- Absalonsgade 18, 4.tv., 1658 Copenhagen V., Denmark
- +4550912476
Martin Glaz Serup
University of Copenhagen, Department of Arts and Cultural Studies, Department Member
- Poetry, Conceptual Poetry, Danish Literature, Avant-Garde, Conceptual Witness Literature, Contemporary Poetry, and 64 moreGertrude Stein, Conceptual Art, Cultural Memory, Witnessing, Memory and Trauma, Holocaust Studies, 20th century Avant-Garde, Avant-garde writing, Voice, Relational aesthetics, Politics and Literature, Literature, Contemporary Art, Space and Place, Children's and Young Adult Literature, Picture Books, Modernist Literature (Literary Modernism), Creative Writing, Cultural Studies, Cultural Theory, Nordic Literatures, Practice-Based Research, Comparative Literature, Memory Studies, Documentary, Genre, Poetics, Media Archaeology, Blogging, Modernism, Modernism (Literature), Cultural History, Translation Studies, Translation theory, Literary Multilingualism, Affect (Cultural Theory), Affect Theory, Affect, Book History, Literary Theory, Childrens Literature, World Literature, Diary Studies, Theory of translation, Life Writing (Literature), Artists’ Books, Dadaism, Russian avant-garde art, Futurism, Travel Literature, Travel Writing, Philosophy, Art History, Russian & Soviet Art, Photography Theory, History of photography, Photomontage, Constructivism, Samizdat, Culture in the Soviet Union, Anthropology, Culture and Mental Health, Literature and Mental Health / Illness, Autoethnography, and Anthropology of Mental Healthedit
The manifestations of the Relationel Poetry are very diverse, but they all share certain features: the reportage like, the attempt to expand the radius of the aesthetic field and the political potential that imply, and a procedural form... more
The manifestations of the Relationel Poetry are very diverse, but they all share certain features: the reportage like, the attempt to expand the radius of the aesthetic field and the political potential that imply, and a procedural form that in different ways work with temporal vastness.
The Relationel Poetry is preoccupied with contemporary cultural and ethical discourses. Its political potential develop through its radical inclusion of material and in the investigation of what is visible and from where; the particular distribution of the sensible (drawing both on Jacques Ranciére and Nicolas Bourriaud). One must pay attention to not only who is granted a voice in the public sphere, but also to who is granted which voice. How could a political poetry of today look like?
Relationel poesi is an introduction to the Relational and Conceptual Poetry and its close predecessors. The book contain close readings of a vareity of poets: Danish Peter Laugesen, Finnish Pentti Saarikoski, Swedish Ulf Karl Olov Nilsson and Ida Börjel, American Kenneth Goldsmith and Canadian Derek Beaulieu.
The book is in the Danish.
The Relationel Poetry is preoccupied with contemporary cultural and ethical discourses. Its political potential develop through its radical inclusion of material and in the investigation of what is visible and from where; the particular distribution of the sensible (drawing both on Jacques Ranciére and Nicolas Bourriaud). One must pay attention to not only who is granted a voice in the public sphere, but also to who is granted which voice. How could a political poetry of today look like?
Relationel poesi is an introduction to the Relational and Conceptual Poetry and its close predecessors. The book contain close readings of a vareity of poets: Danish Peter Laugesen, Finnish Pentti Saarikoski, Swedish Ulf Karl Olov Nilsson and Ida Börjel, American Kenneth Goldsmith and Canadian Derek Beaulieu.
The book is in the Danish.
Research Interests:
In this collective article, we argue for a wider recognition of Lily Greenham’s sound poetry, underscoring her artistic uses of multilingualism and transnational collaboration. The form of the article is conceptual: in order to signal the... more
In this collective article, we argue for a wider recognition of Lily Greenham’s
sound poetry, underscoring her artistic uses of multilingualism
and transnational collaboration. The form of the article is conceptual:
in order to signal the importance given to poetry as a collaborative and
transnational activity in Greenham’s oeuvre, we have chosen to write the
article in six languages and as a collaboration between six scholars with
different backgrounds. The form of the article moreover refects the privilege
given to language as material, structure, and activity in Greenham’s
works. The purpose of our article is thus twofold: while we seek to initiate
an academic reception of Greenham’s works and to highlight these as
important contributions to the traditionally male-dominated historiography
of sound poetry, we also seek to examine how academic writing can alter
its conventional forms in order to address works that are not ideally suited
for hermeneutic or exegetic acts of reading.
sound poetry, underscoring her artistic uses of multilingualism
and transnational collaboration. The form of the article is conceptual:
in order to signal the importance given to poetry as a collaborative and
transnational activity in Greenham’s oeuvre, we have chosen to write the
article in six languages and as a collaboration between six scholars with
different backgrounds. The form of the article moreover refects the privilege
given to language as material, structure, and activity in Greenham’s
works. The purpose of our article is thus twofold: while we seek to initiate
an academic reception of Greenham’s works and to highlight these as
important contributions to the traditionally male-dominated historiography
of sound poetry, we also seek to examine how academic writing can alter
its conventional forms in order to address works that are not ideally suited
for hermeneutic or exegetic acts of reading.
Research Interests:
Published in SoundEffects, no.1/2017, p. 44-62. What is a poetry reading, how does the performed poem differ from the poem published on the page, and first and foremost: how do we read it? This article understands the poetry reading as... more
Published in SoundEffects, no.1/2017, p. 44-62.
What is a poetry reading, how does the performed poem differ from the poem published on the page, and first and foremost: how do we read it? This article understands the poetry reading as an independent form of expression, which neither ranks above nor below the written poem, but can be placed alongside it. Contrary to the printed poem, the audience often only has access to the performed poem once – while it is being performed – and is subsequently forced to rely on the memory of the specific reading and situation. Similarly, the body, the voice, the place, the time – and, in the case of recorded readings, also the remediation – are vital to how the poetry reading creates meaning. The article methodologically investigates: How do we approach the poetry reading from an analytical and a theoretical perspective, and includes readings of three poetry readings by Vanessa Place, Pia Juul and Jacques Roubaud.
What is a poetry reading, how does the performed poem differ from the poem published on the page, and first and foremost: how do we read it? This article understands the poetry reading as an independent form of expression, which neither ranks above nor below the written poem, but can be placed alongside it. Contrary to the printed poem, the audience often only has access to the performed poem once – while it is being performed – and is subsequently forced to rely on the memory of the specific reading and situation. Similarly, the body, the voice, the place, the time – and, in the case of recorded readings, also the remediation – are vital to how the poetry reading creates meaning. The article methodologically investigates: How do we approach the poetry reading from an analytical and a theoretical perspective, and includes readings of three poetry readings by Vanessa Place, Pia Juul and Jacques Roubaud.
Research Interests:
- in this paper I want to take a closer look on how Åke Hodell is using visual and concrete elements in his conceptual and pseudo-documentary Holocaust representations Orderbuch (1965) and CA 36715 (J) (1966). As presented on &NOW2015... more
- in this paper I want to take a closer look on how Åke Hodell is using visual and concrete elements in his conceptual and pseudo-documentary Holocaust representations Orderbuch (1965) and CA 36715 (J) (1966). As presented on &NOW2015 March 27.
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on Robert Fitterman's Holocaust Museum. First published at Jacket 2, January 26, 2015. Also available here: http://jacket2.org/article/captions-without-images
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Trykt i Ola Juléns: Afrikas verkliga historia (Nirstedt 2019), s.7-14, i Thomas Anderssons svenske oversættelse.
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Trykt i Standart 1/2019, s.54-57. Dagbogen er en af de metoder jeg bruger når jeg underviser i at skrive, for at komme til at arbejde med at skrive langt, at skrive på den samme tekst over længere tid og at redigere det skrevne. En... more
Trykt i Standart 1/2019, s.54-57.
Dagbogen er en af de metoder jeg bruger når jeg underviser i at skrive, for at komme til at arbejde med at skrive langt, at skrive på den samme tekst over længere tid og at redigere det skrevne. En gennemgående pointe i denne artikel er at bestemte undervisningsformater let kan resultere i bestemte typer tekster. Derfor må det for mig at se handle om at variere undervisningen og undervisningsformaterne, for at undersøge og lære noget om forskellige aspekter af og erfaringer med at skrive og læse. I det følgende vil jeg skrive lidt om hvordan jeg i den sammenhæng arbejder med den litterære dagbog, og om hvad en dagbog overhovedet er for noget.
Dagbogen er en af de metoder jeg bruger når jeg underviser i at skrive, for at komme til at arbejde med at skrive langt, at skrive på den samme tekst over længere tid og at redigere det skrevne. En gennemgående pointe i denne artikel er at bestemte undervisningsformater let kan resultere i bestemte typer tekster. Derfor må det for mig at se handle om at variere undervisningen og undervisningsformaterne, for at undersøge og lære noget om forskellige aspekter af og erfaringer med at skrive og læse. I det følgende vil jeg skrive lidt om hvordan jeg i den sammenhæng arbejder med den litterære dagbog, og om hvad en dagbog overhovedet er for noget.
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Trykt i Babelfisken, den 14. november 2017.
https://babelfisken.wordpress.com/2017/11/14/oversaettelse-som-litteraer-praksis/
https://babelfisken.wordpress.com/2017/11/14/oversaettelse-som-litteraer-praksis/
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Trykt i Standart #1, marts 2017, s.15-17.
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Trykt i Nordisk Poesi - Tidsskrift for lyrikkforskning, nr.1/2017, s.46-99. "Martin Glaz Serup bidrager til tidsskriftet med et poesi-essay om Øyvind Bergs lyrik. Efter en kort optakt, der ikke mindst omhandler den enorme bredde og... more
Trykt i Nordisk Poesi - Tidsskrift for lyrikkforskning, nr.1/2017, s.46-99.
"Martin Glaz Serup bidrager til tidsskriftet med et poesi-essay om Øyvind Bergs lyrik. Efter en kort optakt, der ikke mindst omhandler den enorme bredde og mangfoldighed i Bergs forfatterskab, skriver Serup sig gennem 52 digtstykker frem mod en kongenial forståelse af Bergs poesi, som ikke blot er tilsvarende lærd, men også afspejler den samme oprigtighed, ligefremhed, livsnærhed og dagligdags form, som man kan møde hos Berg. I en collage, der er en blanding af digt, essay og oversættelse, og – som Serup selv formulerer det – en øvelse i at skrive tæt på livet fra dag til dag og i direkte forlængelse af Bergs værk Gjennom mørketida (2014), nærmer Serup sig en indkredsning af Bergs lyriske univers. I bevægelsen fra tidsskriftets litteraturvidenskabelige artikler over Aadlands essay til Serup står vi således her med en essayistisk form, hvor poesi svares med reflekterende poesi, og hvor formen korresponderer med poesien selv og udvikler, ja hvorfor ikke: poetisk eller musisk tænkning."
"Martin Glaz Serup bidrager til tidsskriftet med et poesi-essay om Øyvind Bergs lyrik. Efter en kort optakt, der ikke mindst omhandler den enorme bredde og mangfoldighed i Bergs forfatterskab, skriver Serup sig gennem 52 digtstykker frem mod en kongenial forståelse af Bergs poesi, som ikke blot er tilsvarende lærd, men også afspejler den samme oprigtighed, ligefremhed, livsnærhed og dagligdags form, som man kan møde hos Berg. I en collage, der er en blanding af digt, essay og oversættelse, og – som Serup selv formulerer det – en øvelse i at skrive tæt på livet fra dag til dag og i direkte forlængelse af Bergs værk Gjennom mørketida (2014), nærmer Serup sig en indkredsning af Bergs lyriske univers. I bevægelsen fra tidsskriftets litteraturvidenskabelige artikler over Aadlands essay til Serup står vi således her med en essayistisk form, hvor poesi svares med reflekterende poesi, og hvor formen korresponderer med poesien selv og udvikler, ja hvorfor ikke: poetisk eller musisk tænkning."
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fra udstillingskataloget Panorama (Johannes Larsen Museet, 2016)
Essay om hvad vi forstår ved et landskab i anledning af en udstilling med arbejder af Ulrik Møller, Henrik Martensen, Jens Enevold, Peter Martensen og Preben Fjerderholt.
Essay om hvad vi forstår ved et landskab i anledning af en udstilling med arbejder af Ulrik Møller, Henrik Martensen, Jens Enevold, Peter Martensen og Preben Fjerderholt.
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Trykt i Kamilla #3-2016, s.23-33.
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Conceptual Witness Literature: Statement of Facts Typical readings of conceptual literature often reduce the works to being exclusively connected with institutional critique, a discussion of authorship, etc. In this article, I'll suggest... more
Conceptual Witness Literature: Statement of Facts
Typical readings of conceptual literature often reduce the works to being exclusively connected with institutional critique, a discussion of authorship, etc. In this article, I'll suggest that parts of the conceptual literature could be read as a kind of witness literature. Their forms of appeal, ambitions and means is comparable, and in fact one could argue that the conceptual witness literature that arises in this intersection can be seen as a sort of next generation witness literature - taking the ambitions and poetics of writers such as Primo Levi and Imre Kertész even further. As my example I'll discuss works of Vanessa Place.
The paper is in Danish.
Typical readings of conceptual literature often reduce the works to being exclusively connected with institutional critique, a discussion of authorship, etc. In this article, I'll suggest that parts of the conceptual literature could be read as a kind of witness literature. Their forms of appeal, ambitions and means is comparable, and in fact one could argue that the conceptual witness literature that arises in this intersection can be seen as a sort of next generation witness literature - taking the ambitions and poetics of writers such as Primo Levi and Imre Kertész even further. As my example I'll discuss works of Vanessa Place.
The paper is in Danish.
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– Om de eksperimenterende tressere, F. T. Marinettis første futuristiske manifest og Gertrude Steins Merry Nettie.
Trykt i: i: Tania Tender Thyme. Festskrift til Tania Ørum, Arena, 2015, pp. 81-97.
Trykt i: i: Tania Tender Thyme. Festskrift til Tania Ørum, Arena, 2015, pp. 81-97.
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trykt i: Passage #69, 2013. p.107-124
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Trykt i: Lisbeth Algreen et. al. (red.): FS – Forfatterskolens jubilæumsskrift (Basilisk 2012), s.148-152. Et credo mange der er uddannede fra Forfatterskolen i København bruger lyder noget i retning af: Man kan ikke lære at skrive. Men... more
Trykt i: Lisbeth Algreen et. al. (red.): FS – Forfatterskolens jubilæumsskrift (Basilisk 2012), s.148-152.
Et credo mange der er uddannede fra Forfatterskolen i København bruger lyder noget i retning af: Man kan ikke lære at skrive. Men man kan lære at læse. Og ved at blive bedre til at læse, bliver man også bedre til at læse sig selv. Og ad den vej kan man måske alligevel blive bedre til at skrive... Men hvordan gør de det så, lærer at læse på Forfatterskolen?
Et credo mange der er uddannede fra Forfatterskolen i København bruger lyder noget i retning af: Man kan ikke lære at skrive. Men man kan lære at læse. Og ved at blive bedre til at læse, bliver man også bedre til at læse sig selv. Og ad den vej kan man måske alligevel blive bedre til at skrive... Men hvordan gør de det så, lærer at læse på Forfatterskolen?
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trykt i: Standart #3-4, 2012. p.87-91.
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trykt i: Kulturo #32, 2011. p.71-76
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Trykt i Sigrid Madsbjerg & Kirsten Friis (red.): Skrivelyst og læring (Dansk Psykologisk Forlag 2011), s.79-89. At blive bedre til at læse igennem at blive bedre til at skrive. Om omvendt. Hvordan overhovedet undervise i at skrive?... more
Trykt i Sigrid Madsbjerg & Kirsten Friis (red.): Skrivelyst og læring (Dansk Psykologisk Forlag 2011), s.79-89.
At blive bedre til at læse igennem at blive bedre til at skrive. Om omvendt. Hvordan overhovedet undervise i at skrive? Konkrete forslag til brug af postproduktive strategier i undervisningen, og præsentation af postproduktive arbejder og deres brug af det hverdagslige og kedelige.
At blive bedre til at læse igennem at blive bedre til at skrive. Om omvendt. Hvordan overhovedet undervise i at skrive? Konkrete forslag til brug af postproduktive strategier i undervisningen, og præsentation af postproduktive arbejder og deres brug af det hverdagslige og kedelige.
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trykt i: Kritik #193, 2009. p.82-92.
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- løse noter om klummen og bloggen som gennemgående figurer i ny dansk litteratur (2006)
Trykt i: Bogens verden 1/2006, pp. 50-55.
Trykt i: Bogens verden 1/2006, pp. 50-55.
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What is a poetry reading, how does the performed poem differ from the poem published on the page, and first and foremost: how do we read it? This article understands the poetry reading as an independent form of expression, which neither... more
What is a poetry reading, how does the performed poem differ from the poem published on the page, and first and foremost: how do we read it? This article understands the poetry reading as an independent form of expression, which neither ranks above nor below the written poem, but can be placed alongside it. Contrary to the printed poem, the audience often only has access to the performed poem once – while it is being performed – and is subsequently forced to rely on the memory of the specific reading and situation. Similarly, the body, the voice, the place, the time – and, in the case of recorded readings, also the remediation – are vital to how the poetry reading creates meaning. The article methodologically investigates: How do we approach the poetry reading from an analytical and a theoretical perspective, and includes readings of three poetry readings by Vanessa Place, Pia Juul and Jacques Roubaud
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Research Interests: Literature and Poetry
Language, Voice, and Performance. Notes on Lily Greenham’s Sound Poetry In this collective article, we argue for a wider recognition of Lily Greenham’s sound poetry, underscoring her artistic uses of multi lingualism and transnational... more
Language, Voice, and Performance. Notes on Lily Greenham’s Sound Poetry In this collective article, we argue for a wider recognition of Lily Greenham’s sound poetry, underscoring her artistic uses of multi lingualism and transnational collaboration. The form of the article is conceptual: in order to signal the importance given to poetry as a collabo rative and transnational activity in Greenham’s oeuvre, we have chosen to write the article in six languages and as a collaboration between six scholars with different backgrounds. The form of the article moreover reflects the privilege given to language as material, structure, and activity in Greenham’s works. The purpose of our article is thus twofold: while we seek to initiate an academic reception of Greenham’s works and to highlight these as important contributions to the traditionally male-dominated historiography of sound poetry, we also seek to examine how academic writing can alter its conventional forms in order to address wor...
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Trykt i: Lisbeth Algreen et. al. (red.): FS – Forfatterskolens jubilæumsskrift (Basilisk 2012), s.148-152. Et credo mange der er uddannede fra Forfatterskolen i København bruger lyder noget i retning af: Man kan ikke lære at skrive. Men... more
Trykt i: Lisbeth Algreen et. al. (red.): FS – Forfatterskolens jubilæumsskrift (Basilisk 2012), s.148-152. Et credo mange der er uddannede fra Forfatterskolen i København bruger lyder noget i retning af: Man kan ikke lære at skrive. Men man kan lære at læse. Og ved at blive bedre til at læse, bliver man også bedre til at læse sig selv. Og ad den vej kan man måske alligevel blive bedre til at skrive... Men hvordan gør de det så, lærer at læse på Forfatterskolen?
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Trykt i Sigrid Madsbjerg & Kirsten Friis (red.): Skrivelyst og læring (Dansk Psykologisk Forlag 2011), s.79-89. At blive bedre til at læse igennem at blive bedre til at skrive. Om omvendt. Hvordan overhovedet undervise i at... more
Trykt i Sigrid Madsbjerg & Kirsten Friis (red.): Skrivelyst og læring (Dansk Psykologisk Forlag 2011), s.79-89. At blive bedre til at læse igennem at blive bedre til at skrive. Om omvendt. Hvordan overhovedet undervise i at skrive? Konkrete forslag til brug af postproduktive strategier i undervisningen, og præsentation af postproduktive arbejder og deres brug af det hverdagslige og kedelige.
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Trykt i Standart 1/2019, s.54-57. Dagbogen er en af de metoder jeg bruger når jeg underviser i at skrive, for at komme til at arbejde med at skrive langt, at skrive på den samme tekst over længere tid og at redigere det skrevne. En... more
Trykt i Standart 1/2019, s.54-57. Dagbogen er en af de metoder jeg bruger når jeg underviser i at skrive, for at komme til at arbejde med at skrive langt, at skrive på den samme tekst over længere tid og at redigere det skrevne. En gennemgående pointe i denne artikel er at bestemte undervisningsformater let kan resultere i bestemte typer tekster. Derfor må det for mig at se handle om at variere undervisningen og undervisningsformaterne, for at undersøge og lære noget om forskellige aspekter af og erfaringer med at skrive og læse. I det følgende vil jeg skrive lidt om hvordan jeg i den sammenhæng arbejder med den litterære dagbog, og om hvad en dagbog overhovedet er for noget.
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Trykt i Standart 1/2019, s.54-57. Dagbogen er en af de metoder jeg bruger når jeg underviser i at skrive, for at komme til at arbejde med at skrive langt, at skrive på den samme tekst over længere tid og at redigere det skrevne. En... more
Trykt i Standart 1/2019, s.54-57. Dagbogen er en af de metoder jeg bruger når jeg underviser i at skrive, for at komme til at arbejde med at skrive langt, at skrive på den samme tekst over længere tid og at redigere det skrevne. En gennemgående pointe i denne artikel er at bestemte undervisningsformater let kan resultere i bestemte typer tekster. Derfor må det for mig at se handle om at variere undervisningen og undervisningsformaterne, for at undersøge og lære noget om forskellige aspekter af og erfaringer med at skrive og læse. I det følgende vil jeg skrive lidt om hvordan jeg i den sammenhæng arbejder med den litterære dagbog, og om hvad en dagbog overhovedet er for noget.
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What is a poetry reading, how does the performed poem differ from the poem published on the page, and first and foremost: how do we read it? This article understands the poetry reading as an independent form of expression, which neither... more
What is a poetry reading, how does the performed poem differ from the poem published on the page, and first and foremost: how do we read it? This article understands the poetry reading as an independent form of expression, which neither ranks above nor below the written poem, but can be placed alongside it. Contrary to the printed poem, the audience often only has access to the performed poem once – while it is being performed – and is subsequently forced to rely on the memory of the specific reading and situation. Similarly, the body, the voice, the place, the time – and, in the case of recorded readings, also the remediation – are vital to how the poetry reading creates meaning. The article methodologically investigates: How do we approach the poetry reading from an analytical and a theoretical perspective, and includes readings of three poetry readings by Vanessa Place, Pia Juul and Jacques Roubaud.
Martin Glaz Serup & Geir Gulliksen: Et ansigt som minder om norsk poesi
Herefter følger Martin Glaz Serups artikel “Konceptuel litteratur”, der præsenterer en kortlægning af de sidste 10 års konceptuelle litteratur med særlig vægt på dansk poesi. Parallelt med at samtidslyrikken i sin bevægelse i feltet... more
Herefter følger Martin Glaz Serups artikel “Konceptuel litteratur”, der præsenterer en kortlægning af de sidste 10 års konceptuelle litteratur med særlig vægt på dansk poesi. Parallelt med at samtidslyrikken i sin bevægelse i feltet mellem billedkunst og musik nedtoner betydningen af digteren med stort D, er den konceptuelle poesi – og herunder også postproduktionen – med til at flytte opmærksomheden fra kunstens æstetiske niveau til dens idémæssige og materielle forudsætninger.Martin Glaz Serup: “Conceptual literature”This article presents the last ten years of conceptual literature through a series of intertwining movements with a special focus on Danish conceptual literature and how it is embedded in and closely connected to the Nordic and North American scenes. The article gives a brief history of the theoretical background of conceptualism, within both visual art and literature. A discussion of what is (not) conceptual literature unfolds alongside the distinctions made among th...
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Herefter følger Martin Glaz Serups artikel “Konceptuel litteratur”, der præsenterer en kortlægning af de sidste 10 års konceptuelle litteratur med særlig vægt på dansk poesi. Parallelt med at samtidslyrikken i sin bevægelse i feltet... more
Herefter følger Martin Glaz Serups artikel “Konceptuel litteratur”, der præsenterer en kortlægning af de sidste 10 års konceptuelle litteratur med særlig vægt på dansk poesi. Parallelt med at samtidslyrikken i sin bevægelse i feltet mellem billedkunst og musik nedtoner betydningen af digteren med stort D, er den konceptuelle poesi – og herunder også postproduktionen – med til at flytte opmærksomheden fra kunstens æstetiske niveau til dens idémæssige og materielle forudsætninger.Martin Glaz Serup: “Conceptual literature”This article presents the last ten years of conceptual literature through a series of intertwining movements with a special focus on Danish conceptual literature and how it is embedded in and closely connected to the Nordic and North American scenes. The article gives a brief history of the theoretical background of conceptualism, within both visual art and literature. A discussion of what is (not) conceptual literature unfolds alongside the distinctions made among th...
In this collective article, we argue for a wider recognition of Lily Greenham’s sound poetry, underscoring her artistic uses of multi lingualism and transnational collaboration. The form of the article is conceptual: in order to signal... more
In this collective article, we argue for a wider recognition of Lily Greenham’s sound poetry, underscoring her artistic uses of multi lingualism and transnational collaboration. The form of the article is conceptual: in order to signal the importance given to poetry as a collabo rative and transnational activity in Greenham’s oeuvre, we have chosen to write the article in six languages and as a collaboration between six scholars with different backgrounds. The form of the article moreover reflects the privilege given to language as material, structure, and activity in Greenham’s works. The purpose of our article is thus twofold: while we seek to initiate an academic reception of Greenham’s works and to highlight these as important contributions to the traditionally male-dominated historiography of sound poetry, we also seek to examine how academic writing can alter its conventional forms in order to address works that are not ideally suited for hermeneutic or exegetic acts of reading.