Lecture: Margaret Schwartz, On Revolutionary Tenderness: Towards a Feminist Ethics of Care for the Digital Age

Friday, April 14, 2017
3:30 PM
Grucci Room, 102 Burrowes Building

On Friday, April 14, 2017, Margaret Schwartz (Fordham University) delivered a lecture titled “On Revolutionary Tenderness: Towards a Feminist Ethics of Care for the Digital Age.”

Event flyer

Description of presentation

What happens when we view care work as the foundation of a feminist ethics of care? What if we make it the bedrock of our theorization about living under a late capitalist culture of connectivity? We might then find ourselves with what the poet Francesca Lisette has called revolutionary tenderness — a theory of social change written out of the body in its most sacred function, care.

Speaker bio

Margaret Schwartz is Associate Professor of Communication and Media Studies at Fordham University. Her book Dead Matter: The Meaning of Iconic Corpses was published by the University of Minnesota Press in 2015. This talk is taken from her ongoing work on embodiment, care, and materialist feminism, which will be published in the forthcoming collections Digital Existence and The Networked Self: Love. She lives in Brooklyn with her partner and two children.

Other resources

Description, from publisher’s Web site

“Taking as its starting point the significant role of the photograph in modern mourning practices — particularly those surrounding public figures — Dead Matter theorizes the connections between the body and the image by looking at the corpse as a special instance of a body that is simultaneously thing and representation. Arguing that the evolving cultural understanding of photographic realism structures our relationship to the corpse, the book outlines a new politics of representation in which some bodies are more visible (and vulnerable) in death than others.

“To begin interpreting the corpse as a representational object referring to the deceased, Margaret Schwartz examines the association between photography and embalming — both as aesthetics and as mourning practices. She introduces the concept of photographic indexicality, using it as a metric for comprehending the relationship between the body of a dead leader (including Abraham Lincoln, Vladimir Lenin, and Eva Perón) and the “body politic” for which it stands. She considers bodies known as victims of atrocity such as Emmett Till and Hamsa al-Khateeb to better grasp the ways in which the corpse as object may be called on to signify a marginalized body politic, at the expense of the social identity of the deceased. And she contemplates “tabloid bodies” such as Princess Diana’s and Michael Jackson’s, asserting that these corpses must remain invisible in order to maintain the deceased as a source of textual and value production.

“Ultimately concluding that the evolving cultural understanding of photographic realism structures our relationship to the corpse, Dead Matter outlines the new politics of representation, in which death is exiled in favor of the late capitalist reality of bare life.”

“In a deep, sophisticated, and riveting book, Margaret Schwartz shows us how corpses become focal points for collective meaning — in nation construction, in violence and martyrdom, and in the passion of fandom. In explaining how the dead circulate among the living, Dead Matter gives us the tools to better understand death as a social and communicative phenomenon, and, one hopes, build more thoughtful relations with the dead.” —Jonathan Sterne, author of MP3: The Meaning of a Format and The Audible Past: Cultural Origins of Sound Reproduction

Dead Matter bridges important theorizations of death, the human corpse, and mediation. This book is a critical connecting point between seemingly disparate fields of study.” —John Troyer, Deputy Director of the Centre for Death and Society at the University of Bath

Lecture: Pooja Rangan, Autism, Voice, and the Humanitarian Impulse in Documentary

Friday, March 31, 2017
4:00 PM
Grucci Room, 102 Burrowes Building

On Friday, March 31, 2017, Pooja Rangan (Amherst College) delivered a lecture titled “Autism, Voice, and the Humanitarian Impulse in Documentary.”

This event was presented in conjunction with a reading by Cathy Park Hong sponsored by the Modern and Contemporary Studies Initiative, Friday, March 31, 2017, 7:30 PM in 112 Chambers Building.

Event flyer

Description of presentation

What can autism teach us about the documentary politics of “having a voice”? This talk, based on one of the chapters of my forthcoming book, Immediations: The Humanitarian Impulse in Documentary (Duke University Press, June 2017), places autistic accounts of language and communication in conversation with critical and media theories of voice. I ask: what do the documentary tropes of persuasive speech have in common with contemporary therapeutic and humanitarian interventions around autism spectrum disorders? What would it look, sound, and feel like to realize an autistic voice in documentary — and how might such a voice unravel the metaphysics of voice in documentary’s reality-effects? I look at three films involving autistic protagonists — “I Am Autism” (2010), an advocacy video by the humanitarian organization Autism Speaks; Autism Is a World (2004), a television documentary; and “In My Language” (2007), a YouTube video by Mel Baggs — that represent a range of approaches to voicing in documentary that also map onto ongoing debates around autism, humanitarianism, and disability.

Speaker bio

Pooja Rangan is Assistant Professor of English and Film and Media Studies at Amherst College. Her book Immediations: The Humanitarian Impulse in Documentary (Duke University Press, June 2017) examines the humanitarian ethic of “giving voice to the voiceless” in global participatory documentary interventions that equip disenfranchised subjects with visual media as a means of immediate empowerment. Rangan’s writing has been published in differences, Camera Obscura, Film Quarterly, South Asian Popular Culture, World Picture, Feminist Media Histories, and other anthologies and magazines. Rangan serves on the board of the Flaherty Film Seminar.

Description, from publisher’s Web site

Endangered life is often used to justify humanitarian media intervention, but what if suffering humanity is both the fuel and outcome of such media representations? Pooja Rangan argues that this vicious circle is the result of immediation, a prevailing documentary ethos that seeks to render human suffering urgent and immediate at all costs. Rangan interrogates this ethos in films seeking to “give a voice to the voiceless,” an established method of validating the humanity of marginalized subjects, including children, refugees, autistics, and animals. She focuses on multiple examples of documentary subjects being invited to demonstrate their humanity: photography workshops for the children of sex workers in Calcutta; live eyewitness reporting by Hurricane Katrina survivors; attempts to facilitate speech in nonverbal autistics; and painting lessons for elephants. These subjects are obliged to represent themselves using immediations — tropes that reinforce their status as the “other” and reproduce definitions of the human that exclude non-normative modes of thinking, being, and doing. To counter these effects, Rangan calls for an approach to media that aims not to humanize but to realize the full, radical potential of giving the camera to the other.

Other resources

Pooja Rangan web site

In Defense of Voicelessness: The Matter of the Voice and the Films of Leslie Thornton,” Feminist Media Histories 1, no. 3 (Summer 2015): 95–126.

For a Critique of the Documentary Logic of Sobriety,” World Picture 9 (July 2014).

Humane-itarian Interventions,” differences 24.1 (2013): 104–136.

Lecture: Andrew Kopec, Data Trouble: Toward a General Theory

Friday, March 17, 2017
3:30 PM
Grucci Room, 102 Burrowes Building

On March 17, 2017, Andrew Kopec (Indiana University – Purdue University, Fort Wayne) joined us to deliver a lecture titled “Data Trouble: Toward a General Theory.”

Event flyer

Description of presentation

This talk places the digital humanities’ polemic against what Andrew Piper terms the “evidence gap” in cultural studies within a larger institutional context, exploring the ways in which anxiety over the scale of data required to make generalizations has long haunted the critical enterprise. In doing so, this talk adds a historicist edge to the digital humanities’ urgent, reflexive construction of itself as a disciplinary formation. Forging connections among sources ranging from historical scholarship from the 1920s, late twentieth-century historicism, post-critical movements of the present, and digital literary scholarship, this talk thus examines (and challenges) DH’s claims to novelty, rigor, and transparency.

Speaker bio

Andrew Kopec is assistant professor of English at Indiana University – Purdue University Fort Wayne (IPFW), where he specializes in American literature to 1900. His work on the relation between literature and economics in early America appears (or is forthcoming) in journals like ELH: English Literary History, Early American Literature, and ESQ. His essay “The Digital Humanities, Inc.,” published in the journal PMLA, provides a historical perspective on new formalisms and digital humanities as intensified objects of professional desires. His book in progress, Pacing Panic: American Romanticism and the Business Cycle, identifes romantic literature in the United States from 1819 to 1867 as an art of high finance.

Other resources

The Digital Humanities, Inc.: Literary Criticism and the Fate of a Profession.”
PMLA: Publications of the Modern Language Association of America 131.2 (2016): 324-339.

Emerson, Labor, and Ages of Turbulence.”
ESQ: A Journal of the American Renaissance 60.2 (2014): 251–284.

Collective Commerce and the Problem of Autobiography in Olaudah Equiano’s Narrative.”
Eighteenth Century: Theory and Interpretation 54.4 (2013): 461–478.

Irving, Ruin, and Risk.” Early American Literature 48.3 (2013): 709–735.