“‘Splendid Propaganda’: Henry V at War,” A Public Lecture by Kent Puckett

Kent Puckett, associate professor of English at the University of California, Berkeley, and member of the Representations editorial board, will speak at an upcoming event co-sponsored by the Institute on World War II and the Human experience and Fordham University Press. His lecture, “‘Splendid Propaganda’: Henry V at War,” will focus on Laurence Olivier’s 1944 film Henry V in the context of British cinematic style, wartime writing about Shakespeare, and the philosophy of propaganda and its effects on the British homefront.

The public lecture will take place on Thursday, November 9, from 6-8pm, at the Lowenstein 12th Floor Lounge (113 West 60th Street) in New York City.

Puckett’s most recent contribution to Representations was his edited “Search Forum,” which appeared in Representations 127 (Summer 2014). Read his introduction here.

Representations at ASAP

ASAP/9 starts today in Oakland!

The Association for the Study of the Arts of the Present presents a jam-packed schedule at the Oakland Marriott City Center beginning on Thursday, October 26, and running through Sunday, October 29.

A quick glance at the schedule shows that no fewer than 24 of the conference presenters have published in, organized special issues of, or worked on the staff of Representations:

Charles Altieri

Weihong Bao

Natalia Brizuela

Sarah Brouillette

Julia Bryan-Wilson

Christopher Chen

Joshua Clover

Christopher Fan

Shannon Jackson

Peter Hitchcock

Joseph Jeon

SanSan Kwan

Colleen Lye

Theodore Martin

Annie McClanahan

Tom McEnaney

Mark McGurl

Christopher Miller

Debarati Sanyal

Jeffrey Skoller

Michael Szalay

Rebecca Walkowitz

Barrett Watten

Dora Zhang

The Rhetoric of Hiddenness in Traditional Chinese Culture

BERKELEY BOOK CHATS at the Townsend Center

Wednesday, Oct 25, 2017 | 12:00 pm to 1:00 pm

Geballe Room, 220 Stephens Hall, UC Berkeley

Editor Paula Varsano talks about this collection of essays exploring the role of hiddenness  in the history of cultural production in China from the Warring States Period (403–221 BCE) to the end of the Qing Dynasty (1911) and beyond.

After an introduction by Michael Nylan, Varsano will speak briefly about her work and then open the floor for discussion. 

Paula Varsano is Associate Professor of East Asian Languages & Cultures at UC Berkeley, where she specializes in classical Chinese poetry and poetics from the third through the eleventh centuries. She is the author of Tracking the Banished Immortal: The Poetry of Li Bo and its Critical Reception, and is currently at work on a book tentatively titled Coming to Our Senses: Locating the Subject in Traditional Chinese Literary Writing. Her essay “Disappearing Objects/Elusive Subjects: Writing Mirrors in Early and Medieval China” was published in Representations 124.

On Race in Art

Black Futures: On Race in Art, Curation, and Digital Engagement 
with Kimberly Drew in conversation with Stephen Best

Arts + Design Mondays @ BAMPFA
Monday, October 16, 6:30pm

UNIVERSITY OF CALIFORNIA, BERKELEY ART MUSEUM & PACIFIC FILM ARCHIVE

2155 Center Street, Berkeley

Kimberly Drew has been dubbed an “international tastemaker in contemporary art” on account of her Tumblr blog Black Contemporary Art and her Instagram @museummammy. As social media manager at the Metropolitan Museum of Art, she has been pivotal in moving that venerated institution in directions both democratic and dialogical. Drew will discuss curation, social media, race, and institutions with UC Berkeley professor Stephen Best.

Kimberly Drew is a writer and curator based in New York City. Drew received her BA from Smith College in art history and African-American studies, with a concentration in museum studies. She first experienced the art world as an intern in the director’s office of the Studio Museum in Harlem, where she was inspired her to start her blog and to pursue her interest in social media as it relates to the arts.

A member of the Representations editorial board, Stephen Best is an associate professor of English at UC Berkeley and the author of The Fugitive’s Properties: Law and the Poetics of Possession, a study of property, poetics, and legal hermeneutics in nineteenth-century American literary and legal culture. He co-convened a research group at the University of California’s Humanities Research Institute on “Redress in Law, Literature, and Social Thought” that led, in part, to the special issue “Redress” in 2005. He is also the co-editor of the 2009 special issue “The Way We Read Now” and the 2016 volume “Description Across Disciplines.”

Fray: Art and Textile Politics

Julia Bryan-Wilson will be talking about her new book

Fray: Art and Textile Politics

in the Townsend Center for the Humanities‘ monthly Berkeley Book Chat series

 

Wednesday, Oct 11, 2017 | noon to 1:00 

Geballe Room, 220 Stephens Hall, UC Berkeley

In 1974, women in a feminist consciousness-raising group in Eugene, Oregon, formed a mock organization called the Ladies Sewing Circle and Terrorist Society. Emblazoning its logo onto T-shirts, the group wryly envisioned female collective textile making as a practice that could upend conventions, threaten state structures, and wreak political havoc. Elaborating on this example as a prehistory to the more recent phenomenon of “craftivism”— the politics and social practices associated with handmaking— UC Berkeley’s Julia Bryan-Wilson explores textiles and their role at the forefront of debates about process, materiality, gender, and race in times of economic upheaval.

After an introduction by Natalia Brizuela, Bryan-Wilson will speak briefly about her work and then open the floor for discussion.

Julia Bryan-Wilson, co-editor with Shannon Jackson of the recent Representations special issue Time Zones: Durational Art and Its Contexts, is Associate Professor of Modern and Contemporary Art in the Department of History of Art at the University of California, Berkeley. In addition to Fray, she is also the author of Art Workers: Radical Practice in the Vietnam War EraArt in the Making: Artists and Their Materials from the Studio to Crowdsourcing.

Advance Look: Jeffrey Knapp on “Selma”

In recognition of the speed at which the world and its histories are changing, we’ve just posted an advance version of Selma and the Place of Fiction in Historical Films” by Jeffrey Knapp. The essay will appear in print and online in our Winter 2019 issue, but you can read it here right now.

In the essay, Knapp compares the place of historical fictionality in William Wyler’s 1940 film The Westerner and Ava DuVernay’s 2014 Selma.

“’This isn’t right,’” the essay begins, in the voice of Martin Luther King as depicted by David Oyelowo, in Selma. “Almost as soon as the man resembling Martin Luther King Jr. has begun to speak, he interrupts himself in frustration. ‘I accept this honor,’ he’d been saying, ‘for our lost ones, whose deaths pave our path, and for the twenty million Negro men and women motivated by dignity and a disdain for hopelessness.’ What does he think isn’t right? Is it the racial oppression he has been evoking? Or is it the felt inadequacy of his words to that injustice? As the man turns away from us, we find that he has been speaking into a mirror, and that he is frustrated in the immediate context by his efforts at getting dressed. ‘Corrie’ — it is King, we now understand, and he’s not alone; his wife Coretta is with him — ‘this ain’t right.’ ‘What’s that?’ she asks, entering from another room. ‘This necktie. It’s not right.’ ‘It’s not a necktie,’ she corrects him, ‘it’s an ascot.’ ‘Yeah, but generally, the same principles should apply, shouldn’t they? It’s not right.’” Read full article …

JEFFREY KNAPP is the Eggers Professor of English at UC Berkeley and author of An Empire Nowhere: England and America from Utopia to The Tempest (1992); Shakespeare’s Tribe: Church, Nation, and Theater in Renaissance England (2002); Shakespeare Only (2009); and Pleasing Everyone: Mass Entertainment in Renaissance London and Golden-Age Hollywood, published this year by Oxford University Press. He is also a contributing editor for Representations.

Adam and Eve: The Story Continues

The Rise and Fall of Adam and Eve, a new study by Stephen Greenblatt, is the subject of an interview broadcast today on Forum, a production of KQED Radio in San Francisco. You can listen to the interview here.

The Rise and Fall of Adam and Eve explores the enduring story of humanity’s first parents.

Tracking the tale into the deep past, Greenblatt uncovers the tremendous theological, artistic, and cultural investment over centuries that made these fictional figures so profoundly resonant in the Jewish, Christian, and Muslim worlds and, finally, so very “real” to millions of people even in the present. With uncanny brilliance, Greenblatt explores the intensely personal engagement of Augustine, Dürer, and Milton in this mammoth project of collective creation, while he also limns the diversity of the story’s offspring: rich allegory, vicious misogyny, deep moral insight, and some of the greatest triumphs of art and literature.

The biblical origin story, Greenblatt argues, is a model for what the humanities still have to offer: not the scientific nature of things, but rather a deep encounter with problems that have gripped our species for as long as we can recall and that continue to fascinate and trouble us today.

Stephen Greenblatt, winner of both the Pulitzer Prize and the National Book Award, cofounded Representations, where many of his essays have appeared.

Boccaccio’s Realism

Mimesis on Trial: Legal and Literary Verisimilitude in Boccaccio’s Decameron

by Justin Steinberg

The essay begins:

Boccaccio is generally the least appreciated of the “Three Crowns” of the Italian literary canon (after Petrarch and Dante), yet his focus on the realistic, even gritty details of everyday life, everyday characters, and everyday language has no real precedent, at least not one of the scope of the Decameron. Studies of the novel typically identify Boccaccio’s masterpiece as an influential precursor in the development of modern literary realism, and Erich Auerbach devotes a critical chapter to the Decameron in his monumental history of Western mimesis. Although recent scholarship has called into question Boccaccio’s supposed modernity, underlining the allegorical aspects of the Decameron and its continued debt to medieval textual practices, it is difficult to deny that, at the very least, Boccaccio expands the frame of what can be legitimately represented in literature.

At the same time, something is inevitably lost when we view the Decameron from the end point of the modern novel. Our retrospective glance privileges a very specific conception of realism, a conception defined by its rejection of rhetorical notions of appropriateness and fittingness. (This unruly literary style befits a genre “in which one can tell absolutely any story in any way whatsoever.”) Auerbach, for example, maintains that only once literature has freed itself from the rigid confines of classical decorum is it possible for authors to depict the world in its complex, particularistic entirety. Yet this version of realism does not admit the extent to which Boccaccio’s mimetic art remains preoccupied by rhetorical verisimilitude. While it’s true that Boccaccio incessantly interrogates the status of verisimilitude throughout the Decameron—what it means for something to “fit” in a given scenario—he does so by delving into the precise components of the circumstantiae (the who, what, where, when, why, and how of a case, deployed by an orator to enhance the “true-seemingness” of his argument). Even when exploring its inner contradictions, that is, Boccaccio innovates through, rather than from, rhetoric. Studies that neglect the influence of rhetorical verisimilitude on Boccaccio’s realism, preferring to imagine a seamless evolution from the plausible to the particular, miss this essential tension at the heart of the Decameron between competing notions of the real.

Rather than treating the Decameron as a stepping-stone on the path toward modern realism, I will argue that Boccaccio’s realistic style is a historically specific response to a historically specific crisis of verisimilitude. This crisis was propelled by a critical institutional innovation: the rise and spread of the medieval inquisitorial procedure. In the inquisitorial trial, judges were frequently called upon to estimate the likelihood of circumstantial evidence; this migration of notions about the probable from the rhetorical to the judicial sphere, from persuasion to evidence, is Boccaccio’s primary focus and concern. Through the many trial scenes in the Decameron, he illustrates the dangers that arise when judges, witnesses, and prosecutors are “trapped by a picture”—when the theater of justice becomes a self-fulfilling mimesis of the already known and always seen. The singular, remarkable details that eventually come to the fore in these trials (and that characterize the plot lines of Boccaccio’s novelle) reveal the disconnect between norms of likelihood and the particulars of a case.

Not only do the trials in the Decameron probe the legal uses of verisimilitude as evidence, they also raise questions about verisimilitude as a literary device. What is the relationship between an aesthetic principle of “fittingness” and the normative knowledge of “what happens for the most part”? What is the role of innovation in an art of the probable? How can a plausible account of the facts encompass historical contingency and singularity? These simultaneously legal and literary questions are exactly what the Decameron is wired to navigate: the degree to which the verisimilar picture must be open to the singular case, the structure open to the event.

My argument, then, is not simply that Boccaccio was influenced by rhetorical verisimilitude but also that he employs the numerous “procedural” tales in the Decameron to reflect critically on the nature of, and the increasing real-world power of, realistic narrative. Continually questioning the very realism he employs as a poet, he puts mimesis on trial. Continue reading …

In this essay Justin Steinberg argues that the celebrated realism of Boccaccio’s Decameron responds to the new prominence of verisimilitude in legal contexts in his time.

Justin Steinberg is Professor of Italian literature at the University of Chicago and editor-in-chief of Dante Studies. He is the author of Accounting for Dante: Urban Readers and Writers in Late Medieval Italy (Notre Dame, 2007) and Dante and the Limits of the Law (Chicago, 2015). He is currently writing a book on Boccaccio, representation, and the law.

 

Talk About Pleasing Everyone

Berkeley Book Chats
at the Townsend Center for the Humanities
presents Jeffrey Knapp talking about his book

Pleasing Everyone: Mass Entertainment in Renaissance London and Golden-Age Hollywood

12:00 pm to 1:00 pm Geballe Room, 220 Stephens Hall, UC Berkeley, Wednesday, Sept. 27, 2017 | 12:00 pm to 1:00 pm Geballe Room, 220 Stephens Hall, UC Berkeley

Shakespeare’s plays were immensely popular in their own day yet history refuses to think of them as mass entertainment. In Pleasing Everyone, Professor of English Jeffrey Knapp highlights the uncanny resemblance between Renaissance drama and the incontrovertibly mass medium of Golden-Age Hollywood cinema. Through explorations of such famous plays as HamletThe Roaring Girl, and The Alchemist, and such celebrated films as Citizen KaneThe Jazz Singer, and City Lights, Knapp challenges some of our most basic assumptions about the relationship between art and mass audiences and encourages us to resist the prejudice that mass entertainment necessarily simplifies and cheapens.

After an introduction, Knapp will speak briefly about his book and then open the floor for discussion.

JEFFREY KNAPP is the Eggers Professor of English at UC Berkeley and author of An Empire Nowhere: England and America from Utopia to The Tempest (1992); Shakespeare’s Tribe: Church, Nation, and Theater in Renaissance England (2002); Shakespeare Only (2009); and Pleasing Everyone: Mass Entertainment in Renaissance London and Golden-Age Hollywood, published this year by Oxford University Press. The chapter “Throw That Junk!” in Pleasing Everyone was first published in Representations 122 (Spring 2013). An advance version of his new essay “Selma and the Place of Fiction in Historical Films” will be posted here in early October.

Video on the Hippie Ward

Televising Psyche: Therapy, Play, and the Seduction of Video

by Carmine Grimaldi

The essay begins:

In 1967, the San Francisco Chronicle ran the panicked headline “HIPPIES WARN CITY—100,000 WILL INVADE HAIGHT ASHBURY THIS SUMMER.” With the specter of homelessness, disease, addiction, and moral depravity looming, the city scrambled for some response: that summer, the San Francisco Assembly Committee on Public Health held a series of hearings to determine who exactly these new residents were, and how the anticipated crisis could be stanched.

Sitting before the committee, Dr. Ernest Dernburg, the director of psychiatric services at the Haight-Ashbury Free Medical Clinic, offered his professional opinion on the moral character of the hippie. He was working on the front lines of the crisis and would have been considered far more sympathetic to the counterculture than those working in traditional hospitals. And yet the portrait he drew was damning. The new generation, he explained to the committee, was “passive, withdrawn, emotionally unresponsive, drug dependent. They suffer . . . from massive psychological poverty.” He then pointed to a potential culprit: “Keep in mind that this generation is the first to grow up in front of the television set. These children have been sitting passively before it, receiving stimulation from it, living mostly inside their heads, all during their period of development.” This sentiment was hardly new; the moral panic about television has run in tandem with the medium’s history. At the beginning of the decade, when many of Dernburg’s patients were “growing up in front of the television,” one widely read study warned that television “anesthetize[s] a person against pain and distress” and asked rhetorically, “In how many cases does television meet children’s needs in the same way as alcohol or drugs might do so?” If one wanted to assign blame for the legions of white, middle-class kids who were dropping school and acid, television was as good a candidate as any.

Langley Porter Institute, San Francisco, 1966

Following Dernburg’s rather alarmist evaluation, Dr. Harry Wilmer, then a professor of psychiatry at the University of California, San Francisco (UCSF), spoke before the committee. Like Dernburg, he had founded a new psychiatric clinic for hippie drug users, just twenty blocks from the Haight, at the Langley Porter Neuropsychiatric Institute. And like Dernburg, he agreed that television and mass media were largely responsible for the emergence of the counterculture. But unlike his colleague, who adhered to popular techniques of psychoanalysis and pharmacological remedies, Wilmer explained that he was developing a new approach that had only entered psychiatry in the last few years: it was a “pilot study” that sought to cure patients through the very medium that had originally harmed them—if used correctly, Wilmer explained, the television screen could be a potent medicine. In the next two years, he planned to use video feedback, made possible by videotape technology, to restructure the consciousness and sensorium of those who had fallen through the cracks of society. As he explained to the committee, “We are trying to reawaken the power to see and to interact.” This Janus-faced power of television clearly caught the imagination of the public—in what was the first of many newspaper articles about Wilmer’s project, the San Francisco Examiner’s headline read, “How TV Produces and Heals a Drug Generation.” Continue reading …

San Francisco’s “Hippie Drug Ward,” an experimental therapeutic clinic opened in 1967, sought to cure a wayward generation through an immersive multimedia environment. Examining archival records only recently made available, this paper explores the way the moving image—and in particular videotape—created a space in which style, affect, and psyche became commingled.

CARMINE GRIMALDI is a doctoral candidate in history at the University of Chicago and a fellow at Harvard’s Film Study Center. His writings have appeared in the Atlantic and Filmmaker Magazine, and his films have screened widely at festivals in the United States and abroad.