This panel invites new positions from which to conceptualize postwar moving-image art, extending into the contemporary moment. Anglo-American and European scholarship on moving-image art through the 1960s and 70s has largely privileged formalist thinking. There is, as Jonathan Walley has written, a “general agreement…that avant-garde filmmakers of this period followed the trend within modernist art toward medium-specific purification: the reduction of the art object to the essential physical or material components of its medium.” In recent years, however, we have witnessed a number of crucial revisionist interventions.
In On the Genealogy of Morals Friedrich Nietzsche writes critically of just how bound his own native German was to more widespread religious-moral beliefs, such as those which take a fixed moral subject as the beginning and end of all we can know, thereby leaving out one’s own doing as secondary to who one is. Nietzsche writes: “But there is no ‘being’ behind doing[…] – doing is everything” (GM I, 13) and thus suggests that the underlying grammar of the languages he himself knew well – all of which acknowledge if only implicitly an objective difference between subject and verb, doer and deed – were in fact wrong and had to be thought through from the ground up. One might yet take Nietzsche to task on this provocation.
This call is for an accepted session at the 50th Northeast Modern Language Association convention in Washington DC, March 21-24, 2019.
Chair: Nathan Douglas / Indiana University, Dept. of Spanish & Portuguese
Call for Special Issue Proposals (Open Topic)
English Language Notes
This being the 200th anniversary of the death of Karl Marx, a retrospective of his possible influence on American literature may be significant. For 200 years, theories espoused by Karl Marx have been threaded within the literature of America. Notable writers such as Edward Bellamy, Jack London, and Upton Sinclair each had a different perspective related to Marxian theory and practice. The transatlantic influence of Marx is evident in the utopian fiction of Edward Bellamy’s Looking Backward and especially Bellamy’s Equality.
Edward Said has been called a great many things: humanist, critic, professor of terror. Practitioner of deconstruction, however, has never numbered among them.
In a letter to his friend Axel Kaun, Samuel Beckett once described the “terrible materiality of the word surface” that faces every writer as they set pen to page. Their goal, Beckett claims, is to puncture this surface, boring holes into the word so that a different materiality “lurking behind” it might seep through. When the word is filled with holes, when what is said is ineffable and indescribable, it is no longer subordinated to its representative function. Rather, the word reveals its own sense and sensuousness, its materiality entirely distinct from that of its referent. The “sounding of impossible bodies” of the voices of the dead in M.
Call for Papers: ‘Utopian Spaces’ Graduate Conference, Simon Fraser University Vancouver, BC November 23-25, 2018 Deadline for Submissions: August 31, 2018
KEYNOTE SPEAKERS: GEOFF MANN, AJAMU NANGWAYA, SHERRYL VINT PLENARY PANEL: PATRICIA BARKASKAS, TIFFANY MULLER MYRDAHL, JERRY ZASLOVE; MODERATOR KIM BEAUCHESNE