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X-WR-CALDESC:Events for Yimon Lo
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BEGIN:VEVENT
DTSTART;TZID=UTC:20250120T000000
DTEND;TZID=UTC:20250121T235959
DTSTAMP:20260422T151620
CREATED:20250110T135341Z
LAST-MODIFIED:20250110T140144Z
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SUMMARY:Invited Talk: Wordsworth’s Song of Nature
DESCRIPTION:Sound of Nature Conference\, Cardiff University \n\n\n\n\n\n\n\nAbstract \n\n\n\nI am joining the interdisciplinary research team from Humboldt Universität zu Berlin and Cardiff University to discuss historical\, literary\, and environmental representations of natural sound and silence.
URL:https://yimonlo.com/event/invited-talk-wordsworths-song-of-nature/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230531T000000
DTEND;TZID=UTC:20230531T235959
DTSTAMP:20260422T151620
CREATED:20241008T144057Z
LAST-MODIFIED:20241014T094634Z
UID:422-1685491200-1685577599@yimonlo.com
SUMMARY:Invited Talk: Wordsworth’s Song of Harmony
DESCRIPTION:Xi’an Jiaotong-Liverpool University Research Seminar\, Online \n\n\n\n\n\n\n\nAbstract \n\n\n\nThis talk derives from my new book\, Musical Wordsworth: Romantic Soundscape and Harmony. In this talk\, I define the idea of harmony inherent in Wordsworth’s theory of the imagination and his representation of the poetic mind by connecting the unifying and ordering capacity of his poetry with the fundamental qualities of music. Musical metaphors and figurations not only contour the development of a Romantic sense of self-consciousness in Wordsworth’s imagination\, but are also self- consciously adopted by his poetry to reflect its own creative process\, as well as its status as a product of the imagination. By examining the mind’s ability to translate the aesthetic and animated breath of nature into harmony\, I examine the source of Wordsworth’s poetic creation that is central to his concept of wise passiveness and organic sensibility.
URL:https://yimonlo.com/event/invited-talk-wordsworths-song-of-harmony/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20230209T000000
DTEND;TZID=UTC:20230209T235959
DTSTAMP:20260422T151620
CREATED:20241008T145723Z
LAST-MODIFIED:20241014T103214Z
UID:429-1675900800-1675987199@yimonlo.com
SUMMARY:Invited Talk: The Borders of Madness: Silence and Patient Agency in Long Nineteenth-Century Britain
DESCRIPTION:Paris-Cité University Research Seminar\, Online \n\n\n\n\n\n\n\nAbstract \n\n\n\nIn view of the absence of a comprehensive analysis of the intersection between medical and literary understandings of psychotic silence and patient agency in current studies of madness and creativity\, my talk aims to fill this gap by asking three questions: [1] How did silence function as a practice and/or theory in the institutional diagnosis and treatment of mental illnesses in long nineteenth-century Britain? [2] How does silence act as a significant agency that enables a new understanding of the experience of writers as patients and literature as testimony of mental disorder? [3] How do asylum writings by mentally disabled authors play a pivotal role in shaping and challenging long nineteenth-century\, as well as current\, literary and medical discourse? \n\n\n\nTo answer these questions\, I will first trace the history of the practice and/or theory of silence in the diagnosis and treatment for mental illnesses in medical institutions and lunatic asylums in long nineteenth-century Britain. I will then examine the complexities surrounding the ways silence is utilised as an enabling agency by mentally disabled writers who produced works within the confines of lunatic asylums in the period. I will establish the significance of psychotically disordered writers in shaping new understanding of the meaning and function of silence as a form of patient agency by challenging existing critical literary and medical discourse. \n\n\n\nBy spotlighting a substantial amount of under-studied works by mentally disabled writers from the long nineteenth century\, this talk affirms the agency of patient in silent therapy for psychotic disorders and\, subsequently\, asserts silence as an enabling medium in their recovery processes. This talk emphasises that research into the function of silence in the history of institutional diagnosis and treatment of mental illnesses will bring new significance to these neglected materials in both current and long nineteenth-century literary and medical discourse. \n\n\n\n\n\n\n\nD. Hack Tuke\, Reform in the treatment of the insane : early history of The Retreat\, York\, its objects and influence\, with a report of the celebrations of its centenary\, 1892. Wellcome Collection\, London.
URL:https://yimonlo.com/event/silence-and-patient-agency-in-long-nineteenth-century-britain/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220813T000000
DTEND;TZID=UTC:20220818T235959
DTSTAMP:20260422T151620
CREATED:20241008T143350Z
LAST-MODIFIED:20241014T103505Z
UID:415-1660348800-1660867199@yimonlo.com
SUMMARY:Keynote Lecture: "music in my heart": The Breath and Harmony of Wordsworth’s Poetry
DESCRIPTION:50th Anniversary Wordsworth Summer Conference\, Rydal \n\n\n\n\n\n\n\nAbstract \n\n\n\nWordsworth’s imagination engages with the unifying\, but accommodating\, qualities that musical harmony achieves. The resemblance between the organisational principle of Wordsworth’s imagination and the harmonising power of music forms a rhetoric of ‘Harmonic Conceit’ that Jason Snart terms in his reading of The Prelude. This concept of ‘Harmonic Conceit’ considers music as a specifically constructed mediator of nature and the mind; it calls for a more comprehensive appreciation of Wordsworth’s complex understanding of harmony in relation to the balancing act of the mind between inner and outer sources of creativity. Musical metaphors and figurations not only contour the development of a Romantic sense of self-consciousness in Wordsworth’s imagination\, but are also self-consciously adopted by his poetry to reflect its own creative process as well as its own status as a product of the imagination.  \n\n\n\nAttending to this organised but dynamic sense of musicality that shapes Wordsworth’s poetic theory and practice\, this lecture examines how Wordsworth’s preoccupation with harmony and musicality is fundamentally connected to his theory of the imagination as well as his creative process\, and how his unique sense of harmony could be defined through analysing his use of musical metaphors and sound imagery.  \n\n\n\n\n\n\n\nCarl Gustav Carus\, Goethe Denkmal\, 1832. Kunsthalle Hamburg.
URL:https://yimonlo.com/event/breath-and-harmony-of-wordsworths-poetry/
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BEGIN:VEVENT
DTSTART;TZID=UTC:20220503T000000
DTEND;TZID=UTC:20220503T235959
DTSTAMP:20260422T151620
CREATED:20241008T151133Z
LAST-MODIFIED:20241014T103654Z
UID:433-1651536000-1651622399@yimonlo.com
SUMMARY:Invited Talk: George Crabbe’s Medical Realism
DESCRIPTION:Birmingham City University English Research Seminar\, Online \n\n\n\n\n\n\n\nAbstract \n\n\n\nGeorge Crabbe’s early experience as an apothecary apprentice and practising doctor contributes a sense of medical realism to his work. Crabbe’s literary preoccupation with medicine displays sensitivity to the British medical reform in the late eighteenth century\, when practical expertise and clinical training gained importance over theoretical and classical knowledge. While extensive scholarship (Sigworth\, 1965; Nelson\, 1976; McGann\, 1981; Edwards\, 1987; Whitehead\, 1989; 1995) has been conducted on Crabbe’s realism\, none of these studies have associated such unique writing style with his medical understanding.  \n\n\n\nMore than twenty years ago\, cardiac surgeon Lawrence Zaroff’s unpublished dissertation on Crabbe’s poetry and eighteenth-century medicine recognises the significance of Crabbe’s work in formulating a medical history of training\, theory\, diagnosis\, and treatment. There is\, however\, no full consideration of how medical ideas and thinking are conveyed through Crabbe’s poetic practice and technique\, and how a reading of Crabbe’s medical discourse would promote a deeper understanding of his theories of poetry and poetics. The principal aim of this talk is to recover a sense of poetic realism that is shaped by Crabbe’s experience as a medical apprentice and practitioner\, and to examine the influence of these medical-scientific training and knowledge on his poetic theory and practice. With reference to his concept of health and disease\, and his social critique of public health\, this talk proposes that a study of Crabbe’s medical reference would provide a renewed approach to the characteristics and purpose of his realism\, as well as the connection between medical vision and poetic philosophy in his work. \n\n\n\n\n\n\n\nJohan Joseph Horemans\, Interior with a surgeon attending to a wound in a man’s side\, c. 1722. Wellcome Collection\, London.
URL:https://yimonlo.com/event/george-crabbes-medical-realism/
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BEGIN:VEVENT
DTSTART;TZID=UTC:20210903T000000
DTEND;TZID=UTC:20210904T235959
DTSTAMP:20260422T151620
CREATED:20241008T152109Z
LAST-MODIFIED:20241014T100552Z
UID:439-1630627200-1630799999@yimonlo.com
SUMMARY:Invited Talk: "what strange utterance": Wordsworth’s Auditory Expectation and Surprise
DESCRIPTION:William and Dorothy Wordsworth: A Late Summer Seminar\, Online \n\n\n\n\n\n\n\nAbstract \n\n\n\nThe descriptive-meditative process that governs Wordsworth’s Greater Romantic lyric\, as M. H. Abrams notes\, evokes feelings of strangeness or perplexity in the perception of a familiar landscape. The poet’s newly-established emotions and perspectives in the face of a known and familiar surrounding produce effects of disorientation and uncanniness\, where such sudden removal of familiarity further surprises the mind into a new sense of knowing. This constructive form of poetic dissonance confirms the possibilities of creating visionary experiences out of momentary feelings of strangeness and unfamiliarity in the works of Wordsworth. Recognising deviation or unforeseen impulses as part of Wordsworth’s valued poetic experience\, I explore\, in this talk\, his acceptance and acquaintance with the mysterious workings of the mind and the imagination through a study of his treatment of auditory expectation and surprise. 
URL:https://yimonlo.com/event/wordsworths-auditory-expectation-and-surprise/
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20210430T000000
DTEND;TZID=UTC:20210430T235959
DTSTAMP:20260422T151620
CREATED:20241008T115253Z
LAST-MODIFIED:20241014T104138Z
UID:386-1619740800-1619827199@yimonlo.com
SUMMARY:Keynote Lecture: "Till Silence Finds a Tongue": Madness and Silence in Romantic Britain
DESCRIPTION:Sound of Silence Conference: Underrepresented Voices\, Experiences\, and Realities in Literature\, Leuven \n\n\n\n\n\n\n\nAbstract \n\n\n\nIn a letter to James Boswell\, dated April 8 1780\, Samuel Johnson writes: ‘Make it an invariable and obligatory law to yourself\, never to mention your own mental diseases; if you are never to speak of them you will think on them but little\, and if you think little of them\, they will molest you rarely.’ Johnson’s observation illuminates a fundamental tension or paradox between writers’ repression of madness and their compulsion to communicate overwhelming emotional experiences. The necessity and benefit that Johnson finds in the evasion of distressing thoughts and the silencing of the voice that gives shape and form to madness turn\, in some finest Romantic writings in Britain\, linguistic disavowal and dissociation into a possible remedy for mental illnesses.  \n\n\n\nIn this lecture\, I examine how silence\, as an ambiguous language forged in the most profound moments of isolation\, despair\, and abandonment\, permeates the discourse on cognitive or mental disorder during the late eighteenth to nineteenth century. Attending to the intersection between medical and poetic connotations of madness and silence\, my lecture takes into consideration the critical discussion of Romantic creativity and madness (Saunders and Macnaughton\, 2005; Whitehead\, 2017; Crawford\, 2019) to focus more specifically on the condition of melancholia. By tracing the history of the deployment of silence in medical institutions and lunatic asylums\, I investigate the coercive role of silence and its corresponding problems in the treatment and diagnosis of mental illnesses that Allan Ingram (1991) proposed in his historical study of linguistic representation and misrepresentation of madness. Deviating from Ingram’s dated work on madness and history of silence\, which asserts institutional system of silence as ‘an absolute negation of language’\, I contend that silence is a conflicting language in its own rights by revealing the communicative or expressive potential of the unspeakable qualities of madness in Romantic poetry. \n\n\n\n\n\n\n\nFrancisco Goya\, Saturn Devouring His Children\, c. 1821-1823. Museo del Prado\, Madrid.
URL:https://yimonlo.com/event/madness-and-silence-in-romantic-britain/
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