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.”

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.

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.

Practices of Resistance

In her essay in our new issue, Debarati Sanyal analyzes practices of resistance as seen through film and photography set in the Calais’s “jungle” refugee encampments, which were razed last year by the French government. She discusses the interplay of humanitarian compassion and securitarian repression in the destruction of the camps, nuancing the view of borderscapes as sites of total biopolitical capture, and of refugees as “bare life.” Making a profound case for both art and resistance, “Calais’s ‘Jungle’: Refugees, Biopolitics, and the Arts of Resistance” is a compelling and visually stunning read.

Still from Qu’Ils reposent en révolte: Des figure de guerres I, by Sylvain George (2010)

DEBARATI SANYAL is Professor of French at the University of California, Berkeley. The author of The Violence of Modernity: Baudelaire, Irony, and the Politics of Form (Johns Hopkins University Press, 2006) and Memory and Complicity: Migrations of Holocaust Remembrance (Fordham University Press, 2015), she is currently at work on a study of testimony, cultural form, and the refugee “crisis.”

Summer Travel Round-Up

Traversing the history of cartography, cross-cultural encounters and discoveries, travelers fortunate and unfortunate, and voyages to the depths of the sea, these travel-related essays make good transit companions for summer journeys.

 

Ricardo Padrón, “Mapping Plus Ultra: Cartography, Space, and Hispanic Modernity,” Representations 79 (Summer 2002): 28-60.

 

Sumathi Ramaswamy, “Catastrophic Cartographies: Mapping the Lost Continent of Lemuria,” Representations 67 (Summer 1999): 92-129.

 

Christopher L. Hill, “Crossed Geographies: Endō and Fanon in Lyon,” Representations 128 (Fall 2014): 93-123.

 

Michel de Certeau, “Travel Narratives of the French to Brazil: Sixteenth to Eighteenth Centuries,” Representations 33 (Winter 1991): 221-26.

 

H. G. Cocks, “The Discovery of Sodom, 1851,” Representations 112 (Fall 2010): 1-26.

 

Louis Montrose, “The Work of Gender in the Discourse of Discovery,” Representations 33 (Winter 1991): 1-41.

 

Jean-Pierre Vernant, “Odysseus in Person,” trans. James Ker, Representations 67 (Summer 1999): 1-26.

 

Robert Weimann, “Fabula and Historia: The Crisis of the “Universall Consideration” in The Unfortunate Traveller,” Representations 8 (Autumn 1984): 14-29.

 

Lorna Hutson, “Fortunate Travelers: Reading for the Plot in Sixteenth-Century England,” Representations 41 (Winter 1993): 83-103.

 

Margaret Cohen, “Denotation in Alien Environments: The Underwater Je Ne Sais Quoi,” Representations 125 (Winter 2014): 103-26.

New from Kent Puckett

War Pictures: Cinema, Violence, and Style in Britain, 1939-1945

In this original and engaging work, Kent Puckett looks at how British filmmakers imagined, saw, and sought to represent its war during wartime through film. The Second World War posed unique representational challenges to Britain’s filmmakers. Because of its logistical enormity, the unprecedented scope of its destruction, its conceptual status as total, and the way it affected everyday life through aerial bombing, blackouts, rationing, and the demands of total mobilization, World War II created new, critical opportunities for cinematic representation.

Beginning with a close and critical analysis of Britain’s cultural scene, War Pictures examines where the historiography of war, the philosophy of violence, and aesthetics come together. Focusing on three films made in Britain during the second half of the Second World War–Michael Powell and Emeric Pressburger’s The Life and Death of Colonel Blimp (1943), Lawrence Olivier’s Henry V (1944), and David Lean’s Brief Encounter (1945)–Puckett treats these movies as objects of considerable historical interest but also as works that exploit the full resources of cinematic technique to engage with the idea, experience, and political complexity of war. By examining how cinema functioned as propaganda, criticism, and a form of self-analysis, War Pictures reveals how British filmmakers, writers, critics, and politicians understood the nature and consequence of total war as it related to ideas about freedom and security, national character, and the daunting persistence of human violence. While Powell and Pressburger, Olivier, and Lean developed deeply self-conscious wartime films, their specific and strategic use of cinematic eccentricity was an aesthetic response to broader contradictions that characterized the homefront in Britain between 1939 and 1945. This stylistic eccentricity shaped British thinking about war, violence, and commitment provided both an answer to and an expression of a more general violence.

Although War Pictures focuses on a particularly intense moment in time, Puckett uses that particularity to make a larger argument about the pressure that war puts on aesthetic representation, past and present. Through cinema, Britain grappled with the paradoxical notion that, in order to preserve its character, it had not only to fight and to win but also to abandon exactly those old decencies, those “sporting-club rules,” that it sought also to protect.

Kent Puckett is Associate Professor of English at the University of California, Berkeley, and a member of the Representations editorial board. Puckett’s previous publications include Bad Form: Social Mistakes and the Nineteenth-Century Novel (Oxford, 2008) and Narrative Theory: A Critical Introduction (Cambridge, 2016).

 

After the Parade

A little green from our archives …

images

Beckett’s Tattered Syntax
ANN BANFIELD

The Indigent Sublime: Specters of Irish Hunger
DAVID LLOYD

Bad Art, Quirky Modernism
Aoife Monks (with an appearance by Michael Flatley)

Ulysses by Numbers
Eric Bulson

Exhumation and Ethnic Conflict: From St. Erkenwald to Spenser in Ireland
PHILIP SCHWYZER

New Special Issue: Language-in-Use

LANGUAGE-IN-USE AND THE LITERARY ARTIFACT

edited by Michael Lucey, Tom McEnaney, and Tristram Wolff

Number 137, Winter 2017 (free for a limited time on Highwire)

1.cover-source

Now available

MICHAEL LUCEY and TOM MCENANEY
Introduction: Language-in-Use and Literary Fieldwork

MICHAEL SILVERSTEIN
The Fieldwork Encounter and the Colonized Voice of Indigeneity

TRISTRAM WOLFF
Talking with Texts: Hazlitt’s Ephemeral Style

JILLIAN R. CAVANAUGH
The Blacksmith’s Feet: Embodied Entextualization in
Northern Italian Vernacular Poetry

AARON BARTELS-SWINDELLS
The Metapragmatics ofthe “Minor Writer”: Zoë Wicomb,
Literary Value, and the Windham-Campbell Prize Festival

NICHOLAS HARKNESS
Transducing a Sermon, Inducing Conversion:
Billy Graham, Billy Kim, and the 1973 Crusade in Seoul

TOM MCENANEY
Real-to-Reel: Social Indexicality,Sonic Materiality,
and Literary Media Theory in Eduardo Costa’s Tape Works

TRISTRAM WOLFF
Afterword

Laqueur’s ‘The Work of the Dead’ wins two prizes

Representations editor Thomas Laqueur wins AHA’s Mosse Prize & McGill’s Cundill Prize for The Work of the Dead

Mosse_Laqueur

Thomas W. Laqueur, Helen Fawcett Professor of History at UC Berkeley, has been selected as the winner of the George L. Mosse Prize by the American Historical Association and the Cundill Prize in Historical Literature by McGill University. Both honors are in recognition of Laqueur’s book The Work of the Dead: A Cultural History of Mortal Remains (Princeton University Press, 2015).

Calling him a “modern Charon,” the Mosse Prize committee noted:

Laqueur’s haunting book brilliantly tackles a fundamental historical question: how humanity relates to the dead. His magisterial account establishes that throughout the premodern and modern periods, the world has never been disenchanted; the dead have always had agency in defining what it means to be human.

Laqueur will be awarded the Mosse Prize at the AHA’s 131st Annual Meeting in Denver, Jan. 5-8, 2017. In winning the Cundill Prize, Laqueur also receved an award of $75,000.

More on the Berkeley News blog

Classifying Mutability

Cloud Physiognomy
by Lorraine Daston

The essay begins…

When it came to clouds, art and science faced similar challenges of description: how to capture almost infinite variety and variability? Both variety and variability flummox description, whether in words or in images, but not in the same way. Perform the following thought experiment: first, imagine all the species of life on earth arrayed together in their dazzling diversity, all circa ten million of them, from the Lesser Antillean iguana to the figeater beetle, from brain corals to black-capped chickadees, from mosquitoes to barley. That is variety, and clouds have it aplenty: cirrus fibratus intortus, cirrocumulus castellanus lacunosus, altostratus undulatus, and on and on. But viewed on a human time scale, it is a static variety. Evolution rarely proceeds before our very eyes. Now imagine all of these ten million-odd species constantly metamorphosing into one another and into intermediate forms—not just evolution speeded up to cinematic tempo but everything changing into everything else, all at once, not just past forms to present forms but also present to past and this present form to that other one, without regard to taxon or phylogeny. That is variability—the vertiginous variability of clouds.

It is not just the variety of clouds but also their fast-paced variability that eludes description: if the pace of biological evolution is too slow to be perceptible on a human timescale, that of cloud evolution is too swift for the human eye to fix, much less to capture in a net of words and images. Although the skies have been scanned and studied since the meticulous astrometeorological diaries kept for more than six centuries by ancient Babylonian scribes, and weather-watching networks sponsored by scientific societies have been trying to systematize observations since the seventeenth century, it was only at the turn of the nineteenth century that two naturalists, Jean-Baptiste Lamarck in France and Luke Howard in Britain (it is significant that both were steeped in the practices of Linnaean classification) independently and simultaneously proposed cloud classification schemes—but two quite different schemes based on different principles.

For the next hundred years, cloud observers elaborated their own systems, splitting and lumping the original categories according to local weather patterns and individual proclivities. Is it any wonder that almost every scientific publication on cloud classification from Lamarck’s and Howard’s pioneer attempts around 1800 to the latest edition of the International Cloud Atlas in 1975/1987 begins with a tetchy paragraph defending the whole enterprise against skeptics who point to the notorious mutability and evanescence of their subject matter?

After centuries of serving as the metaphor for mutability, clouds began to be classified by genera and species in the nineteenth century, on the model of Linnaean taxonomy. In order to standardize nomenclature, cloud watchers had to learn to see in unison, recognizing cloud types as one would recognize human faces. The analogy between cloud and facial recognition runs deep: in both cases, a few salient features (that aquiline nose, those long wispy streaks) are foregrounded at the expense of a great many others. What the art of caricature is to faces, condensed description was to clouds: a few bold strokes that focused attention on the essential and screened out everything else. Cloud classification depended crucially on description by omission.

LORRAINE DASTON is Director at the Max Planck Institute for the History of Science in Berlin and a regular Visiting Professor in the Committee on Social Thought at the University of Chicago. Her work spans a broad range of topics in the early modern and modern history of science, including probability and statistics, wonders and the order of nature, scientific images, objectivity, quantification, observation, and the moral authority of nature.