Dr Daniel Matore

I am currently composing a monograph based on my doctoral research titled All Over The Page: Experimental Typography in Twentieth-Century Poetry. The monograph focusses on typography and poetry from 1910 to the present day, seeking to provide the first major study of why several generations of British and American poets came to regard print as intrinsic to literary style. Typography, I argue, was thought to discipline and revitalise rhythm after the abandonment of traditional metre. It examines the poetry of Ezra Pound, E.E. Cummings, Mina Loy, Charles Olson, William Carlos Williams, Allen Ginsberg, Hope Mirlees, David Jones, and Susan Howe amongst others  and investigates how typographical experiment was catalysed by prosodic theory, antiquarian musicology, and optical science. Poets of the last century reimagined their vocation, I claim, seeking a hegemonic control over the printed book and annexing the roles of the typesetter and book designer. My work on subjects ranging from poetic experiment, revision, musiclogy, opthalmology, and theories of reading has appeared, or is due to appear, in UK and US journals such as Textual Practice and Modernism/ modernity.

I teach subjects and authors from the 18th century to the present day, and I have particular expertise in modernism, comparative literature (especially French, Italian and Latin), and American literature. At Oxford, I have taught Paper 1, Paper 3, Paper 4, and FHS Paper 6 in various appointments over the last four years.

I have given classes and seminars on high modernist verse (Ezra Pound, Gertrude Stein, T.S. Eliot, Hope Mirlees), the Beats and the Black Mountain Poets, regional British modernists (Basil Bunting, W.S. Graham, Roy Fisher, Barry MacSweeney) and contemporary poetry (J.H. Prynne, Geoffrey Hill, Susan Howe, Keston Sutherland). I teach prose from the late nineteenth century to the present, especially Henry James, James Joyce, Virginia Woolf, Katherine Mansfield, William Faulkner as well as postwar and contemporary prose, such as the novels of Samuel Beckett, Kazuo Ishiguro, and Eimear McBride. I have also led sessions on experimental contemporary dramaturgy, especially that of Martin Crimp, Debbie Tucker Green, and Sarah Kane. 

I am especially interested in teaching topics related to the material text (revision, composition, typography) and comparative literature. My research has involved comparisons between the French Symbolists, Italian Futurists and Anglophone modernism, and I would gladly welcome students interested in nineteenth- and twentieth-century French literature (Flaubert, Proust, Rimbaud, Valery, Char, Houllebecq), Italian literature (Dante, Marinetti, D'Annunzio, Eco) and Latin literature (Virgil, Horace, Ovid, Propertius).

I have supervised several dissertations over the past few years on topics such as 'Samuel Beckett and Disability', ‘The Idea of the Tropics in the poetry of Wallace Stevens and Hart Crane’, ‘Song Lyrics and Post-War American Verse’, 'Virginia Woolf and Post-Impressionism', and ‘E.E. Cummings and French Symbolism’. 

I completed a DPhil at New College, Oxford in 2017, entitled 'Experimental Typography in Twentieth-Century Poetry', which I am currently converting into a monograph for OUP, following recomendations from my examiners. I read for a BA in English at Homerton College, Cambridge from 2008-2011, where I won the Betha Wolferstan Rylands Prize, and graduated with a double first. I proceeded to complete my MPhil in Criticism and Culture at King’s College, Cambridge, specialising in the work of Gertrude Stein, Basil Bunting, and Ezra Pound. I worked at the École Normale Supérieure de Lyon between 2012 and 2013 as a lecteur d’anglais, where I supervised French undergraduates on a variety of modern British and American writers and gave classes on literary translation. In 2015, I was awarded a Jean Nordell Fellowship at the Houghton Library, Harvard University in order to conduct archival research on ‘The Genesis of Modernist Typography’. This fellowship led to me being commissioned by academics at the Editorial Institute at Boston University to contribute a chapter on modernism and punctuation for a multivolume book entitled Punctuation in English, which is under consideration at Cambridge University Press. I am the Editor of the Cambridge Humanities Review, and I have articles published or forthcoming in Textual Practice and Modernism/ modernity. 

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