一橋大学言語社会研究科研究プロジェクト「モダニズムの越境性／地域性――近代の時空間の再検討」（科研費基盤（B））では、きたる12月17日(土)、ウォリック大学のダニエル・カッツ(Daniel Katz) 氏をお招きして、国際シンポジウムを開催します。　

　カッツ氏は国際的に名高いサミュエル・ベケット研究者でありますが、近著 American Modernism's Expatriate Scene: The Labour of Translation (Edinburgh UP, 2007) では「トランスアトランティック」をテーマにモダニズム文学を再考しており、最後の2章ではサンフランシスコの前衛詩人ジャック・スパイサー (Jack Spicer) に焦点を当てて論じています。現在はスパイサーに関する世界で最初のモノグラフとなる単著をご執筆中です。

　スパイサーは形式的にはエリオットやパウンドのようなコスモポリタン・モダニストの影響を受けつつも、「自分の作品をサンフランシスコの外に持ち出すことを禁じる」など、徹底的なリージョナリズムを貫こうとした詩人でもあります。本シンポジウムではスパイサーのほか、ベケット、ウィンダム・ルイス、そしてデレク・ウォルコットという「モダニストの後発組」を取り上げ、こうした作家たちが盛期モダニズムにどのように応答し、モダニズムをどのように「つくりかえた」か、多角的な視点から検討できれば思います。

　発表者にはカッツ氏のほか、同じく国際的にご活躍中のベケット研究者田尻芳樹氏（東京大学）、2011年に一橋大学言語社会研究科で博士号を取得したカリブ演劇研究者松田智穂子氏を予定しています。

記

シンポジウムRemaking Modernism: Regionalism, Transatlanticism, Postcolonialism
日時：2011年12月17日（土）　14:30〜18:00（開場　14:00）
場所：一橋大学　東キャンパス国際研究館4階　大教室
使用言語：英語（通訳なし）

【発表者／演題】

松田智穂子（一橋大学）
　"No More'Romanticising' the Roots: Derek Walcott's Dream on Monkey Mountain (1967) and Primitivism"

田尻芳樹（東京大学）
　"Beckett and Wyndham Lewis: The 'Pseudocouple' in Modernism"

Daniel Katz (Warwick University)
　"'We Find the Body Difficult to Speak' : Jack Spicer's Early Lyrics and the Emergence of Serial Form"

司会：中山徹（一橋大学）

主催：科研費基盤（B）プロジェクト 「モダニズムの越境性／地域性――近代の時空間の再検討」（代表者　中井亜佐子）

共催：日本 英文学会関東支部

【発表要旨】

No More'Romanticising' the Roots: Derek Walcott's Dream on Monkey Mountain (1967) and Primitivism
Chihoko Matsuda

　From the late 19th century to the 20th century, practitioners of European Avant-Garde theatre employed primitivism in their works. Primitivism is generally regarded as one of the major concepts of the Avant-Garde trend; which effectively expresses challenges against the existent structure and theatrical tradition and returns to the essential origins of theatre and drama. Yet primitivism read from Nobel Laureate Derek Walcott's play seems to bear a different dramatic effect from European attempts. In the St Lucian-born Walcott's case, primitivism was employed as more than just an aesthetic device but as a means to search for the racial and historical roots of the Caribbean.
　The whole plot of Walcott's two-act play Dream on Monkey Mountain (premiered in 1967; won the 1971 Obie Award for distinguished foreign play off-Broadway) focuses on the quest for a post-colonial Caribbean identity by traveling back to its African roots. His intention originated in his political awareness of British colonial rule in the Caribbean—rather than as a purely theatrical or aesthetic experiment. As critic Christopher Innes points out in his Avant Garde Theatre, primitivism is "almost always seen through a Western contemporary prism" (9). Borrowing from African or Asian theatre is aimed "to present an alternative value scale to the mainstream Western one as well as to provide an antidote to a civilisation that stresses the racial and intellectual" (10); while in DMM Walcott employed avant-garde ideas and techniques, especially primitivism, not only to go back to the roots―but to depart from them and embark on a quest for an original national and cultural Caribbean identity.

Beckett and Wyndham Lewis: The "Pseudocouple" in Modernism
Yoshiki Tajiri

　This paper aims to explore the similarities between Wyndham Lewis and Samuel Beckett in terms of the concept of the "pseudocouple". While the two authors are known to be wildly different, several critics have pointed out their similarities. Fredric Jameson, for instance, argued in his 1979 book on Lewis, Fables of Aggression, that the two main characters in Lewis's novel The Childermass (1928) constitute the "pseudocouple" — the term Beckett used in The Unnamable for Mercier and Camier. Indeed, few readers of The Childermass would fail to be reminded of Mercier and Camier orWaiting for Godot. The term "pseudocouple", so commonly used in Beckett studies, seems to require a substantial discussion, especially in relation to certain fundamental features of modernism.
   Starting with a critique of Jameson's historical overview, I will first emphasize the distinction between the "pseudocouple" and the double. Then I will consider the specifically modernist features of the former concept by examining The Childermass and Beckett's relevant works. I will particularly focus on the way the mechanization of human bodies produces the special Bergsonian (and Chaplinesque) laughter, arguing that the "pseudocouple" ultimately derives from a mechanical reduction of human relations to the minimum. Building on the recent studies of modernism such as David Trotter's Cinema and Modernism (2007) and Michael North's Machine-Age Comedy (2009), I will attempt to resituate Beckett in the context of modernism where technology and the body were interrelated in new ways.

'We Find the Body Difficult to Speak":
Jack Spicer's Early Lyrics and the Emergence of Serial Form
Daniel Katz

　In the years since his death from alcohol poisoning, San Francisco Renaissance poet Jack Spicer (1925-1965) has gradually come to be recognized as one of most intriguing, demanding, and rewarding of the so-called "New American Poetry" poets who were first published in Donald Allen's historic anthology of that name.  According to his close friend, the poet Robin Blaser, Spicer's last words as he lay dying were, "My vocabulary did this to me.  Your love will let you go on."  Surly, grumpy, chronically depressed, sexually frustrated, and alcoholic, Spicer leaves behind a body of work which is remarkably liberating and generative, not only in its re-imagining of the possibilities of poetry, but also in its reticence with regard to the possible as such.  Perhaps here more than anywhere else, Samuel Beckett's late imperative to "fail better" finds the voicelessness necessary to carry it into the twenty-first century.
　This paper will study Spicer's "one night stands," his own term for the isolated, individual lyrics he wrote before his turn to the serial "book" form in 1957.  I will look at these poems as in many ways cartographic, delineating and charting space in a manner which implicitly and at times explicitly likens the body to geography, and conversely.  The difficult "speech" of the body, therefore, is intimately related to the regional concerns of all Spicer's work, including his interest in the demotic and the vernacular.  This work, "site-specific," as Peter Gizzi has called it, takes the body as its prime enigmatic site in the early period, while often positing a correspondence not only between geographical locale and the biological body, but also extending to the textual corpus.  Yet almost from the outset, this specificity is disturbed by another factor: that Spicer's sense of the local, the place, the body, and ultimately, the text, is relational and telecommunicational, constitutively structured by absence, transfer, displacement and mediation.  These elements prepare the way for Spicer's gradual elaboration of the "serial poem" or the "book" as form, both underpinned by one of the most crucial statements of post-War American poetics: "There is really no single poem."