Panels and Presentations

Panel 1: Art in the Wake of Violence

Chair: Charlotte Remes

• Suah Lim (University of Manchester) Irrigating a Scorched Korea
• Rhea Chalak (Nanyang Technological University) The Line: On Partition and the Aesthetics of Division 
• Trinh Ngoc Minh (Nanyang Technological University) Image-making of the Vietnam War

Chair: Ouyang Jiangmei

• Zhang Lili (Nanyang Technological University) The Evolution of Poetic Painting in Modern Media: A Case Study of The 24 Solar Terms in Poetry and Painting (2022) 
• Jasmine Tan Hui Jun (University of Birmingham) The Nature of Neurons and Human Consciousness: Synaptic Connections Between Biology and Contemporary Poetry
• Wang Zhijing (Nanyang Technological University) “Waking Up from a Blind Dream”: The Transformation of Poetic Form and Medium in Chinese Digital Visual Poetry

Chair: Qian Rui

• Guo Yi (Nanyang Technological University) Post-1965 Spatial Narratives of the Singapore River in Chinese Singaporean Contemporary Painting Practice
• He Qianru (National Institute of Education) Worlding Singapore Chinese Novels: An Analysis of Cross-Regional Cultural Influence Based on Digital Humanities Methods
• An Yiduo (Nanyang Technological University) Fragmented Fronts: Narrative Innovation and Cold War Structures in Postwar Sinophone Malaysian Literature

Chair: Martina Zago

• Gordon Noel Pires (Goa University) A Blending of Worlds: Cross-Cultural Themes in Hayao Miyazaki’s Howl’s Moving Castle
• Rebecca Delacruz-Gunderson (The University of British Columbia) Intermediality as Translation in Lee Chang-dong’s Burning
• Tang Fengyun (University of Malaya) From Text to Screen: Intermedial Discourse in East Asian Adaptations of Haruki Murakami

Chair: Max Du

• Liu Sanyang (Beijing Film Academy) Digital Games as Critical Media: Artistic Intervention and Intermedial Appropriation in the Works of Total Refusal
• Goh Jing Wei (Nanyang Technological University) Reconfiguring Ancient Egypt: The Multimedial Narrative World of Assassin’s Creed Origins
• Debbie Ding (Nanyang Technological University)  From Literary Psychogeography to Virtual Worlds: Reading Space and Writing Memories Through Play 

Chair: Li Ye

• Lin Xin Er (Nanyang Technological University) Boy, Son, and Deity: Analysing Nezha via the Threshold Chronotope
• Jimin Lee (Nanyang Technological University) Interfacing the Region: Intermedial Historiography in Ho Tzu Nyen’s Moving Image Works 
• Kang Mengni (Macau University of Science and Technology)  The Gothic in Yiyun Li’s The Vagrants and Its Implications in the Post-Truth Age 

Chair: Kate Xing

• Tan Wei (Sichuan Academy of Social Sciences)  Archival Perspectives on Cross-Media Knowledge Formation in 1980s Chinese Art: From Philosophical Translation to Visual Practice 
• Xiong Xiaoyu (Independent Artist-Researcher) Reconfiguring Discourse: Language, Environment, and Subjectivity in Contemporary Text Art 
• Xing Yexuan (Lingnan University)  Briar and Lily: Postmodern Narrative Rewritings of Female Plight and Emotional Bonds in Fingersmith and The Handmaiden 

Chair: Angela Frattarola

• Devendar Sandhu (Jayshree Periwal International School)  Cripping the Comic: Ability, Attachment, and Embodied Difference in Nimona and Contemporary Webcomics Aesthetics 
• Daria Feldman (Hebrew University of Jerusalem) Hearing What Isn’t There: Ekphrasis, Dystopian History, and the Aesthetics of Absence in Within the Wires
• Kaiyu Sun (University of Graz)  Beyond the Canvas: Gender in Elizabeth Jennings’ Poetry

Chair: Ng Woon Lam

• Lyu Peixuan (Central Academy of Fine Arts) Beyond Exhibition: Photography Festivals as Sites of Curatorial Negotiation in China and Singapore
• Julia Mielczarek (University of Warsaw) Me Water, Teresa Pągowska’s Mosaics at Gdynia Główna Railway Station 
• Ng Woon Lam (Nanyang Technological University) Urban Landscape Sketching – Visual Art that Connects All Levels

Chair: Michelle Chiang

• Johannes Valentin Korff (University College London)  The Expressive Body of Stigma: Gesture & Pose in the “Gypsy” Motif in Modern History 
• Sethuparvathy Subhash (Indian Institute of Technology Roorkee)  Global Palette, Regional Canvas: Van Gogh, Subhash Chandran, and the Intermedial Life of “The Potato Eaters”
• Xiaoling Yao (East China Normal University)  “But Karachi is always dual”: Cartography, Placemaking and Identity in Kamila Shamsie’s Kartography

Chair: Octavian Saiu

• Moonyoung Hong (University of Hong Kong)  Reconfiguring Theatre Narratives: Intermedial Bodies in Joseph O’Connor’s Ghost Light (2010) and Anne Enright’s Actress (2020)
• Bowen Wang (Shanghai Jiao Tong University) Polyphonic Modalities: The Intermedial Dialogicality of Modernist Ut pictura poesis
• Laurence Petit (Université de Montpellier Paul-Valéry) Intermedial Reconfigurations: Maggie O’Farrell, Agnolo Bronzino, and Robert Browning’s Dramatic Dialogue

Chair: Neil Murphy

• Li Lianghui (Beijing Jiaotong University) Photography and Time in Contemporary Irish Novels
• Seán Golden (Universitat Autònoma de Barcelona) Reconfiguring Genres in Rural Irish Writing Today
• Keith Hopper (Atlantic Technological University Sligo) Remembering the Forgotten Generation: Intermediality in I Could Read the Sky (1995–2000)

Chair: Kang Mengni

• Pratishtha Pandey (Indian Institute Of Technology Madras)  “A Novel From Life”: Female Relationships and the Making of the Artist in Sheila Heti’s How Should a Person Be?
• Nishtha Pandey (Amity University)  The Female Migrant Subject and Literary Form: Reading Ekphrastic Encounters in Xiaolu Guo’s A Lover’s Discourse and Radical: A Life of My Own
• Chinmaya Lal Thakur (Shiv Nadar University, Institution of Eminence)  The (Male) Artist in the Fictions of Rachel Cusk: Reading A Second Place and Parade

Chair: Ian Tan

• Ni Zengxin (Nanyang Technological University) Intermediality and Affect in John Banville’s Experimental Fiction
• Astrid-Cristiana-Daria Isac (Stockholm University) Insular Encounters with Art: Imagination and Ekphrasis in John Banville’s Ghosts 
• Adel Cheong (Nanyang Technological University) John Banville’s Self-Reflexive Legacy in The Singularities (2022)

Chair: Geraldine Tan

• Michelle Chiang (Nanyang Technological University)  Reconfiguring Care: Ethics, Ekphrasis, and the Limits of Imagination in Han Kang’s The Vegetarian (2007)
• Geraldine Tan Le Ting (Nanyang Technological University)  Keeping the Dead in Play: Residual Recursion and Intermedial Elegy in the To the Moon Series 
• Thomas Symeonidis (Hellenic Open University)  Architectures of Sentiment in Samuel Beckett: Designing Textual Infrastructures as Self-Care Practices 

Chair: Lim Lee Ching

• Zhang Zhaowenzhe (National University of Singapore)  The First Glance of the New Era: On Memories—Narratives of Growth in Singapore’s Independent Documentary Film in the New Century
• Quek See Ling (Nanyang Technological University) Translating Ekphrastic Nostalgisation: Common Life: Drawings and Poems By Singaporean Artist-writer Chee Lick Ho and Anne Lee Tzu Pheng
• Sooran Choi (University of Vermont) Performing Decolonization: South Korean Avant-Garde Art and the Global Rewriting of Art History

Chair: Benjamin Slater

• Yuanyuan Liao (University of Macau)  The Contingent Revolutionariness: A Reconsideration of Japanese Surrealism Centering on Fukuzawa Ichiro
• Martina Zago (The University of British Columbia) The Artist as Political Thinker: Paul Gauguin on Subverting Noble Savagery
• Sarita Echavez See (University of California, Riverside) The Destruction of Metaphor: David Medalla

Chair: Angela Frattarola

• Yinzhi Xu (Nanyang Technological University) Encaging the Blackbird: Wallace Stevens in Contemporary Chinese Poetry 
• Doris Hambuch (United Arab Emirates University) Graphic Elements in Zeina Hashem Beck’s Recent Collection, O
• John Whale (University of Leeds)  Zaffar Kunial’s England’s Green and the Nature of the New Pastora

Panel 19: Illustrations, Text, and Cultural Engagement 

Chair: Zeng Yu

• Qian Rui (Nanyang Technological University) Non-Anthropocentric Anthropomorphism: A Multimodal Analysis of Animal Characters In Children’s Picturebooks
• Lin Peiyuan (Sun Yat-sen University)  The Reception and Application of Illustrations in Modern Translated Novels: Taking the Translation of Science Fiction in China and Japan as the Centre 
• Du Shuang (University of Malaya)  The Covert Kaleidoscope: Left-Wing Worldview Shaping and Malayan Cultural Identity in Nanyang Children (1959-1969)

Chair: Astrid Isac

• Shen Yating (East China Normal University) Reconfiguring Carmen: Tian Han’s Leftist Intermedial Adaptation in 1930s Shanghai
• Ng Xin Le (Nanyang Technological University) Unboxing the Cube: Intermediality in Cube Escape: Paradox

Chair: Ni Zengxin

• Lau Wee How (Nanyang Technological University) Gender, Love, Sex: A Gendered Interpretation of Stephen Dedalus as Loveless Sex and Artistic Parthenogenesis
• Yao Keqi (Nanjing University)  The Visual Landscapes of Stream of Consciousness in Ulysses
• Liu Hanyang (Beijing International Studies University)  The Dialectic of the Novel and Drama: A Portrait of the Artist as a Young Man as Drama

Chair: Shirley Chew

• Jiangmei Ouyang (Nanyang Technological University) Blue As A Poetic Way of Seeing: Chromatic Narratives and Intermedial Dialogue between Maggie Nelson’s Bluets and the Abstract Artist Joan Mitchell
• Heeyeon Kim (University of Oxford) Ekphrasis and the Intimacy of Adversaries
• Li Ye (Nanyang Technological University) Reading Sara Baume’s A Line Made by Walking as Endurance Art

Chair: Zafar Masooma

• Kelvin Ke Jinde (Xi’an Jiaotong-Liverpool University) Desire and Horror in The Prestige: Intermedial Misdirection in Film, Magic, and Letters
• Anthea Lau Jinghui (Nanyang Technological University) Maintaining the Aura of Film: Sofia Coppola as Female Auteur
• Lu Zeng (Central Saint Martins, University of the Arts London) The Narrated House: Place and Intermedial Storytelling in François Ozon’s Dans la maison (2012)

Chair: Ho Jia Xuan

• Ang Jia Le (Nanyang Technological University) The Body as Battleground: Intermedial Self-Expression and Social Critique in Abel Azcona’s Extreme Performance Art
• Zhang Yifei (Nanyang Technological University) Narratives in Process: Installation Art and Art Writing
• Wong Wing Fat (Hong Kong Metropolitan University) Beyond the Intermedial Space of Lecture Performance: Performing Lecture Performance/ Lecturing Performance Lecture

Chair: Sim Wai Chew

• Parul S (BITS Pilani K K Birla Goa Campus) Composing the Visible: Visual Form and Intermedial Aesthetics in Mohan Rakesh’s ‘Uski Roti’
• Tushar Rishi (Jawaharlal Nehru University) ‘You Have It but You Don’t Have It’: Ben Lerner’s Oscillatory Aesthetics
• Srirupa Chatterjee (Indian Institute of Technology, Hyderabad) Marilyn Monroe as Blonde: The Actor, The Body, The Fiction, The Biography 

Chair: Adel Cheong

• Aiswarya Sureshan and Shivshankar Rajmohan A. K. (NIT Warangal and Vellore Institute of Technology University) Artist’s Novel and the Performance of the Self: Narrative Experiments in Contemporary Art
• Yunqian Yang (Chinese University of Hong Kong) ‘I Refuse to Go into His Room’: Toward a Surrealist Poetics of Description 
• Liang Zhenghao (Guangdong University of Foreign Studies)  Art Historian as Intermedia: The Ekphrastic Reconciliation in 21st Century British Fiction

Chair: Yao Xiaoling

• Benjamin Alexander Slater (Nanyang Technological University)  The Book of the Film: Inscribing the Cinematic Experience
• Tan Xing Long Ian (National Institute of Education) Reconfiguring the Auratic: The Phenomenology of Filmic Vision and Aesthetic Contemplation in Jem Cohen’s Museum Hours (2012) 
• Yifen Tsau Beus (Brigham Young University–Hawaii) From Orature to the Big Screen: Storytelling in Oceania’s Indigenous Cinemas

Chair: Li Lianghui

• Jin Xiaotian (University of Electronic Science and Technology of China) Sound Poetics and Performance in Katherine Mansfield’s Short Stories
• Zhang Lei (China University of Political Science and Law) Haunting Music and Musical Haunting: Doris Lessing’s Auditory Imagination
• Li Yunjin (Shanghai International Studies University)  The Musical Construction of Place in Tim Winton’s Dirt Music

Chair: Bowen Wang

• Zheng Jie (Guangdong University of Foreign Studies)  What is the Unnamable: From Human Narrators and Nonhuman Narrators to Scale Narrators 
• Jakub Lipski (Kazimierz Wielki University)  Meta-landscapes in Peter Ackroyd’s The Casebook of Victor Frankenstein 
• Tymon Adamczewski (Kazimierz Wielki University)  Reconfigurations of the Text: Speculative Aesthetics of the Anthropocene 

Chair: Christopher Trigg

• Fanke Wang (East China Normal University)  From Stereotype to Structure: Benjamin, Adorno and the Fictionality of the Graphic Novel 
• Carlina Duan (University of North Carolina, Chapel Hill)  “Resistance in the material”: Multi-Modal Poetic Readings within Paisley Rekdal’s West: A Translation 
• David Lloyd (University of California, Riverside)  After Representation: For an Aesthetics of Resistance 

Chair: Celia Xu

• Sina Pousset (Nanyang Technological University)  Reading Photography: The Construction of Narrative Memory in W.G. Sebald‘s Austerlitz and Teju Cole‘s Every Day Is for the Thief 
• Sarah Thornley (University of Nottingham)  Queer Metaphor: Word And Image in Alison Bechdel’s Fun Home 
• Chun-yen Chen (National Taiwan University)  Reading W. G. Sebald in the Era of Surplus Reality 

Chair: Chua Han Au

• Lua Jie Long, Jaron (Nanyang Technological University)  “Shall I project a world?”: Postmodernist Poetics and the Detective Instinct in Thomas Pynchon’s The Crying of Lot 49 
• Charlotte Remes (Nanyang Technological University)  Some Infinities are Bigger than Other Infinities: An Examination of Experimental Capacities in Mike McCormack’s Solar Bones and Adrian Duncan’s A Sabbatical in Leipzig 
• Du Mingzhou (Nanyang Technological University)  Who did I think I was talking to?: Self-Reflexivity and Subversion in the Reconfigurated Audience Roles of Ali Smith’s Artful

Chair: Akanov Akyl

• Manoj Sharma (Jawaharlal Nehru University)  Hindi Cinema and Plays of William Shakespeare 
• Liu Yijun (Nanyang Technological University)  Animated Effects in Online Exhibition: The Case of The Song, Painted
• Wu Yi Chun (National Chengchi University)  Reconfiguring Ritual Media: Sacred Aesthetics in Taiwanese Glove Puppetry