materials constituting a modernist work of art.
Clement Greenberg defined collage as “to paste or glue a piece of
extraneous material to the surface of a picture,” and we could call
text itself—via newsprint, calling cards or even department store
labels—one such “extraneous material” that makes its way onto the
painted canvas. Perhaps this helps why the invention of modernist
collage has had profound implications for poets as well as artists.
This panel will investigate the evolving influence of collage on
poetry during the last century, as well as how poets’ engagement with
collage has shifted or redefined collage’s function in the visual
arts. Well-established topics of interest to collage (such as the
clash of the lowbrow/highbrow, the recuperation of detritus and waste,
the incorporation of mass culture, art’s engagement with the everyday)
and their implications for modern poetry are certainly appropriate and
could lead the panel to addressing the relationship between poetic
collage and spectacle. However, our hope is that papers will also
consider the particular implications of collage on poetic form. What
exactly constitutes collage in poetry? How do we distinguish poetic
collage from a text that plays with allusion, citation, metonymy or
polyphony? Do poets working with collage offer a new formulation of
prosody? How does collage impinge on or shape the aural component of
poetry? What impact has collage's modifications on foreground and
background had on poetry, as played out through different planes or
even emotional registers in a text?
Papers dealing with concrete moments of collision between collage and
poetry (such as Stein or Apollinaire’s work concurrent with Cubism;
the Futurists and Vorticists’ use of typography; the relationship
between Schwitters’ Merz projects and his writing; O’Hara's
development alongside Johns and Rauschenberg; Nauman’s sound collages
defined as either art or poetry) are especially welcome.
Please send a 300-word abstract alongside a short academic bio (2-3
sentences) by April 3 to Mia You (miayou at gmail.com).
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