Giorgio Agamben is one of the most compelling contemporary theorists of literature. Yet despite ever intensifying interest in Agamben’s work, his studies of literature and poetics remain a less explored dimension of his corpus. This seminar seeks spirited contributions that engage with Agamben’s reflections on literary texts, as well as those mobilising the concepts and interests of his aesthetics into new readings. Papers addressing the connections between literature and other aspects of Agamben’s thought (such as sovereignty and biopolitics) are welcome, as are explorations of his writing’s intellectual and historical contexts – including its affinities with the work of thinkers such as Benjamin, Blanchot, Foucault, Derrida, de Man and Hamacher.
In a letter written to Jacques Derrida in 1982, Gilbert Simondon poses a question to the project of deconstruction: “Why not think about founding and perhaps even provisionally axiomatizing an aesthetico-technics or techno-aesthetics?” Aesthetic thought has for too long remained at the level of subjective contemplation, which effaces any substantive understanding of technology’s effects upon the larger cultural sphere. The technical and the aesthetic, Simondon contends, should instead be understood as a “continuous spectrum” of experience, as each are composed of a “set of sensations” that emerge as matter is transformed, whether by the artist, the engineer, the designer, or the machinist.
You know how
I feel about painters. I sometimes think poetry
Frank O’Hara, ‘John Button Birthday’ (1957)
The supposed similarity between poetry and painting was famously characterized in Horace's ‘Ars Poetica’ by the dictum ‘ut pictura poesis’ (‘as is painting, so is poetry’). Yet in 1766, Gotthold Ephraim Lessing influentially argued for the limits that condition these different art forms — how could a visual scream ever be rendered linguistically?
This seminar invites papers on stylistic production in any medium and genre, in any period or place.
Clerks, bureaucrats, copyists, scriveners, archivists, bookkeepers – they are, along with the repositories of written facts they work and sometimes live in, organs of the greater corpus of the archive. This human machinery of archons (Derrida) is hidden in full display, at once peripheral and essential to the archive, managing its material flows, embodying the Law, maintaining and guarding the archive’s very possibility of existence.
Since the nineteenth century to the present, fragmentary writing has been widely deployed in literature and philosophy (i.e. Ernst Bloch, Schlegel, Mallarmé, Adorno, Maurice Blanchot, Kafka, Beckett etc.) as a strategy to disrupt the idea of totality by and through writing. Fragmentary writing as an incomplete totality, bears absent voices and traces and alludes to a whole.
Anglo Saxonica is a multidisciplinary journal that publishes original and innovative research on a variety of issues relevant to the study of English(es), broadly understood both as language and as all the literatures and cultures of the English-speaking world. In so doing, Anglo Saxonica also promotes dialogue among English-speaking geocultural areas. Its editorial policy promotes the thematic cohesion of each volume, open to different academic approaches on current issues in English and American studies, including original research articles, reviews, interviews and selections of creative writing. The journal also publishes special issues with a particular thematic focus that are guest-edited by leading scholars in the field.
As a research team devoted to artistic practice, we are motivated by the questions: How does artistic practice lead to the production of knowledge? How does, in turn, artistic knowledge relate to its material base? How does contingent materiality guide the artist towards finding form and developing a statement?
The proposed volume is consecrated to the object as a process in order to offer new insights into the ways the object (broadly construed, comprising digital and other non-classical objects) becomes an active element in artistic practice. This exploration intends to furnish a better understanding of artistic production.
CFP for panel proposal to the annual meeting for MELUS (The Society for the Study of Multi-Ethnic Literature of the United States) from 2-5 April 2020 in New Orleans, LA.
The MELUS conference theme (Awakenings and Reckonings: Multiethnic Literature and Effecting Change–Past, Present, and Future) calls for comparative and interdisciplinary analysis of representations and imaginings of the past, present, and future as they relate to race, ethnicity, citizenship, and diaspora.
CALL FOR PAPERS
with renewed deadline
The New Series of The Anachronist
invites academic papers for its 2019 issue (to be published in early 2020), featuring
a thematic section on
“Dehumanization in Literature: the figure of the perpetrator,”
as well as a general section