MCLC: Global Avant-Gardes--cfp

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Global Avant-Gardes–cfp
Below is a CFP for the next ACLA conference. Last year we convened two sessions on the Chinese Avant-Garde and this year welcome papers that extend that conversation to include the Chinese Avant-Garde within the context of global avant-gardes. Please take a moment to look at the CFP below as the window of application ends soon (Sept 23).
Global Avant-Gardes: Visual and Verbal
American Comparative Literature Association
Harvard University, March 17-20, 2016
Organizer: Barrett Watten, Wayne State University
Co-Organizer: Jonathan Stalling, University of Oklahoma
Submission portal: http://www.acla.org/node/add/paper
Submission deadline: September 23
This seminar will address the emergence of forms of literature and art  that may be termed “avant-garde” and that address global horizons of  aesthetics, culture, politics, economy, production, exhibition, and/or reception. There is more than one route, thus, for a given avant-garde artist, work, group, or tendency to be considered within a global framework. How the manifold dimensions of the emerging global order are represented, anticipated, criticized, or negated within the avant-garde work will be the focus of our inquiry, with two major goals: to identify how new tendencies of the avant-garde have emerged within global frameworks, and to understand their revisionist implications for the avant-garde. We will consider the conception and formation of avant-gardes under conditions of globalization that include global capital and consumer culture; migration, displacement, transnationality; linguistic opacity, questions of translation, and writing systems; race,
ethnicity, and hybridity; and global faultlines of gender, class, and religious cultures. If it is now the case that there are global avant-gardes, considerable pressure must still be placed on the concept of the avant-garde to understand how it has evolved (or been transformed) under conditions of globalization. On the one hand, there is an institutionally supported avant-garde canon of conceptual, site-specific, installation, and performance art, developed through exhibition venues such as Documenta, the Venice and Sao Paolo Biennales, and institutions like the Guggenheim and Ludwig Museums. If a global exhibition structure supports visual art with avant-garde formal features, how does that work still qualify as avant-garde in more traditional senses? Does a similar condition obtain for literary avant-gardes in terms of institutional networks and publishing? What
kinds of translation/transmission of avant-garde literature take place, and how do they take place? In acknowledging the formal specificity of literary avant-gardes, we will still need to redefine them in terms of translation, incomprehensibility, and global English versus linguistic alterity. If we critique the idea of a "one-size-fits-all" approach to global avant-gardes—one based on what may be termed the "radical particular," convertible or equivalent between cultures and languages, how should we proceed? What new forms of the literary and verbal avant-garde have emerged since the political crisis of 1968 and the economic crisis of 1973, and what do they tell us about emerging global
horizons?
by denton.2 at osu.edu on September 11, 2015
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