{"id":900,"date":"2023-03-23T11:20:14","date_gmt":"2023-03-23T15:20:14","guid":{"rendered":"https:\/\/umaine.edu\/poetry\/?page_id=900"},"modified":"2024-10-09T15:27:58","modified_gmt":"2024-10-09T19:27:58","slug":"t-s-eliot-centennial-conference","status":"publish","type":"page","link":"https:\/\/umaine.edu\/poetry\/t-s-eliot-centennial-conference\/","title":{"rendered":"T.S. Eliot Centennial Conference"},"content":{"rendered":"<style>.kb-row-layout-id900_253b83-fd > .kt-row-column-wrap{align-content:start;}:where(.kb-row-layout-id900_253b83-fd > .kt-row-column-wrap) > .wp-block-kadence-column{justify-content:start;}.kb-row-layout-id900_253b83-fd > .kt-row-column-wrap{column-gap:var(--global-kb-gap-md, 2rem);row-gap:var(--global-kb-gap-md, 2rem);padding-top:var(--global-kb-spacing-sm, 1.5rem);padding-bottom:var(--global-kb-spacing-sm, 1.5rem);grid-template-columns:minmax(0, 1fr) minmax(0, 2fr);}.kb-row-layout-id900_253b83-fd > .kt-row-layout-overlay{opacity:0.30;}@media all and (max-width: 1024px){.kb-row-layout-id900_253b83-fd > .kt-row-column-wrap{grid-template-columns:minmax(0, 1fr) minmax(0, 2fr);}}@media all and (max-width: 767px){.kb-row-layout-id900_253b83-fd > .kt-row-column-wrap{grid-template-columns:minmax(0, 1fr);}}<\/style><div class=\"kb-row-layout-wrap kb-row-layout-id900_253b83-fd alignnone wp-block-kadence-rowlayout\"><div class=\"kt-row-column-wrap kt-has-2-columns kt-row-layout-right-golden kt-tab-layout-inherit kt-mobile-layout-row kt-row-valign-top\">\n<style>.kadence-column900_5145e8-b4 > .kt-inside-inner-col,.kadence-column900_5145e8-b4 > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column900_5145e8-b4 > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column900_5145e8-b4 > .kt-inside-inner-col{flex-direction:column;}.kadence-column900_5145e8-b4 > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column900_5145e8-b4 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column900_5145e8-b4{position:relative;}@media all and (max-width: 1024px){.kadence-column900_5145e8-b4 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.kadence-column900_5145e8-b4 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column900_5145e8-b4\"><div class=\"kt-inside-inner-col\"><style>.kb-image900_ef16fb-eb .kb-image-has-overlay:after{opacity:0.3;}<\/style>\n<figure class=\"wp-block-kadence-image kb-image900_ef16fb-eb size-large\"><img loading=\"lazy\" decoding=\"async\" width=\"665\" height=\"1024\" src=\"https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/tse-conf001-665x1024.jpg\" alt=\"A scan of the cover of the program for the T S Eliot Centennial Conference\" class=\"kb-img wp-image-901\" srcset=\"https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/tse-conf001-665x1024.jpg 665w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/tse-conf001-195x300.jpg 195w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/tse-conf001-768x1182.jpg 768w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/tse-conf001-91x140.jpg 91w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/tse-conf001-317x488.jpg 317w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/tse-conf001-423x651.jpg 423w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/tse-conf001-634x976.jpg 634w, https:\/\/umaine.edu\/poetry\/wp-content\/uploads\/sites\/242\/2023\/03\/tse-conf001.jpg 818w\" sizes=\"auto, (max-width: 320px) 85vw, (max-width: 768px) 67vw, (max-width: 1024px) 62vw,665px\" \/><\/figure>\n<\/div><\/div>\n\n\n<style>.kadence-column900_270e7f-13 > .kt-inside-inner-col,.kadence-column900_270e7f-13 > .kt-inside-inner-col:before{border-top-left-radius:0px;border-top-right-radius:0px;border-bottom-right-radius:0px;border-bottom-left-radius:0px;}.kadence-column900_270e7f-13 > .kt-inside-inner-col{column-gap:var(--global-kb-gap-sm, 1rem);}.kadence-column900_270e7f-13 > .kt-inside-inner-col{flex-direction:column;}.kadence-column900_270e7f-13 > .kt-inside-inner-col > .aligncenter{width:100%;}.kadence-column900_270e7f-13 > .kt-inside-inner-col:before{opacity:0.3;}.kadence-column900_270e7f-13{position:relative;}@media all and (max-width: 1024px){.kadence-column900_270e7f-13 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}@media all and (max-width: 767px){.kadence-column900_270e7f-13 > .kt-inside-inner-col{flex-direction:column;justify-content:center;}}<\/style>\n<div class=\"wp-block-kadence-column kadence-column900_270e7f-13\"><div class=\"kt-inside-inner-col\">\n<h3 class=\"wp-block-heading\">Program<\/h3>\n\n\n\n<p>THURSDAY, AUGUST 18<\/p>\n\n\n\n<p><strong>Session One<\/strong><\/p>\n\n\n\n<p>Chair: Carroll F. Terrell<\/p>\n\n\n\n<p>Introduction of Distinguished Guests<\/p>\n\n\n\n<p><strong>Session Two<\/strong><\/p>\n\n\n\n<p>Chair: Joseph Bentley<\/p>\n\n\n\n<p>A.D. Moody,&nbsp;<em>Keynote Address<\/em><\/p>\n\n\n\n<p><strong>Session Three<\/strong><\/p>\n\n\n\n<p>Panel One<\/p>\n\n\n\n<p>Chair: Jewel Spears Brooker<\/p>\n\n\n\n<p>Wendy Stallard Flory, \u201cThe Exorcism of Self-Loathing in \u2018Family Reunion\u2019 and \u2018Little Gidding\u2019\u201d<\/p>\n\n\n\n<p>Sebastian Knowles, \u201cDante in the Blitz\u201d<\/p>\n\n\n\n<p>Richard Badenhausen, \u201cThe Chorus as First Voice in&nbsp;<em>Murder in the Cathedral<\/em>\u201d<\/p>\n\n\n\n<p>Panel Two<\/p>\n\n\n\n<p>Chair: Russell Elliot Murphy<\/p>\n\n\n\n<p>Vinnie-Marie D\u2019Ambrosio, \u201cFive-Finger Exercises\u201d<\/p>\n\n\n\n<p>William Harmon, \u201cReactions to&nbsp;<em>The Waste Land<\/em>\u201d<\/p>\n\n\n\n<p>Peter Dale Scott, \u201cPound in&nbsp;<em>The Waste Land<\/em>, Eliot in&nbsp;<em>The Cantos<\/em>\u201d<\/p>\n\n\n\n<p><strong>Session Four<\/strong><\/p>\n\n\n\n<p>Chair: Carroll F. Terrell<\/p>\n\n\n\n<p>Philip Williams, \u201cEliot, Intertextuality and Japanese Poetics\u201d<\/p>\n\n\n\n<p>Koji Kawamoto, \u201cBasho\u2019s Haiku and Tradition\u201d<\/p>\n\n\n\n<p>Toshikazu Niikura, \u201cParodies and Allusions in Japanese Modernism\u201d<\/p>\n\n\n\n<p><strong>Session Five<\/strong><\/p>\n\n\n\n<p>Chair: John Matthias<\/p>\n\n\n\n<p>Assisted by Patrick Deane, Vincent Sherry, and Thomas R. Whitaker<\/p>\n\n\n\n<p>\u201cT.S. Eliot and the Paintings of David Jones,\u201d&nbsp;<em>slide show<\/em><\/p>\n\n\n\n<p>FRIDAY, AUGUST 19<\/p>\n\n\n\n<p><strong>Session Six<\/strong><\/p>\n\n\n\n<p>Panel One<\/p>\n\n\n\n<p>Chair: John Walsh<\/p>\n\n\n\n<p>Joan Fillmore Hooker, \u201cVisions and Revisions: \u2018Gerontion\u2019 in French\u201d<\/p>\n\n\n\n<p>Ron Bayes, \u201cT.S. Eliot,&nbsp;<em>Noh<\/em>, and Mishima\u201d<\/p>\n\n\n\n<p>Nancy Gish, \u201cT.S. Eliot and Hugh MacDiarmid\u201d<\/p>\n\n\n\n<p>Panel Two<\/p>\n\n\n\n<p>Chair: Cleo Kearns<\/p>\n\n\n\n<p>Edward Lobb, \u201cChamber Music: Closed Rooms and Difficult Women\u201d<\/p>\n\n\n\n<p>Karen Foster, \u201cPrufrock: A New Genre\u201d<\/p>\n\n\n\n<p>Eiko Araki, \u201cThe Symbolism of T.S. Eliot\u201d<\/p>\n\n\n\n<p><strong>Session Seven<\/strong><\/p>\n\n\n\n<p>Chair: Hugh Kenner<\/p>\n\n\n\n<p>Grover Smith, \u201cEliot and the Ghost of Poe\u201d<\/p>\n\n\n\n<p>Russell Elliot Murphy, \u201cT.S. Eliot\u2019s Grandchildren: The Generation of the Sixties\u201d<\/p>\n\n\n\n<p>Shyamal Bagchee, \u201cEliot\u2019s \u2018Only\u2019\u201d<\/p>\n\n\n\n<p><strong>Session Eight<\/strong><\/p>\n\n\n\n<p>Chair: Grover Smith<\/p>\n\n\n\n<p>Hugh Kenner, \u201cThe New Invisibilities\u201d<\/p>\n\n\n\n<p>Louis Martz, \u201c\u2018Ash Wednesday\u2019: Voices for the Veiled Sister\u201d<\/p>\n\n\n\n<p>Harvey Gross, \u201cYou Are the Music\u201d<\/p>\n\n\n\n<p><strong>Session Nine<\/strong><\/p>\n\n\n\n<p>Panel One<\/p>\n\n\n\n<p>Chair: Desmond Egan<\/p>\n\n\n\n<p>Rex McGuinn, \u201cReading&nbsp;<em>Four Quartets<\/em>&nbsp;on Location\u201d<\/p>\n\n\n\n<p>Timothy Materer, \u201cEliot on Occultism in&nbsp;<em>Four Quartets<\/em>\u201d<\/p>\n\n\n\n<p>John Paul Riquelme, \u201c\u2018Ash Wednesday\u2019: A Necromantic Misprision\u201d<\/p>\n\n\n\n<p>Panel Two<\/p>\n\n\n\n<p>Chair: Harvey Gross<\/p>\n\n\n\n<p>Ronald Bush, \u201cTurned Toward Creation: T.S. Eliot in 1988\u201d<\/p>\n\n\n\n<p>Dennis Ryan, \u201cT.S. Eliot\u2019s London Letters: The Role of Ideology and Art in&nbsp;<em>The Waste Land<\/em>\u201d<\/p>\n\n\n\n<p>Balachandran Rajan, \u201cMilton, Eliot, and Yeats\u201d<\/p>\n\n\n\n<p><strong>Session Ten<\/strong><\/p>\n\n\n\n<p>Chair: Grover Smith<\/p>\n\n\n\n<p>Cleanth Brooks, \u201c<em>The Waste Land<\/em>, Sixty Years Later,\u201d&nbsp;<em>keynote address<\/em><\/p>\n\n\n\n<p><strong>Session Eleven<\/strong><\/p>\n\n\n\n<p>Chair: Louis Martz<\/p>\n\n\n\n<p>John Walsh, \u201cDavid Finn Paintings Inspired by&nbsp;<em>Four Quartets<\/em>,\u201d&nbsp;<em>slide show<\/em><\/p>\n\n\n\n<p>SATURDAY, AUGUST 20<\/p>\n\n\n\n<p><strong>Session Twelve<\/strong><\/p>\n\n\n\n<p>Panel One<\/p>\n\n\n\n<p>Chair: Walter Sutton<\/p>\n\n\n\n<p>Joseph Bentley, \u201cHow to Read the End of&nbsp;<em>The Waste Land<\/em>\u201d<\/p>\n\n\n\n<p>Leon Surette, \u201cT.S. Eliot and J.L. Weston: A Reassessment\u201d<\/p>\n\n\n\n<p>Al J. Montesi, \u201cThe Making of&nbsp;<em>The Waste Land<\/em>\u201d<\/p>\n\n\n\n<p>Desmond Egan, \u201cEliot in Ireland\u201d<\/p>\n\n\n\n<p>Panel Two<\/p>\n\n\n\n<p>Chiar: Laura Cowan<\/p>\n\n\n\n<p>Cleo McNelly Kearns, \u201cT.S. Eliot and Marianne Moore\u201d<\/p>\n\n\n\n<p>James Longenbach, \u201cUncanny Eliot\u201d<\/p>\n\n\n\n<p>Sanford Schwartz, \u201cObjective Correlatives in T.S. Eliot\u2019s Poetry\u201d<\/p>\n\n\n\n<p><strong>Session Thirteen<\/strong><\/p>\n\n\n\n<p>Chair: Ronald Bayes<\/p>\n\n\n\n<p>Jewel Spears Brooker, \u201cMaking Sense of Eliot\u2019s Dissertation\u201d<\/p>\n\n\n\n<p>Walter Sutton, \u201cEliot, Pound, and Impersonal Theory\u201d<\/p>\n\n\n\n<p>David Roessel, \u201cEliot\u2019s Straw Men and Pound\u2019s Politicians at&nbsp;<em>Pons Sublicius<\/em>\u201d<\/p>\n\n\n\n<p><strong>Session Fourteen<\/strong><\/p>\n\n\n\n<p>Chair: A.D. Moody<\/p>\n\n\n\n<p>Max N\u00e4nny, \u201c<em>The Waste Land<\/em>&nbsp;Revisited\u201d<\/p>\n\n\n\n<p>Mohammad Shaheen, \u201cEliot and Islam\u201d<\/p>\n\n\n\n<p>Richard Shusterman, \u201cReactionary Meets Radical Critique: Eliot and Contemporary Culture Criticism\u201d<\/p>\n<\/div><\/div>\n\n<\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>Program THURSDAY, AUGUST 18 Session One Chair: Carroll F. Terrell Introduction of Distinguished Guests Session Two Chair: Joseph Bentley A.D. Moody,&nbsp;Keynote Address Session Three Panel One Chair: Jewel Spears Brooker Wendy Stallard Flory, \u201cThe Exorcism of Self-Loathing in \u2018Family Reunion\u2019 and \u2018Little Gidding\u2019\u201d Sebastian Knowles, \u201cDante in the Blitz\u201d Richard Badenhausen, \u201cThe Chorus as First [&hellip;]<\/p>\n","protected":false},"author":2234,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-900","page","type-page","status-publish","hentry"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.2 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>T.S. 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