In this second phase of the K-SAA’s Virtual Roundtable, “Toward an Anti-Racist, “Undisciplined” Romanticism,” we convene the participants from the previous video series on Zoom for a one-hour colloquium discussion moderated by César Soto of Grace College.
Note: Some portions of the audio contain crackling and distortion but only with certain speakers, so bear with us!
Transcript of key questions addressed in the discussion:
- César Soto 10:40
Question for everyone: How does citing writings from outside the field work toward un-disciplining Romanticism? In your own scholarship, which specific thinkers and critical paradigms from outside the field have been most useful/influential for de-centering white romanticism, broadly conceived?
- César Soto 32:02
Spaces of learning: Nikki: You spoke about teaching both in settler institutional spaces and indigenous sacred space, and teaching both European and indigenous literatures in such spaces, at Victoria. I’d like to hear more about what kinds of transformations, if any, were achieved in terms of yourself, students, and/or in their analyses/writing. Related to this: how does acknowledging being a descendant of settlers help transform the field and/or your teaching? Also, I’m intrigued by your teaching of William Wordsworth within the Māori space. How did that go?
- Mathelinda Nabugodi 34:28
I would like to pick up a point from Atesede’s talk, regarding love. Could we perhaps talk about the role of love and loving literature in an increasingly professionalized/marketized academy?
- Conny Cassity 36:05
To this point about pedagogy, Nikki and César, this makes me think of bell hooks’s Teaching to Transgress too.
- César Soto 37:11
Affect and Undisciplining (Romanticism): Debbie: Could you speak a little bit more about how the personal essay as a genre can speak to the larger question about anti-racism? It seems also to me that in the personal essay one is allowed to demonstrate larger breadths of affect, which in some ways connects to the contention made by other panelists about combating universal objectivity, the rational subject, and so on. Atesede’s discussion of literary loves and hates also figures here because the role of affect is pivotal in why we study who we study (and why we love or hate them). Debbie and Atesede: Can both of you speak a little more about the role of affect in undisciplining Romanticism? How would this look different from, say, succumbing to the Romantic ideology and fan-culture readings?
- César Soto 51:22
Conny: I wonder if dissimulation can be regarded as a special performance, that is, as any minority that has navigated any white institution will tell you, dissimulation and performance are absolutely necessary in order to survive and also succeed. Can you elaborate on dissimulation and discuss if it can be read in this way, as strategic performance for survival/success? If not, how are these conceptions different?
- César Soto 55:17
Method: Mathelinda, Emily, Orrin, Omar: Emily and Omar: Emily, you mention in your talk that Romanticism itself, because of the cosmopolitan humanities inherent to it, can play a leading role in generating new questions and paths of inquiry. Can you elaborate on how Romanticism contains within itself this cosmopolitan humanities and perhaps point to a case study embodying this approach? Omar, this seems like a fitting question for you as well, given the cross-cultural connections you state are intrinsic to the Romantic period and movement. Orrin, you spoke of the undisciplining of Romanticism in relation to Romanticism’s gradual dismantling, or, I don’t know that I even want to say it, its demise. How, specifically, can undisciplining Romanticism be attentive to the institutional reality of a field in decline? Paradoxical as it may sound, is there a way in which the undisciplining can sustain the field in practical ways?
- Nikki Hessell 01:06:24
I’m interested in the kind comments about the “beautiful backdrop” of my video. Two responses: it is beautiful, but it’s an intellectual/epistemological space (more than a beautiful one), and I would suggest that (back to our early conversation) it’s actually not a backdrop: it’s central.
- DJ Lee 01:08:16
Omar, that’s a wonderful reading of Prometheus Unbound. Collaboration/community is also central to Adrienne Marie Brown’s emergent strategies
- Mathelinda Nabugodi 01:09:15
Omar, that was a fantastic reading of Prometheus Unbound: thank you so much for sharing it with us!
- César Soto 01:12:36
A great treat being your moderator. Feel free to stay in touch. Great job all!
- Conny Cassity 01:13:54
Thank you so much César!
- DJ Lee 01:14:22
I belong to two other disciplines that are open to different genres in their conferences/journals.
- Sede Makonnen 01:14:29
Thank you, César!
- Omar F Miranda 01:14:32
Yes, thank you César!
- DJ Lee 01:14:53
Scholars, writers, poets, artists: I would love Romanticism to become more open/diversified too.
- Mathelinda Nabugodi 01:14:53
Thank you so much César, and everyone for this great conversation!
- Nikki Hessell 01:14:55
Thank you César and everyone!
- DJ Lee 01:14:56
Thank you everyone!
- Emily Sun 01:14:58
Health, peace, and beauty to all!