James Innis McDougall

James Innis McDougall


         

             

                       McDougall CV Aug2015.pdf

James McDougall is the current Director of the Center for Global Studies, chair of the Global Digital Humanities Platform, and professor of American Studies at Shantou University. He teaches courses on American studies, postmodern literature and culture, the Beat Generation, new media, and global studies. His research and publications have been interdisciplinary explorations of the cultures of the transpacific, poetry, and globalization. His more recent work has focused on the globalization of national culture in Treaty Port China. This work has been profoundly influenced by Gary Snyder’s poetry and activism.

Publications

“Deleuze and Guattari’s Nomadology: The War Machine and Critical Resistance in Cyberspace,” Asia Journal of Global Studies, 6.1 (2014): 48-59.
“The Song of Hiawatha and the Ruins of American Literature,” Reconsidering Longfellow, Eds. Christoph Irmasher and Robert    Arbour, Madison: Fairleigh Dickinson University Press, 2014: 71-86.

“H. T. Tsiang’s Poems of the Chinese Revolution and Transpacific Bridges to a Radical Past,”
   American Modernist Poetry and the Chinese Encounter, Eds. Zhang Yuejun and Stuart Christie, London, Palgrave Macmillan Press, 2012: 49-76.
The American-Style University at Large: Transplants, Outposts and the Globalization of Higher Education, co-edited with Kathryn Kleypas, Rowman and Littlefield Publishers, 2012.
 (In addition to developing and editing the collection, personal contributions include, “Introduction,” and Chapter 7, “Notes on Non-Places and the Localization of the Global American-Style University”).  
“呈现铭刻:寻回神州失落的印记 [Modernist Inscription: Recovering the Lost Sign of Cathay].” 《英美文学研究论丛》[Studies in English and American Literature]. Volume 14 (2011). Online Table of Contents:
http://ills.shisu.edu.cn/tabid/710/ArticleID/1871/Default.aspx
“Pound’s Poetry as ImageText.” ImageText 2.1 (Spring 2005).
http://www.english.ufl.edu/imagetext/archives/v2_1/mcdougall
“Post-Cultural Revolution Beijing: Making a Space for Today.” Entertext 5.2 (Autumn/Winter 2005)
http://arts.brunel.ac.uk/gate/entertext/issue_5_2.htm

Title: "Tele-Ekphrasis: of Domestic Containment and its Others in Gary Snyder's Landscape Poetry"

Abstract: In interviews Gary Snyder has indicated that since very early in his career his poetry has been influenced by landscape paintings, particularly from Chinese shanshui aesthetics. His ekphrastic use of these visual texts has allowed him to express philosophies of interpenetration, ecological consciousness, and transpacific intercultural hybridity. This is perhaps most clearly expressed in his Mountains and Rivers without End. Snyder’s use of ekphrasis, however, reveals a particular postmodern play between high and low culture, static and moving images, as well as local and global media. Image-text and an attention to visual culture in his poetry signify his interests in something different from problems of representation that classical and modernist ekphrastic writing confronts. Instead Snyder’s ekphrastic writing not only highlights the media saturation of post-war life but more importantly he demonstrates how re-presenting visual texts is a political intervention. In this way his poetry strives to do ‘real work’ in the world.

 In my paper I argue that Gary Snyder's poems like, "I see Old Friend Dan Ellsberg on TV in a Mountain Village of Japan" from Left Out in the Rain, are attempts of writing outside the lines drawn by what the scholar of twentieth-century US culture, Elaine May, calls in her book, Homeward Bound, "Domestic Containment" that shaped the Cold War cultural scene in the US. The poem as a perverse form of ekphrasis allows Snyder to critically comment on television culture through a game of presence and absence as he places himself as an outsider to mass consumption of televised media, and replacing the media with landscape poetry derived in content and style from Chinese and Japanese poetic and painting traditions. Holographic within the regime of electronic communications, Tang Dynasty shanshui tropes are recast as an experience of the postmodern uncanny. While I show how the poem is a perverse ekphrasis of the TV image, it is the insertion of shanshui landscape tropes that is a linchpin of his aesthetic strategy for understanding interpenetration, connecting US and Asian culture, and instilling an ecological pedagogy in a line of flight from the strictures of lyrical poetry in the American poetic tradition. The combination of an outsider point-of-view, landscape, and orientalism fits into his larger oeuvre of poetry including his early Riprap and Cold Mountain Poems to his later works and does the ‘real work’ of offering a political intervention into the nuclear disarmament politics of the day. This paper hopes to contribute to scholarly conversations on postmodern US literature and culture, global studies, cultures of the transpacific, and the landscape tradition in World Literature.