tag:blogger.com,1999:blog-22994011356507422782024-03-13T12:57:55.694-07:00Theory (in) PlaceXXII COLUMBIA/NYU GRADUATE CONFERENCE
April 11-12, 2014Anonymoushttp://www.blogger.com/profile/17797573466712791244noreply@blogger.comBlogger2125tag:blogger.com,1999:blog-2299401135650742278.post-68792346382055257362013-10-26T07:50:00.000-07:002014-04-06T11:32:04.584-07:00Conference Absrtract<div class="MsoNormal">
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<b>COLUMBIA UNIVERSITY</b><br />
Department of Latin American and Iberian Cultures</div>
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<b>NEW YORK UNIVERSITY</b><br />
Department of Spanish and Portuguese Languages and Literatures<br />
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Present<br />
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<b><i><span style="font-size: 24.0pt;">Theory (in)<span style="color: red;"> </span>Place</span></i></b><span style="font-size: 18.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;"> </span></div>
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<span style="font-size: 18.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;"> </span><b>XXII ANNUAL
GRADUATE CONFERENCE</b><br />
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<span style="font-size: small;"><b>April 11-12, 2014 at Columbia University</b></span><br />
<span style="font-size: small;"><b>Casa Hispanica</b></span><br />
<span style="font-size: small;"><b>612 West 116th Street</b></span><br />
<span style="font-size: small;"><b>New York, NY 10027</b></span></div>
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<span style="font-size: 18.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;"><span style="font-size: small;"><b>Keynote
Address</b></span></span></div>
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<span style="font-size: 18.0pt; mso-bidi-font-style: italic; mso-bidi-font-weight: bold;"><span style="font-size: small;"> </span><b>Bruno Bosteels </b></span><i><span style="font-size: 10.0pt; mso-bidi-font-weight: bold;">(Cornell University)</span></i><b><span style="font-size: 18.0pt; mso-bidi-font-style: italic;"> </span></b></div>
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<span style="mso-bidi-font-weight: bold;"><b> </b></span><b><i><span style="font-size: 18.0pt;"></span></i></b></div>
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<b><span style="font-size: 16.0pt; mso-bidi-font-style: italic;">Theory and the
Early Modern Archive Roundtable</span></b></div>
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<b><span style="font-size: 16.0pt; mso-bidi-font-style: italic;">Gayatri Spivak</span></b><b><span style="font-size: 13.5pt; mso-bidi-font-style: italic;"> </span></b><i><span style="font-size: 10.0pt; mso-bidi-font-weight: bold;">(Columbia University<b>)</b></span></i><b><i><span style="font-size: 13.5pt;"> </span></i></b><br />
<b><span style="font-size: 16.0pt; mso-bidi-font-style: italic;">Alessandra Russo</span></b><b><i><span style="font-size: 13.5pt;"> </span></i></b><i><span style="font-size: 10.0pt; mso-bidi-font-weight: bold;">(Columbia University)</span></i><b><i><span style="font-size: 13.5pt;"></span></i></b></div>
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<b><span style="font-size: 16.0pt; mso-bidi-font-style: italic;">Queer Public Lives in Latin America Roundtable</span></b></div>
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<b style="font-size: 16pt;">Gabriel Giorgi </b><i><span style="font-size: x-small;">(New York University)</span></i></div>
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<b>Opening Remarks</b><br />
<b style="font-size: 16pt;">Jesus Rodriguez-Velasco</b><b style="font-size: 16pt;"> </b><i><span style="font-size: x-small;">(Columbia University)</span></i><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><span style="font-size: normal;"><b><i>Theory (in) Place</i></b>
seeks to interrogate the problems, challenges and potentials that Iberian,
Hispanic and Lusophone cultures, places and spaces pose to critical theory,
specifically tensions between the particular and universal. How can we think of
theoretical frames such as queer and postcolonial from within our areas of
study? What problems do these cultures, places and spaces pose to Marxist, and
post-Marxist theories? What are the frictions created between decolonial
proposals and European /US/Northern Hemisphere geopolitics? Is it possible to
articulate universal theories from within non-hegemonic geopolitical and
biopolitical borders and frames? These questions reveal both problems and
potentials of theoretical discourses as we investigate disciplinary frames
imposed upon theory; theoretical frames imposed upon geopolitical and
biopolitical objects and areas of study; and their asymmetric interactions. From
these points of inquiry <b><i>Theory (in) Place</i></b> aims to
elaborate on reconsiderations and new ways of theorizing and thinking from particular objects and spaces.</span><br />
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<span style="font-family: Trebuchet MS, sans-serif;"><b>Graduate Panels</b></span></div>
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<ul><span style="font-family: Trebuchet MS, sans-serif;">
<li style="text-align: left;"><b><span style="font-size: large;">Cultural Practices in Francoist Spain, ‘50s-‘70s</span></b></li>
<li style="text-align: left;"><b><span style="font-size: large;">On the Confines of Critical Discourse</span></b></li>
<li style="text-align: left;"><b><span style="font-size: large;">Approaching Theory through the Politics of Space</span></b></li>
<li style="text-align: left;"><b><span style="font-size: large;">Re-writing the cultural space in Latin America: </span></b><b><span style="font-size: large;">Interruptions of other/emerging cultural productions</span></b></li>
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<b><span style="font-size: large;"><br /></span></b></div>
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See Program for detailed schedule and panel abstracts</div>
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<b><br /></b></div>
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Anonymoushttp://www.blogger.com/profile/17797573466712791244noreply@blogger.comtag:blogger.com,1999:blog-2299401135650742278.post-58811324970825700122013-10-26T07:47:00.000-07:002014-04-06T09:22:37.979-07:00António Variações<span style="font-family: Arial, Helvetica, sans-serif;">Thank you Jay Rechsteiner, and Sardine and Tobleroni, for lending us <span style="font-size: 16px;"><i>António Variações </i>(2008) a </span>beautiful image of Portugal's pop music and queer icon <span style="font-size: 12pt;">António Variações, using mixed media. Based on an iconic image of the hair stylist/fashion icon/artist, the image situates him between the Cathedral of Braga in northern Portugal and New York's Empire State Building, which he balances on his hands like ornaments or jewelry.</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDtDffD3zQY1mDlUaaWwKJym90qClve60fvJGDX6qqAkdOI2gJY896SIitMg0etjKI7T1cQf_RS0-LupOHf3HqbtL_I4W7QeuMbYpcECoaNb0wV0_VegCFyRGpWrzp5auIXDk8Ff6x9YU/s1600/antoniodrawing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDtDffD3zQY1mDlUaaWwKJym90qClve60fvJGDX6qqAkdOI2gJY896SIitMg0etjKI7T1cQf_RS0-LupOHf3HqbtL_I4W7QeuMbYpcECoaNb0wV0_VegCFyRGpWrzp5auIXDk8Ff6x9YU/s640/antoniodrawing.jpg" height="432" width="640" /></a></div>
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<span style="font-size: 12pt;">Rechsteiner </span>is a multi-disciplinary & conceptual Swiss artist based in London. Anarchic and political themes, tackled with a sense of the ridiculous are central to Rechsteiner's practice. He has exhibited internationally (Japan, USA, UK, Switzerland, Italy, Portugal, France) in galleries and museums such as the Fukuoka Art Museum, Whitechapel Gallery, Tate Liverpool, the London Art Fair & the Venice Biennale. In 2005 Rechsteiner joined forces with Portuguese Punk musician Victor 'Torpedo' Silveira and together they started working under the pseudonym Sardine & Tobleroni. After an intensive and creative five-year period, the collaboration ended and Rechsteiner began a new body of work.</span><br />
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Follow the links below to learn more about Jay Rechsteiner and Sardine and Tobleroni</span>Anonymoushttp://www.blogger.com/profile/17797573466712791244noreply@blogger.com