The Robert C. Elliott Memorial Lecture Series presents
Barbara Foley: Biography and the Political Unconscious
Thursday, February 20, 2014
Literature Building Room 155 (de Certeau)
Drawing on her recent studies of two African American writers, Ralph Ellison and Jean Toomer, Professor Foley will discuss the ways in which biography can be made central to Marxist literary criticism. In particular, Fredric Jameson’s theorization of the political unconscious, when significantly revised to encompass the necessary particularity of the notion that “history is what hurts,” remains invaluable to historical materialist literary study.
Barbara Foley is Distinguished Professor of English and American Studies at Rutgers University, Newark Campus. She has published widely in the fields of Marxist theory, literary radicalism, and African American literature. She has authored Telling the Truth: The Theory and Practice of Documentary Fiction (Cornell University Press, 1986); Radical Representations: Politics and Form in US Proletarian Fiction, 1929-1941 (Duke University Press, 1993); and Spectres of 1919: Class and Nation in the Making of the New Negro (University of llinois Press, 2003). Her two most recent books--Wrestling with the Left: The Making of Ralph Ellison’s Invisible Man (Duke University Press, 2010), and Jean Toomer: Race, Repression, and Revolution (forthcoming University of Illinois Press, 2014)—are relevant to her UCSD lecture. Professor Foley is President of the Radical Caucus of the Modern Langauge Association and a member of the manuscript committee at Science & Society.
The Elliott Memorial Lecture is presented annually by the UCSD Department of Literature, with the support of the Robert C. Elliott Memorial Fund, which was established at the time of Professor Elliott's death in April 1981. A founding member of the Department of Literature, Robert Elliott authored The Power of Satire (1968), The Shape of Utopia (1970), and The Literary Persona (1982).
Zombies on the Brain
Monday, March 3, at noon at the UCSD Center for the Humanities (Literature 310)
Join Lisa Lampert-Weissig, Professor of Literature, for a discussion of the prevalence of zombies in contemporary cultural productions. Using Monsters of the Market: Zombies, Vampires and Global Capitalism (2012) and Zombies in the Academy: Living Death in Higher Education (2013) as a springboard, we will explore the current mass fascination with these monsters and their usefulness as a metaphor for contemporary cultural issues; RSVP here
Serena Anderlini-D’Onofrio, PhD -"Ecosexuality: Notes for an Orgasmic Earth"
Thursday, March 6, 2014
LGBT Resource Center, UCSD
Followed by Q&A and reception
This talk takes inspiration from the LoveArtLab work of ecosexual partners Annie Sprinkle and Beth Stephens to introduce the cultural trope of Ecosexuality in the broadest possible terms. What is Ecosexuality and why is it important at this time in the evolution of life on planet Earth? What is Ecosexual Love and how can one participate in it? Ecosexuality is a new sexual identity and the cultural trope that is likely to galvanize a movement of movements that places love and its infinite modes of expression at the gravitational center of cultural formation, dynamics, and organization. The concept establishes a correlation between the quality of ecosystems that host human life and the practices of love therein sustained. As a sexual identity, ecosexuality denotes a desire to organize practices of love around well-being, care, and ecosystemic health rather than any given oppositional rhetoric. As a catalyst for cultural transformation, Ecosexuality offers a new interpretation of love that aligns sexuality with ecology and inspires a cross-pollination of the ideas and metaphors contained within these two traditionally distinct discourses. For example, in LoveArtLab, Beth Stephens and Annie Sprinkle galvanized attention around the intent to “change the metaphor from Earth and mother to Earth as lover.” Their socially engaged seven-year art project wished to “make the environmental movement more fun, sexy, and diverse.” It involved 17 ecosexual weddings around the globe: At different times, the moon, sky, earth, mountains, ocean, sea, sun, and snow were included as partners with equal rights. At this time, a definition of Ecosexuality would limit the cultural trope’s vastly untapped transformative potential. One way that Ecosexuality has been described is as “the style of love that reaches beyond genders, numbers, orientations, ages, races, origins, species, and biological realms to embrace all of life as a partner with equal rights.” This description is being used in a forthcoming reader, Ecosexuality: Notes for an Orgasmic Earth, edited by Serena Anderlini-D’Onofrio and Lindsay Hagamen. It has the desirable effect of supporting amorous practices that interpret ecosystems as bodies, bodies as ecosystems in an interdependent network of interconnected nodes that auspicate a new, Gaian, open, fluid, and inclusive planetary consciousness.
Dr. Serena Anderlini D’Onofrio, PhD is a Professor of Humanities at the University of Puerto Rico at Mayaguez. She was a 2012-13 Fellow at U Conn Storrs’s Humanities Institute. A graduate of UCR, she is the author of several award winning books, including Gaia (2009) and Eros (2006). She was a keynote speaker at EcoSexuality Symposia in San Francisco (2011) and Portland (2012). Her edited collections include BiTopia (2011), Bisexuality and Queer Theory (2011), Plural Loves (2005), and Women and Bisexuality (2003). She charted new fields, and The ‘Weak’ Subject (1998). She charted new fields, including ecosexuality and the arts of loving sustainably, fluidly, and inclusively.
SPONSORED BY THE UCSD DEPARTMENT OF LITERATURE & THE LGBT RESOURCE CENTER
The Judaic Studies Program Lecture Series Presents:
Amelia Glaser, PhD Associate Professor of Literature, UCSD
Sholem Aleichem: Yiddish Writer, Russian Literary Critic
Thursday, March 6, 2014
Faculty Club Lounge, UCSD
When Sholem Rabinovich (Sholem Aleichem) began writing Yiddish fiction, he was steeped in Russian literature. With only a few Yiddish humorists on which to model his prose, he based important aspects of his persona and poetics on exemplars from the Russian canon, in particular Gogol. Sholem Aleichem, beyond encouraging a comparison between himself and Gogol, also consciously modeled elements of his writing on Turgenev, Saltykov-Schedryn and his younger contemporary Maxim Gorky. In order to understand the intimate relationship between the writer canonized as the father of Yiddish prose (particularly in Russia) and the Russian literature he read, we must examine not only what Sholem Aleichem was borrowing from his Russian models, but what he was critiquing. By considering Sholem Aleichem as a critical reader of Russian literature, we begin to glean the importance of nineteenth century Russian literature to what was, at the turn of the twentieth century, a still-nascent Yiddish canon. This talk is drawn from the recent book, Jews and Ukrainians in Russia's Literary Borderlands: From the Shtetl Fair to the Petersburg Bookshop (Northwestern U.P., 2012).
Amelia Glaser is Associate Professor of Russian and Comparative Literature, and Chair of the Russian, East European, and Eurasian Studies program at the University of California, San Diego. She is the author of Jews and Ukrainians in Russia's Literary Borderlands: From the Shtetl Fair to the Petersburg Bookshop (Northwestern U.P., 2012), and the translator and editor of Proletpen: America's Rebel Yiddish Poets (U. Wisconsin Press, 2005). She is spending time at the Russian, East European and Eurasian Center at UIUC as a mentor for the "Workshop in Scholarly and Literary Translation from Slavic Languages".
This is a free event. Wine and h'orderves will be provided. Please RSVP at: judaicstudies.ucsd.edu/events
The UCSD Dept of Literature / Italian Studies Program
in conjunction with the SD Italian Film Festival
the UCSD Faculty Club and SDSU Italian Studies
Present two films and a panel discussion
Stories of immigration, work, and tragedy blend in these works by Ethiopian-Italian Dagmawi Yimer, and filmmaker Andre Segre with journalist Stefano Liberti.
Và pensiero (2013, 58”) begins on May 31, 2011. A right wing extremist kills Sam Modu and Diop Mor, and wound other Senegalese men as they work among the stands of the market in Piazza Dalmazia, Florence. Among them are Mor Sougou and Cheik Mbeng who, for the first time in this film, retell the events of that day. This film takes on the straight-forward yet difficult task of bringing to the light an often well hidden reality.
South of Lampedusa (2006, 28”) shot in the Sahara desert, shows immigration’s hidden face before arriving at the last stop on the Italian island of Lampedusa. The film documents the harsh journeys and testimonies of migrant workers arrested in Libya and abandoned on the Nigerian border.
Following the films, the three directors will participate in a discussion and Q & A conducted by Professors Pasquale Verdicchio and Clarissa Clò.
March 9, 2014 @ UCSD Faculty Club
Reception 3 to 4 P.M., $15, SDIFF Members $12
heavy hors d’oeuvres and cash bar. Mingle with directors and Italian specialists. Tickets at SDIFF website and on UCSD Faculty Club website. Must be 21 or older to purchase ticket or to attend reception.
4 PM Films and discussion with directors. Free
About the directors:
Andrea Segre is an Italian filmmaker. His recent feature films Shun Li and the Poet (Io sono Li, 2011) and Early Snow (La prima neve, 2013) have received international critical acclaim and have won numerous prizes. In recent years he has made documentaries on the passage of migrants from Africa to Europe through the Mediterranean, in the face of European detention and repatriation practices. Like a Man on Earth (which he codirected with Dagmawi Yimer), South of Lampedusa and Closed Sea (both of which he codirected with Stefano Liberti) belong to this period.
Dagmawi Yimer is an Ethiopian-born, Italy-based director specializing in documentary filmmaking. Having survived a year-long journey through the Sahara, numerous stints in Libya’s notorious transit camps, and a perilous sea-voyage to Italy, Yimer began filming the experiences and testimonies of other migrants who had undertaken similarly harrowing journeys from Africa to Europe. His first major documentary was Like a Man on Earth, undertaken with Andrea Segre.
Stefano Liberti is an Italian journalist, writer and screenwriter. He collaborated with Andrea Segre to the documentary short A sud di Lampedusa (South of Lampedusa, 2006) and was awarded the Indro Montanelli Prize in 2009 for his book A sud di Lampedusa. He co-directed Closed Sea with Andrea Segre in 2012.