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SUMMARY:Derek Mahon's 'Museum Without Walls' - Dr Karen E Brown\, IRCHSS C
 ARA Postdoctoral Mobility Research Fellow\, Trinity College\, Dublin &amp\
 ; University of Cambridge
DTSTART:20130515T120000Z
DTEND:20130515T130000Z
UID:TALK44667@talks.cam.ac.uk
CONTACT:Dr. Meredith M. Hale
DESCRIPTION:'Poetry\, I often think\, is a visual art among other things'\
 , said Derek Mahon (b. 1941) in an interview for Poetry Review. '[My poems
 ] evolved\, I seem to remember\, very slowly\, word by word\, as if puttin
 g paint on a canvas: staining the silence\, improving (I hope) on the blan
 k page.' This paper addresses Mahon's relationship with the visual arts\, 
 focusing on his poems 'Courtyards in Delft' (after Pieter de Hooch's paint
 ing 'A Courtyard in Delft' [1659] in the National Gallery London)\, 'The H
 unt by Night' (after Uccello's 'The Hunt by Night' [1470] in the Ashmolean
  Museum\, Oxford)\, and 'Girls on a Bridge' (after paintings by Munch)\, b
 efore turning to more recent encounters between Mahon and modern Irish art
 ists. Through close analysis of individual pictorialist poems\, their visu
 al source(s)\, and sites of encounter\, Mahon's work will be understood in
  the context of André Malraux's 'museum without walls'\, W. J. T. Mitchel
 's 'pictorial turn'\, and recent critiques of the narrative and tutelary f
 unctions of ekphrasis.
LOCATION:Combination Room\, Wolfson College
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