※ [本文轉錄自 NTU04DFLL 看板] 作者: spanisheyes (hazel) 看板: NTU04DFLL 標題: [公告] 台大人文社會高等研究院人文講座 時間: Tue Mar 18 00:37:11 2008 台大人文社會高等研究院人文講座公告－Marjorie Perloff教授 台大外文系合辦 Marjorie Perloff is Sadie D. Patek Professor Emerita of Humanities at Stanford University. She is currently Scholar-in-Residence at the University of Southern California in Los Angeles, where she taught before going to Stanford in 1987. She was President of the Modern Language Association in 2006 and President of the American Comparative Literature Association from 1993 to 1995. She is the author of twelve books and a few hundred essays and reviews on twentieth century poetry and poetics--both Modern and Postmodern--as well as on poetry and the visual arts. Her first three books were on individual poets--Yeats, Lowell, and Frank O'Hara; she then shifted to questions of poetics in The Poetics of Indeterminacy: Rimbaud to Cage (1981) and The Dance of the Intellect: Studies in the Poetry of the Pound Tradition (1985). The Futurist Moment: Avant-Garde and the Language of Rupture (1986) takes up an alternate Modernism and its influence today; this book was republished with a new Introduction in 2004. Of her later books, perhaps the most important are Radical Artifice: Writing in the Age of Media and Wittgenstein's Ladder: Poetic Language and the Strangeness of the Ordinary. She has recently published a cultural memoir, The Vienna Paradox and a collection of new essays Differentials: Poetry, Poetics, Pedagogy. 本次演講相關訊息如下： 公開演講（Three Lectures） 講題一：前衛傳統與個人才具：當代美國的「語言詩」 Lecture 1: Avant-Garde Tradition and the Individual Talent: The Case of Language Poetry 主持人：劉亮雅教授（台大外文系教授兼系主任） Moderator: Prof. Liang-ya Liou (Professor and Chair, DFLL, NTU) 時間：97年3月18日(二)15：00~17：00 Time: 15:00~17:00, Tuesday, March 18, 2008 地點：台大舊總圖1樓外文系新會議室 Venue: DFLL New Conference Room, 1F Old Main Library, NTU 摘要(Abstract)： What was—or is—the avant-garde? This lecture traces the rise, fall, and absorption into the culture of the major avant-garde movements of the early twentieth-century so as to show how the process of movement-making works. Along the way, I ask two questions: (1) Can an individual writer be considered “ avant-garde” or is group membership essential? And (2) what is the relationship of the aesthetic to the political in avant-garde movements? I then turn to a specific example: the Language Poetry movement which began in the U.S. in the early eighties—a movement some would say is over, others are still defending. 講題二：「似曾說過」詩學：近期美國詩中的引用、具像與規範 Lecture 2: The Poetics of Deja dit: Citationality, Concrete, and Constraint in the New Poetry 主持人：廖咸浩教授（台大外文系教授） Moderator: Prof. Hsien-hao Liao (Professor, DFLL, NTU) 時間：97年3月19日(三)10：00~12：00 Time: 10:00~12:00, Wednesday, March 19, 2008 地點：台大文學院2樓院會議室 摘要(Abstract)： In contemporary poetry—largely in response to the internet and digital discourse, we are witnessing an intriguing use of visual or “concrete’ poems, of poems that use primarily cited text, and a rule-based poetry deriving from the French Oulipo (Ouvroir de litterature potentielle; The Workshop for Potential Literature). In this poetry, which is now replacing the earlier non-referential Language model, the emphasis is on intertextuality. The Belgian poet Jan Baetens, for example, has written a marvelous poetic sequence based on the Godard film Vivre sa vie; the American poet Craig Dworkin has written a long poem called Dure that responds to a Durer painting; and the Japanese-German poet Yoko Tawada builds her poems and lectures from quotations and citations from classical writers like Ovid. How this “translation” process works is my subject. 講題三：美國詩與中國詩 Lecture 3: American and Chinese Poetry 主持人：奚密教授（加州大學戴維斯校區東亞語言文化系教授） Moderator: Michelle Yeh (Professor, Department of East Asian Languages and Cultures, UC Davis) 時間：97年3月20日(四)15：00~17：00 Time: 15:00~17:00, Thursday, March 20, 2008 地點：台大文學院2樓院會議室 Venue: College Conference Room, 2F College of Liberal Arts, NTU Chinese poetry today would seem to differ from our own paradigm in its greater emphasis on the lyric “I” and its use of concrete imagery—often drawn from nature. There are signs, however, that our two poetries are coming together, and that Chinese poetry, which has always been important to us—particularly in the work of Ezra Pound—can teach our poets a great deal. This is especially true for the new visual emphasis of Concrete Poetry in which the Chinese ideogram plays a large role. 外文系系辦 --

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