[ilds] CFP - Poetry & Psychoanalysis

[James Gifford]

If anyone is planning to stick around the UK or Europe for a while at 
the Centenary conference in London, you might be interested in this 
later event.

Best,
James

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CFP: Poetry & Psychoanalysis, 30 June – 1 July 2012, Oxford University
Keynote speaker: Adam Phillips

Just as psychoanalysts have mined poetry for examples and case studies, 
the insights and the problems of psychoanalysis have been a rich source 
of inspiration for twentieth and twenty-first century poets. 
Psychoanalytic readings of poetry from Romanticism to the present have 
moved beyond symbol-hunting and biographical decoding: recent 
scholarship has explored a wide range of psychoanalytically-informed 
reading practices and models of subjectivity. In what ways do these two 
discourses continue to speak to one another? What preoccupations do they 
share? What frictions result from their conversation?

  -- In what ways can psychoanalysis inform discussions about the lyric “I”?
  -- How well suited is psychoanalysis – a discourse associated with 
depth – to analysing the surface play of poetics?
  -- How do recent feminist and queer perspectives converge with 
psychoanalytic readings of poetry?
  -- To what extent can accounts of the relation between the 
psychoanalytic and the political address questions of poetry’s relation 
to history?
  -- How do psychoanalytic paradigms of repetition speak to the musical 
and formal repetitions of verse?
  -- What do poetry’s generic characteristics – and poetry criticism’s 
distinctive preoccupations – offer to the broader intersection of 
psychoanalysis and literature? What might they suggest about that 
intersection’s limits?

We welcome papers from scholars working with all psychoanalytic 
paradigms (Freudian, Lacanian, Object Relations, and others) and 
thinkers (Freud, Lacan, Winnicott, Klein, Bion, Bollas, Kristeva, 
Benjamin, etc.) in relation to poetry. Topics might include: body and 
speech; apostrophe, address, dialogue; confession; private and public; 
language and affect; repetition, temporality, and lyric time; trauma and 
mourning; play and creativity.

Please send an abstract of no more than 300 words and a one-to-three 
sentence biographical statement by 15 December, 2011, to Reena Sastri 
(reena.sastri at ell.ox.ac.uk) and Julie Taylor (julie.taylor at lmh.ox.ac.uk).