PROFESSOR KALE FAJARDO'S essay, "Transportation" is part of a new exhibition with The Center for Art + Thought. They also recently interviewed Prof. Fajardo about the essay and the exhibition. Click here to read the essay and to explore the exhibition and here to read the interview.
Showing posts with label Myriad. Show all posts
Showing posts with label Myriad. Show all posts
Wednesday, March 5, 2014
Wednesday, January 29, 2014
Kale Fajardo Essay
Kale Fajardo has a new essay, "Queering and Transing the Great Lakes: Filipino/a Tomboy Masculinities and Manhoods across Waters" in a special issue of GLQ: A Journal of Lesbian and Gay Studies (Volume 20, Number 1-2, 2014) called "Queering the Middle: Race, Region, and a Queer Midwest" edited by Martin F. Manalansan IV, Chantal Nadeau, Richard T. Rodríguez, and Siobhan B. Somerville. To read this essay click here.
Wednesday, August 28, 2013
Lubet discussion on "Pushing Limits" radio broadcast
PROFESSOR ALEX LUBET, Music, was featured on the program "Pushing Limits" on KFPA Radio Pacifica. He discussed disability and jazz as well as other issues related to his book Music, Disability, and Society (Temple University Press, 2010). To listen to the broadcast, please click here.
Friday, April 26, 2013
Juliana Hu Pegues' article published
Current graduate student Juliana Hu Pegues' article "Rethinking Relations: Interracial Intimacies of Asian Men and Native Women in Alaskan Canneries," was published in Interventions: International Journal of Postcolonial Studies, Volume 15, Number 1. For abstract and full article, please click here.
Tuesday, February 5, 2013
Ferguson Interviewed on "Against the Grain" Radio Show
Professor Roderick Ferguson was interviewed on the radio show "Against the Grain" where he discussed his book The Reorder of Things: The University and Its Pedagogies of Minority Difference. For more information and to listen to the complete interview, please click here.
Wednesday, January 16, 2013
Ferguson's Reading Intersectionality
Roderick A. Ferguson's article "Reading Intersectionality" was recently published in the online graduate student journal Trans-Scripts. For the complete article, please click here.
Friday, December 7, 2012
Ferguson's "World-Making and World-Devastation in Adrian Piper's Self-Portrait 2000"
RODERICK A. FERGUSON has written a blog entry for the University of Minnesota Press' blog. Please click here to read Ferguson's entry about Adrian Piper's "Self-Portrait 2000," the art work that he uses to open his new book The Reorder of Things: The University and Its Pedagogies of Minority Difference.
Friday, October 26, 2012
Benjamin Wiggins You Talkin' Revolution in Black Camera
Current graduate student Benjamin Wiggins published his article "You Talkin' Revolution, Sweetback': On Sweet Sweetback's Baadasssss Song and Revolutionary Filmmaking" in Black Camera. This essay analyzes the production, text, and reception of Melvin Van Peebles's Sweet Sweetback's Baadasssss Song to consider the potential of revolutionary cinema.
Abstract:
This essay analyzes the production, text, and reception of Melvin Van Peebles's Sweet Sweetback's Baadasssss Song to consider the potential of revolutionary cinema. It details the one-man band approach Van Peebles employed to make this radical picture outside the studio system and the unique conditions of production he cultivated to gain the autonomy of an auteur. Through an analysis of Sweetback's cinematic space that draws on the work of Stephen Heath and Gilles Deleuze and Felix Guattari as well as an analysis of the film's dialogue that considers it in relation to the loquaciousness of Poitier and the silence of Eastwood, this essay argues that Van Peebles constructs a new ground on which blackness is signified. By exorcising what Roland Barthes refers to as semiotic "anchors," Sweetback forces spectators to confront the terror of uncertain signs, destabilizing Hollywood's typical representation of blackness. While Van Peebles's position as auteur allowed him to present an unreconciled, multifarious blackness with which blacks possessed mutable subjectivities and the agency to change over time, the film failed to fulfill the hopes of black power leaders. Instead, it birthed blaxploitation. Sweetback was revolutionary in its production, signification, and distribution, but Hollywood was able to poach from it because its traditional exhibition did little to educate its audience on how to interpret its complex signification. To see how this oversight could have been addressed, this article turns to discussions of viewership and education in Huey Newton, Theodor Adorno, and the theorist-filmmakers of the Third Cinema. Finally, it discusses the prospects for a revolutionary cinema that addresses the shortcomings of Sweetback and other revolutionary films such as The Hour of the Furnaces as the space of the cinema dies and social media reigns.
To download the full article, click here.
Abstract:
This essay analyzes the production, text, and reception of Melvin Van Peebles's Sweet Sweetback's Baadasssss Song to consider the potential of revolutionary cinema. It details the one-man band approach Van Peebles employed to make this radical picture outside the studio system and the unique conditions of production he cultivated to gain the autonomy of an auteur. Through an analysis of Sweetback's cinematic space that draws on the work of Stephen Heath and Gilles Deleuze and Felix Guattari as well as an analysis of the film's dialogue that considers it in relation to the loquaciousness of Poitier and the silence of Eastwood, this essay argues that Van Peebles constructs a new ground on which blackness is signified. By exorcising what Roland Barthes refers to as semiotic "anchors," Sweetback forces spectators to confront the terror of uncertain signs, destabilizing Hollywood's typical representation of blackness. While Van Peebles's position as auteur allowed him to present an unreconciled, multifarious blackness with which blacks possessed mutable subjectivities and the agency to change over time, the film failed to fulfill the hopes of black power leaders. Instead, it birthed blaxploitation. Sweetback was revolutionary in its production, signification, and distribution, but Hollywood was able to poach from it because its traditional exhibition did little to educate its audience on how to interpret its complex signification. To see how this oversight could have been addressed, this article turns to discussions of viewership and education in Huey Newton, Theodor Adorno, and the theorist-filmmakers of the Third Cinema. Finally, it discusses the prospects for a revolutionary cinema that addresses the shortcomings of Sweetback and other revolutionary films such as The Hour of the Furnaces as the space of the cinema dies and social media reigns.
To download the full article, click here.
Wednesday, October 10, 2012
Prell's Article in Contemporary Jewry
Riv-Ellen Prell's article "Boundaries, Margins, and Norms: the Intellectual Stakes in the Study of American Jewish Culture(s)" appears in the journal Contemporary Jewry (Vol 32, July 2012). The article was based on the Sklare Lecture, delivered at the Association for Jewish Studies, where she was awarded the Marshal Sklare Award for distinguished scholarship in the Social Scientific Study of Jewry. The journal includes two responses to the article by Ari Kelman, an American Studies PhD now at Stanford, and Shaul Kelner, a sociologist at Vanderbilt. Continue reading for the article abstract.
Abstract: This paper lays out two research approaches to the study of American Jewry in order to examine the intellectual foundations of each approach. In the contrast between research focused on behavior and boundaries and research focused on subjectivity and sentiment, two different understanding of identity and culture are evident. The rethinking of Jewish life has rested on a greater focus on gender and sexuality as part of the dynamic view of identity and culture. However, this decentering of classical social science categories also raises other questions. What is the place of boundaries in the study of American Jews as well as other "identity" focused groups, and what are the most effective ways to study the reproduction of Judaism and Jewishness across generations?
This lecture, and then article, gave me the opportunity to reflect on issues I have taken up on in my writing for some time. I have been interested in the historically constituted notion of difference for Jews that put gender and class, as well as race, at the center of Jewish experience in the United States. My long association with non essentialist approaches to the culture and identity of Jews in the United States began to raise questions for me about how culture is constituted and transmitted. I was in part inspired by Herman Gray's book, Cultural Moves, in which he sought " a new Black cultural politics," and a "different logic for representation and politics." He called for "forms of belonging, association, and practice," that accounted for notions of "connectivity and identification" that changed over time. Like him, I am interested in practices that allow for counter memories and practices that reveal notions of subjects that challenge concepts of "nation, community, and belonging."
In this article I examine the underpinnings of debates about Jewish identity, whether it is primarily understood in classical ethnic/ religious terms as a matter of behavior, and coherent group membership, or whether a culture or even cultural politics can be constituted from "feeling." These approaches rarely acknowledge the intellectual roots of their positions, and the revolution in scholarship that asserted the centrality of race, gender, class and sexuality to social life that was so central to destabilizing the foundational concepts of the social sciences.
How, then, can scholars look to cultural/religious identities as wellsprings to opposition to a dominant culture? What are the sources for practices that draw on those traditions? This article does not answer that question. Its purpose is to lay out the central issues, and to argue for a more complex understanding of the shifting and historically constituted notion of culture and identity for American Jews.
Abstract: This paper lays out two research approaches to the study of American Jewry in order to examine the intellectual foundations of each approach. In the contrast between research focused on behavior and boundaries and research focused on subjectivity and sentiment, two different understanding of identity and culture are evident. The rethinking of Jewish life has rested on a greater focus on gender and sexuality as part of the dynamic view of identity and culture. However, this decentering of classical social science categories also raises other questions. What is the place of boundaries in the study of American Jews as well as other "identity" focused groups, and what are the most effective ways to study the reproduction of Judaism and Jewishness across generations?
This lecture, and then article, gave me the opportunity to reflect on issues I have taken up on in my writing for some time. I have been interested in the historically constituted notion of difference for Jews that put gender and class, as well as race, at the center of Jewish experience in the United States. My long association with non essentialist approaches to the culture and identity of Jews in the United States began to raise questions for me about how culture is constituted and transmitted. I was in part inspired by Herman Gray's book, Cultural Moves, in which he sought " a new Black cultural politics," and a "different logic for representation and politics." He called for "forms of belonging, association, and practice," that accounted for notions of "connectivity and identification" that changed over time. Like him, I am interested in practices that allow for counter memories and practices that reveal notions of subjects that challenge concepts of "nation, community, and belonging."
In this article I examine the underpinnings of debates about Jewish identity, whether it is primarily understood in classical ethnic/ religious terms as a matter of behavior, and coherent group membership, or whether a culture or even cultural politics can be constituted from "feeling." These approaches rarely acknowledge the intellectual roots of their positions, and the revolution in scholarship that asserted the centrality of race, gender, class and sexuality to social life that was so central to destabilizing the foundational concepts of the social sciences.
How, then, can scholars look to cultural/religious identities as wellsprings to opposition to a dominant culture? What are the sources for practices that draw on those traditions? This article does not answer that question. Its purpose is to lay out the central issues, and to argue for a more complex understanding of the shifting and historically constituted notion of culture and identity for American Jews.
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