European Society for Literature, Science and the Arts · Malta · 15-18 June 2015

A call for papers from the European Society for Literature, Science and the Arts (SLSAeu):

This year’s conference is dedicated to the theme of Scale. In one way or another, scale is an issue deeply embedded in every discipline and every aspect of scholarly and scientific research. As the Call for Papers puts it, in the grand scheme of things Scale is the scheme of things itself. We do very much hope, therefore, that you will be as excited by the prospect of an interdisciplinary conference on Scale as we are. We are very pleased that the location of the conference will be Malta, an island in the middle of the Mediterranean with a rich history and culture, where effects of scale have exerted intriguing and complex energies for centuries, and which provides a particularly fitting and appealing venue for this year’s event. (more…)

davidwinters_infinitefictionsA promising new title from Zero Books: ‘David Winters has quickly become a leading voice in the new landscape of online literary criticism. His widely-published work maps the furthest frontiers of contemporary fiction and theory. The essays in this book range from the American satirist Sam Lipsyte to the reclusive Australian genius Gerald Murnane; from the distant reading of Franco Moretti to the legacy of Gordon Lish. Meditations on style, form and fictional worlds sit side-by-side with overviews of the cult status of Oulipo, the aftermath of modernism, and the history of continental philosophy. Infinite Fictions is indispensable reading for anyone interested in the forefront of literary thought.’ [Read More]

For a taster of David Winters’ writing style, take a look at his website, http://davidwinters.uk

Stefano Rosignoli (New Dublin Press) has interviewed Lois M. Overbeck about the progress of Samuel Beckett’s Letters, an ambitious four-volume collection of the Nobel laureate’s correspondence
Samuel Beckett
Samuel Beckett

At the end of a summer rich in events on Samuel Beckett, scattered largely between Dublin, Belfast and Enniskillen, academic research was encouraged in October with the publication by Cambridge University Press of the third volume of the writer’s correspondence. As in the previous volumes, Beckett’s statements about his own work, as well as the many intertextual references expanded on in the dense notes appended by the editors, demonstrate the scholarly value of the publication, which will become a primary resource especially for young researchers with no opportunity to explore public archives and private collections on both sides of the Atlantic. It is Beckett’s mocking depiction of intellectual life, however, rather than the crowded web of literary and artistic influences, that strikes the general reader and ensures that the letters are an enjoyable, rather than purely informative reading experience: “On m’a demandé un livret d’opéra bouffe! J’ai écrit une ligne – ‘J’ai pas envie de chanter ce soir’ – puis j’ai renoncé.” (“I have been asked for a libretto for a comic opera! I wrote one line: ‘I don’t feel like singing tonight’. Then I gave up.” SB to Jacoba Van Velde, 12.04.1958; in LSB III, 130-131). This trenchant tongue doesn’t appear to spare Beckett himself. In the same letter he declares, exhausted: “Il y a deux moments qui valent la peine, dans le travail, celui de la mise en route et celui de la mise en corbeille” (“There are two worthwhile moments in my work: the opening up and the basketing”; ibid.). This is just one of the many accounts of Beckett’s distress when facing the creation of new work, something that continues to spring at the author from the white page itself even during the years of his belated success.

I met Lois M. Overbeck, research associate at Emory University and general editor of The Letters of Samuel Beckett, to discuss the series, which is now approaching its conclusion. The interview took place just a few days after a public lecture given in Reading by Dan Gunn, professor at the American University of Paris and editor of the Cambridge collection, and before a reception at the Irish Embassy in London, which hosted a reading of the letters given by Barry McGovern. (more…)

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Spinoza memorial at the New Church in The Hague. Photograph: Dan Chung
Clare Carlisle (The Guardian) outlines the philosopher’s ideas in an accessible series of articles

One of the most important and distinctive features of Spinoza’s philosophy is that it is practical through and through. His ideas are never merely intellectual constructions, but lead directly to a certain way of life. This is evidenced by the fact that his greatest work, which combines metaphysics, theology, epistemology, and human psychology, is called Ethics. In this book, Spinoza argues that the way to “blessedness” or “salvation” for each person involves an expansion of the mind towards an intuitive understanding of God, of the whole of nature and its laws. In other words, philosophy for Spinoza is like a spiritual practice, whose goal is happiness and liberation. (more…)

Over the past few years I’ve become more and more interested in the music of Estonian composer, Arvo Pärt. Here’s an extract from an excellent interview published in Music & Literature

Jordi Savall: I find your situation especially interesting. Early on, you were composing within various traditions of the avant-garde, according to those systems. Then suddenly you decide it’s time to ask questions. You went through something like a renaissance as a composer… Since then, have you used the knowledge that you had acquired during your earlier period, or did you say: “I will never again do what I’ve already done”? Are your early works completely separate from those you’ve written since?

Arvo Pärt
Arvo Pärt

Arvo Pärt: Of course. We learn from the mistakes we’ve made. But unfortunately, it’s not possible to change everything we would like to change within ourselves. We lack the ability of the old masters to take off and soar. Why? I can’t say. We must adapt to our conditions. Each person must search for and find his own solution. Ideally, I would be able to write a melody with an infinite voice, a voice that carries on forever. Music that would be like speech, like a flood of thought. Thought is never pure, it’s often pierced by lightning, from without as from within. Thought is fragile. This means that our music also flows from our fragility and our inadequacies. And all this is reflected in the melody that has one voice, which is like a blood test. In music, one could say that a voice or a melodic line is like a man’s soul. In this sense, polyphony would have more to do with the idea of a crowd. The richness of the music of many voices is, however, the sum of the wealth of each of these melodic lines—as was the case in the polyphony of the great masters of the past. [Read More]