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If the Holocaust motivated aesthetic theorists and writers to rethink the premise of the literary mode altogether, stated in one form by Theodore Adorno in his 1951 claim that to write "poetry after Auschwitz is barbaric," early-twentieth-century writers tended to respond to the most violent and rife deaths of their time by zeroing in on words themselves. We may find the most prominent meeting of fatality and diction in the modernist period in attacks on languages of militarism and commemoration instigated from a host of quarters, particularly from ex-servicemen after the Great War. "Abstract words such as glory, honor, courage, or hallow," Hemingway's lieutenant Frederic Henry would say, "were obscene beside the concrete names of villages, the number of roads, the names of rivers, the numbers of regiments and the dates." But modernist writers without combat experience, individually and collectively, also developed and made cases for taking diction and syntax in new directions amid or in reaction to mass destruction of life in Europe. From bombarding typefaces in the journal Blast to redefinitions of 'melancholy' in psychoanalysis to clear prose in "Politics and the English Language," fatal violence again and again prodded modernist writers to reconstruct language, changing the way it was used and the meanings it could carry.

This panel is interested in how modernist studies might work through the relationship between death and language, especially since the topic of violent ends has garnered much attention in recent political and theoretical work. For instance, Hemingway's turn to "concrete" words, a move Orwell and many others seconded in the '30s and '40s, seems to run against the current tide of trauma studies, which often sees inaccuracies or inexactness of language as paradoxically bearing truthful, reliable witness to violence. If "there is a sense in which a cold analysis of violence somehow reproduces and participates in its horror," as Slavoj ?i?ek as said in "Violence: Six Sideway Reflections" (2008), does it follow that modernist critics need to reconsider the language projects of Hemingway, Orwell, and other moder realist writers? Other topics to consider might include:

- speech/rhetoric of public commemoration
- dead languages and modern poetry
- violence, death and new techniques in visual arts
- death and punctuation
- death and translation
- death and dialogue
- languages/terms associated with grieving and mourning
- funerary and obituary discourses
- changes to traditional languages or uses of language in elegies

Please send a 300-word abstract and a brief biographical statement to Daniel Moore ( by 6 May 2009. This panel is proposed and needs to be reviewed for acceptance.

Conference Location: Montreal, Canada
Conference Starts: November 05, 2009
Conference Ends: November 08, 2009

CFP Submission Deadline: May 06, 2009

For more information, contact: Daniel Moore