ASECS 2009: March 27

Good news: the conference venue has free wireless Internet access.

Bad news (for me, anyway): I appear to have killed my laptop with a wee bit of spilled water. Luckily, my data is all backed up, my insurance will cover repairs or replacement, and my iPhone allows for some connectivity.

Update (03/28/2009, 5pm): The laptop lives!

I took conference notes on my laptop yesterday, but…

Perhaps some may wish to use the comments section of this entry to write about today.



5 responses to “ASECS 2009: March 27

  1. And several people on Twitter are here. Go to and search for #asecs09 to follow that conversation.

  2. I’m doing my best to keep up with John Richetti‘s engaging and enjoyable plenary address:http//

  3. Dave Mazella

    Hi everyone, I’m at the Hilton Garden Inn, and getting ready for the cash bars and dinner. Would anyone be up for a meet-up at the Marriott later?–DM

  4. Dave–sorry to have failed to respond to both of your meetup calls–I never made it back to the hotel room and the laptop yesterday to send that email, but got embroiled in the Delaware and AMS receptions after dinner. But if anyone reads this and is at the Johnson and Shakespeare panel this afternoon, that’s where I’ll be and I’d love to chat however briefly…and if I can get packed up and loaded into my car with time enough to spare I’ll try to swing by the room of Dave’s roundtable beforehand, which I’ll be sorry to miss.

  5. Friday, March 27th

    Here are a few more of my rough notes.

    John Richetti, current ASECS president, gave the presidential address, entitled ““Performance in Eighteenth-Century English Verse: Form and Expressiveness.”

    1. Walter Ong argued, as long as rhetoric remained primary means of understanding language, the oral residue in writing remained massive.

    2. Sound and performance extremely important to poetry. Poems not “dead letters” on the page.

    3. Web site called “Penn Sound” meant to return some of the performative qualities to poems. Audio files.

    4, Performance is, after all, interpretation, and can be quite hepful pedagogically, make qualities of a poem more evident.

    5. (He is obviously very good at oral delivery. Quite engaging. Great at reciting poetry. This helps make his point.)

    6. Hilarious comment about Al Pacino reading (incompetently) a sonnet by Shakespeare.

    7. Dialogic qualities in Pope’s poetry. “Epistle to Arbuthnot” and -The Rape of the Lock-.

    8. Pope is a “master of shifting tones.” confuses undergraduate students. Recitation can clarify the shifts.

    8. Verse as “sociable communication.”

    9. Discussion of several Swift poems.

    10. Discussion of a number of examples from C18 where a writer reports a reading aloud or reciting of verse.

    11. Focusing on the elegy and the satirical elegy. A difficult genre, can veer towards the maudlin.

    12. Concluding by re-emphasizing the importance of the oral to understanding c18 poetry, and the necessity of close reading, too.