Publications

Hide and seek : mimesis and narrative in ekphrasis as translation

Kinloch David

New Writing: The International Journal for the Theory and Practice of Creative Writing Vol 11, pp. 155-166 (2014)

https://doi.org/10.1080/14790726.2014.882959

Cain's Wife

Kinloch David

Coming and Going Poems for Journeys (2019) (2019)

A Veesion

Kinloch David

Scotia Extremis Poems from the extremes of Scotland's psyche (2019) (2019)

Hermes and other poetry

Kinloch David

(2018)

Natural

Kinloch David

(2018)

In Search of Dustie-Fute

Kinloch David

(2017)

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Professional Activities

Writing into Art

Organiser

18/6/2013

Poetry Quartet

Participant

19/10/2019

Love is the most mysterious of the winds that blow’: Forms and Genres of Love in the Scrapbooks, Personal Correspondence and Collected Works of Edwin Morgan.

Examiner

22/8/2019

Annual Steven Campbell Lecture

Invited speaker

6/2/2017

Poetry Quartet

Participant

28/9/2016

Recording

Contributor

15/9/2016

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Projects

Hide and Seek: poems after portraits

Kinloch, David (Principal Investigator)

A collection of ekphrastic poems in response to a significant exhibition of portraits held at the Smithsonian Institution, Washington D.C. in 2011

01-Jan-2012 - 30-Jan-2013

Living Lines, Auld Alliances

Kinloch, David (Principal Investigator)

The 'Auld Alliance' between Scotland and France has been the topic of sporadic scholarly research which has focused particularly on the historical and literary connections between the two countries. Many gaps in our knowledge of this relationship still exist, however. 'Living Lines, Auld Alliances' seeks to extend our knowledge of this topic by privileging, in particular, the role of Scottish painters, those moments when Scots have looked hard at French canvases, landscapes, people and had something distinctive to 'say' about them. For centuries, Scottish artists have attempted to find new perspectives in the not entirely foreign, the strange yet familiar worlds of their neighbours. My approach, however, will not be that of traditional art history but will take the form of poems written in response to canvases looked at, to correspondence buried in archives and libraries, to biographies of the artists lives and studies of their work. What might the full, poetic expansion of S.J.Peploe's remark in a letter to his parents be like: 'I am beginning to see how to paint Cassis'. Why is he only 'beginning'? And how will painting Iona be different? Carrying out this research, I also wish to ask whether there are particular benefits to be derived by approaching this topic via the medium of poetry rather than that of scholarly prose. How do these two different types of discourse relate to each other in this context? The poems I will write will seek to offer fresh knowledge about the paintings and painters in question but will attempt also to articulate how the artists' methods may relate to my own compositional strategies and to reflect on poetry as a means of research. The aim, therefore, will not be to reflect parasitically on art objects that already exist but to invent something new that relates imaginatively to them in a manner that is critically alert to the aesthetics of its own creation. An inevitable consequence of this approach will be an exploration of the ways in which poetry may be used to conduct, embody and express historical research in a sophisticated but accessible and entertaining manner, extending our knowledge of specific forms such as the dramatic monologue and poetic sequence.

01-Jan-2008 - 31-Jan-2008

Glasgow/Bern Writers Exchange

Kinloch, David (Principal Investigator)

17-Jan-2007 - 31-Jan-2008

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