Tonight at 8:55 in Berkeley at the Pacific Film Archive
2575 Bancroft Way
Before you go, read Joseph Jeon’s Neoliberal Forms: CGI, Algorithm, and Hegemony in Korea’s IMF Cinema, published in Representations‘ current special issue Financialization and the Culture Industry.
Edited by C. D. Blanton, Colleen Lye, and Kent Puckett
Financialization and the culture industry. The essays that make up this special issue of Representations turn on the relation between those two terms. How, they ask, should we understand the formal and cultural effects of a world economy ever more dependent on finance’s increasingly abstract calculations of value? In one respect, the metaphor of a “culture industry” might now appear anachronistic, swept aside by the postindustrial speed, scale, and global reach of contemporary finance. But what then remains of notions—inherited from the Frankfurt School and elsewhere—of high and low culture, art and reification, commitment and commodity, class struggle and rationalization in an economy now conceived as immaterial or disembodied, frictionless or flat? (Continue reading…)
C. D. Blanton, Colleen Lye, and Kent Puckett
Introduction (free download)
Joshua Clover
Retcon: Value and Temporality in Poetics
Annie McClanahan
Bad Credit: The Character of Credit Scoring
Bishnupriya Ghosh
The Security Aesthetic in Bollywood’s High-Rise Horror
Joseph Jonghyun Jeon
Neoliberal Forms: CGI, Algorithm, and Hegemony in Korea’s IMF Cinema
Michael Szalay
HBO’s Flexible Gold
Peter Hitchcock
Accumulating Fictions
Denotatively, Technically, Literally
The Literary and Its Outsides
Tuesday, April 1, 5–7:00 pm
Geballe Room, 220 Stephens Hall
Townsend Center for the Humanities
UC Berkeley
Presenters:
Margaret Cohen (Stanford University)
Ian Duncan (UC Berkeley)
Elaine Freedgood (New York University)
Cannon Schmitt (University of Toronto)
Discussants:
Stephen Best (UC Berkeley)
Kent Puckett (UC Berkeley)
Four contributors to the current special issue of Representations (No. 125, Winter 2014), co-edited by Elaine Freedgood and Cannon Schmitt, will offer reflections on language–denotative, technical, literal–conventionally excluded from critical reading and, thus, from “literature.” Discussants include Stephen Best (editorial board, Representations, co-editor of the special issue “Surface Reading,” No. 108, 2009) and Kent Puckett (co-chair, editorial board, Representations).
Co-sponsored by:
Representations
The Doreen B. Townsend Center for the Humanities, UCB
The Nineteenth Century and Beyond Working Group, UCB
The Florence Green Bixby Chair in English, UCB
For literary readers, the categories of the denotative, literal, and technical do not, cannot, or should not exist. No language can be denotative or literal for us, since language, above all literary language, never means what it says, pace recent attempts to declare otherwise. A purely technical language would be the opposite of the language of the literary text: operational in precisely the way the literary text is not. We do not use Heart of Darkness as a sailing manual or a handbook for the extraction of natural resources from colonized places, and we have no doubt that those who treat Thomas Hardy’s novels as travel guides to southwestern England are missing the point (although a large tourist industry does thus operationalize them, and quite successfully)….
–Elaine Freedgood and Cannon Schmitt
Continue reading this introduction to Representations 125, the special issue Denotatively, Technically, Literally, here.
SPECIAL ISSUE: Denotatively, Technically, Literally
Edited by Elaine Freedgood and Cannon Schmitt
ELAINE FREEDGOOD AND CANNON SCHMITT
Denotatively, Technically, Literally
IAN DUNCAN
George Eliot’s Science Fiction
ELAINE FREEDGOOD
Ghostly Reference
CANNON SCHMITT
Technical Maturity in
Robert Louis Stevenson
RACHEL SAGNER BUURMA AND LAURA HEFFERNAN
Notation After the ‘‘Reality Effect’’:
Remaking Reference with
Roland Barthes and Sheila Heti
MARGARET COHEN
Denotation in Alien Environments:
The Underwater Je Ne Sais Quoi
INGE HINTERWALDNER
Parallel Lines as Tools for Making Turbulence Visible
DAVID BATES
Cartesian Robotics
HALL BJØRNSTAD
Twice Written, Never Read: Pascal’s Mémorial Between Superstition and Superbia
PAULA VARSANO
Disappearing Objects/Elusive Subjects: Writing Mirrors in Early and Medieval China
FIELD NOTES
CAROL GLUCK, Infinite Mischief? History and Literature Once Again
IN MEMORIAM PAUL ALPERS
· IN MEMORIAM PAUL ALPERS
by Catherine Gallagher, Stephen Greenblatt, Thomas Laqueur, and Randolph Starn
· VIRGIL’S ECLOGUE V
translated by Paul Alpers
Jan von Brevern on resemblance in photography, Anders Engberg-Pedersen on military metaphor in Tristam Shandy, Laura Tunbridge on British reception of German-language song between the wars, Maia McAleavey on the plot of bigamous return in nineteenth-century fiction, and Eitan Bar-Yosef on Zionism and blackface.
Coming in August 2013.
Vol. 122, No. 1, Spring 2013 (Read here)
Paul Alpers
Apostrophe and the Rhetoric of Renaissance Lyric
Allison Miller
Am I Normal? American Vernacular Psychology and the Tomboy Body, 1900-1940
Emily A. Beeny
Christ and the Angels: Manet, the Morgue, and the Death of History Painting?
Kris Paulsen
The Index and the Interface
Jeffrey Knapp
“Throw That Junk!”: The Art of the Movie in Citizen Kane