The program is almost live! For now, check out our extensive list of accepted abstracts (arranged by date).
Also, already confirmed for Trans- and Trance are two exciting keynote speakers.
Dr. David Ferris (PhD, Suny-Buffalo), Professor of Comparative Literature and Professor/Chair of Humanities at the University of Colorado at Boulder, will be providing us with a fascinating lecture on intransigence between painting and photography.
Dr. Joel Faflak is Professor of English and Theory in the Department of English and Writing Studies at Western University, where he is Director of the School for Advanced Studies in the Arts and Humanities and a current Faculty Scholar, and where he teaches courses on the culture of leadership. He is author of Romantic Psychoanalysis: The Burden of the Mystery (SUNY, 2008); co-author of Revelation and Knowledge: The Psyche of Romanticism (Toronto, 2011); editor of Thomas De Quincey’s Confessions of an English Opium-Eater (Broadview, 2009); editor or co-editor of eight volumes, including The Romanticism Handbook (Continuum, 2011), The Handbook to Romanticism Studies (Wiley-Blackwell, 2012), The Public Intellectual and the Culture of Hope (Toronto, 2013), and Romanticism and the Emotions (Cambridge, 2014); and author of over forty articles on Romantic literature and culture and their relationship to psychoanalysis as well as eighteenth-century and nineteenth-century psychiatry and philosophy. He is North American Editor (Romanticism) for Literature Compass. He is the recipient of three consecutive SSHRC Standard Research Grants. He has won the Polanyi Prize for Literature (2002) and the Governor General’s Gold Medal for Research Excellence (1999). He is currently working on two books: “Romantic Psychiatry: The Psychopathology of Happiness” and “Get Happy! Utopianism and the American Film Musical.”
Dr. Faflak will be presenting a paper titled “Trancin’ in the Dark with Shelley.” This paper argues that the contemporary musical film makes a spectacle of what Jonathan Crary has identified in romanticism’s grasp of a traumatic delay between vision (and hope) and reality. Dr. Faflak reads uneasy passages in the film musical to Shelley’s Triumph of Life and specifically to its bizarre shape that is all light, as a figure for a problem that haunts Shelley’s poetics and musical films as works that perform a visual arrest that halts their own claims to knowledge. In both, the spectacle of history remains blind to its subjects, who are blinded in turn by the roar of capital’s showmanship.