Currently, a number of analysts are thinking about what constitutes, assembles, or traces "objects." While Bruno Latour (2005), Manuel DeLanda (2006), Andy Clark (2008), Graham Harman (2009), Cary Wolfe (2010), et al. might not agree on what objects "are," they're all interested in shifting away from the transcendental ego in ways that evade the "modern constitution" or the "bifurcation of nature." And we're interested in how this move -- and all its concomitant effects -- might influence not literary theory, but literary criticism.
Gilles Deleuze defines an assemblage as a multiplicity that "is made up of many heterogeneous terms and which establishes liaisons, relations between them, across ages, sexes and reigns — different natures." Such a form of organization, he argues, is the product of the interactions between the various bodies — physical, psychical, social, economic, linguistic — that compose it. The inherent dynamism of the assemblage is mirrored in the work of those who have theorized it; the concept remains notoriously diffuse and unstable. Following Manuel DeLanda's recent work, we are eager to reconstruct and refine assemblage theory.
Covert Cultures: Art and the Secret State 1911-1989
Keynote Speakers: Prof. Adam Piette (Sheffield)
Dr Trevor Paglen (artist and experimental geographer)
CALL FOR PAPERS in ADAPTATION
The Adaptation Section of the 2011 National Popular Culture & American Culture Associations Conference
Wednesday, April 20, through Saturday, April 23
Marriot Rivercenter San Antonio, and Marriot-San Antonio Riverwalk
Proposal deadline—December 8th, 2010
Adaptation as Process
Interdisciplinary Nineteenth-Century Studies Conference
Mar 31-Apr 3, 2011 at Pitzer College, CA
SPECIAL THREAD ON NINETEENTH-CENTURY SCIENCE
How did nineteenth century science conceive, construct, and represent the physical world? In what ways did science shape—in what ways was science shaped by—other discourses of the nineteenth century?
CALL FOR AUDIO OR VISUAL MEDIA
FOR ISSUE ON CARLOS MONSIVÁIS
Textos Híbridos, a new electronic journal dedicated to the study of the Latin American chronicle from the Conquest to the present day, invites the submission of audio or visual material for its inaugural issue on renowned Mexican cronista and cultural critic Carlos Monsiváis. A prolific and iconic chronicler, Monsiváis is known for his anthologies of chronicles such as Amor perdido (1977), Entrada libre (1987), and Apocalipstick (2009) as well as his studies on the genre and edited collections such as A ustedes les consta. Antología de la crónica en México (1980; 2006).
"[A] mode of writing is an act of historical solidarity…it is the relationship between creation and society, the literary language transformed by its social finality, form considered as human intention and thus linked to the great crises of History." - Roland Barthes
This seminar seeks papers focusing on the theory of translation from the perspectives of Derrida or Deleuze. Is translation an impossible task, an ethics that lends an ear to the other? Or is translation a matter of creative concepts? How do we develop the idea of (in)fidelity in terms of the strange friendship between the two philosophers? What is the relationship between linguistic signs and recognition/the unrecognizable? Possible paper topics may include but are not limited to:
This seminar seeks papers focusing on the theory of translation from the perspectives of Derrida or Deleuze. Is translation an impossible task, an ethics that lends an ear to the other? Or is translation a matter of creative concepts? How do we develop the idea of (in)fidelity in terms of the strange friendship between the two philosophers? What is the relationship between linguistic signs and recognition/the unrecognizable? Possible paper topics may include but not limited to:
How has American literature understood itself as "world literature"? This seminar is interested not only in the ways American literature "contains" the world (as a multi-national literature) but also in the ways American literature is in the world. We want to think of World Literature not only as a category that describes multi-national or global literatures, but also as a literary and political strategy: the making of new worlds.