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<h3 style="margin-top:0;"><a style="font-weight: 500; font-size: 21px;line-height: 30px; margin-top:25px; margin-bottom: 10px;" href="http://u.osu.edu/mclc/2015/09/11/global-avant-gardes-cfp/" target="_blank">Global Avant-Gardes–cfp</a></h3>
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<p>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).</p>
<p>Global Avant-Gardes: Visual and Verbal<br />
American Comparative Literature Association<br />
Harvard University, March 17-20, 2016<br />
Organizer: Barrett Watten, Wayne State University<br />
Co-Organizer: Jonathan Stalling, University of Oklahoma<br />
Submission portal: <a href="http://www.acla.org/node/add/paper">http://www.acla.org/node/add/paper</a><br />
Submission deadline: September 23</p>
<p>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,<br />
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<br />
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<br />
horizons?</p>
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by <a href="mailto:denton.2@osu.edu">denton.2@osu.edu</a> on September 11, 2015 </div>
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