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>
>From: "Renee Silverman" <[log in to unmask]>
>Subject: CFP: The Popular Avant-garde (10/20/06; ACLA, 4/19/06-4/22/06)
>
>Call for papers for the following seminar on avant-garde studies and
>popular culture. Paper proposals with name, affiliation, and contact
>information should be submitted to [log in to unmask]
>Authors of accepted proposals will be notified promptly by email.
>
>American Comparative Literature Association (ACLA) annual conference;
>Puebla, Mexico, April 19 to 22, 2006
>
>Seminar Title: The Popular Avant-garde
>Seminar leader: RenČe M. Silverman, Oberlin College
>
>While the avant-garde is customarily thought of as removed from the
>realm of the popular, in reality popular art and certain types and
>practitioners of avant-garde literature, visual art, and cinema have
>regularly drawn upon each other. Fertile exchanges between the avant-
>garde and popular culture have enormous potential for political
>change, apart from elitist manipulations of mass culture from above.
>This seminar invites proposals about avant-garde works that use
>textual, visual, or musical forms borrowed from popular art to create
>their political and social edge. We will attempt to answer the
>following questions: In what ways and under what political and social
>conditions do avant-garde artists use forms peculiar to popular art?
>How can borrowing popular forms create a political edge? What are the
>cultural consequences of incorporating popular forms into avant-garde
>works? Is there life beyond mere quotation and empty gestures towards
>cultural authenticity?
>
>This seminar broadly construes its object of study as beyond
>the ģhistoricalī or ģmodernistī avant-garde, so as to include work not
>necessarily contemporaneous with modernism. We will place special
>emphasis on twentieth- and twenty-first-century experimental literary
>texts, visual art, cinema, and music, including examples of
>interdisciplinarity. Of particular interest are papers that examine
>non-Western and non-European avant-gardes as well as avant-garde work
>from geographical locations traditionally conceived as peripheral to
>Europe, such as Spain and Portugal, and Russia and Eastern Europe.
>Especially welcome are proposals that deal with Mexico, the Caribbean,
>Central and Latin America, and transatlantic Hispanic culture.
>Depending on the particular content of the papers to be included on
>the seminar, we will explore the ways in which, in these liminal
>spaces, the crossing between popular art and the avant-garde can take
>on special political urgency or become particularly responsive to the
>social needs that popular cultures fulfill.

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